#Publicis Conseil

[manuhigueras]

Max your pride // Max ta fierté

África y Oriente Medio tienen la mayor tasa de crecimiento del número de gamers en el mundo pero están completamente ausentes de los juegos si hablamos de representación. Ningún videojuego ofrece una variedad de skins que represente esas regiones.

Los skins se han concebido para juegos muy populares como “The Witcher” y “Minecraft” y para su creación Orange y Publicis Conseil han trabajado con tres diseñadores locales jóvenes. Se trata de Yasmine El Tazi, que creó los diseños representativos de Oriente Medio y Norte de África; Ibrahim Fernandez, que trabajó en los representativos del África subsahariana, y Marie-Laure Jaomatana, que lo hizo en un diseño alusivo a la cultura de Madagascar. 

https://www.reasonwhy.es/actualidad/orange-promueve-representacion-cultural-africa-oriente-medio-videojuegos-publicis

[mellowyknox]

Orange “Footballs”

Agency: Publicis Conseil Paris

Production: Stink Paris Director: Jones + Tino Cinematographer: Adolpho Veloso Editor: Edouard Mailaender

Year: 2022

[lounesdarbois]

Oh certainement que "tout le monde déteste la racaille"! Nous sommes bien d'accord. Mais pour autant est-ce que l'on va oublier ce que la police a fait en France depuis 30 ans? En pleine invasion n'importe quelle bourgeoise pouvait recourir à la police pour le "propos raciste" d'un brave type prolétarisé poussé à bout qui lâche un mot de travers. Cela est arrivé des milliers de fois, et les colonisés ont vécu dans la terreur du jugement d'autrui devenu son geôlier dans une taule fermée de l'intérieur. La police a sécurisé l'invasion. Tout ce que l'on voit aujourd'hui et qui va se répandre sur l'Europe jusqu'au fond de la Pologne à été protégé, sécurisé, surveillé par la police. Voilà pourquoi il ne faut pas se mêler de ce merdier et ne pas prendre parti, même pas en pensée.

La police et ses commissaires tous franc-maçons, les juges, les avocats, les procureurs, tout ce monde en basket blanches sous la robe d'hermine (authentique), toute cette classe qui ne sait plus si elle tient davantage à son prestige classique où à se la jouer canaille pour souffler un peu, tout ce monde a dépassé la mesure depuis très longtemps. Quand on connaît les mœurs de nombre de ces gens-là en privé, alors qu'ils n'existent socialement que par la terreur qu'ils inspirent, on mesure le fossé, le bluff par quoi sont tenus les braves gens. L'Elysée, le Parquet et l'Intérieur viennent de lâcher la police en rase campagne et de s'en désolidariser pour calmer la meute au moment où la police avait le plus besoin de leur soutien, voilà ce que ça rapporte donc, de se salir les mains pour le pouvoir.

2 tués aux émeutes de 2005: Jean-Claude Irvoas et Jean-Jacques le Chenadec. C'étaient des Français, personne n'a bougé. Cette année même si 10 Français étaient tués au couteau il n'y aurait rien non plus. Si 1 non-Blanc était abattu ce serait très différent. Si 1 policier était abattu idem. Mais le mode "salope" chez la masse reviendrait très vite, mode gouverné en sous-main comme toutes les salopes par la Trouille Physique, par l'empressement à se vendre physiquement, à aller du côté du plus méchant à l'instant T, du plus "respecté". Ainsi des bourges, des mi-cuits, des tiédasses et des étudiants, des bouches inutiles, des PàB, des managers, des "chefs", et des influenceurs. Toutes ces catégories de la foule dont le goût profond est la bestialité, le Surmoi le Primitif et la phobie la solitude. Ils sont prêts à tout pour être entourés dans le dépeuplement mondial, pour croire que la vie existe encore.

Les Primitifs de ces deux derniers jours sont plus violents que les Gilets Jaunes certes on peut le leur concéder, ils ne se laissent pas embringuer vers des "cortèges" certes, ils ont scié quelques caméras, ils sont moins alcooliques en manif que les Gilets Jaunes certes mais il n'en reste pas moins qu'ils sont tout aussi cons. Ces émeutiers dilettantes ne vont jamais s'en prendre aux vrais lieux du vrai pouvoir : locaux de banque, locaux de cabinets de conseil, domiciles de gens du pouvoir, rue Cadet, mairies, rues du 6e, 7e, 16e, Publicis, bas de Champs-Elysées, ils ne savent même pas ce que c'est. Encore quelques jours et ils retourneront en bas des blocs roter leur Monster, cuver leur shit étouffés de tartines de nutella, il ne faut pas rêver ce sont  en majorité des bourgeois qui ont du bide dès 20 ans.

"Y a plus qu'des salopes"

[aurevoirmonty]

Élisabeth Badinter, actionnaire majoritaire et vice-présidente du conseil de surveillance de Publicis, ancien professeur à l’École polytechnique, ancien membre du conseil scientifique de la Bibliothèque nationale de France.

[secondaryartifacts]

Trust Journey

Brand: Orange Director: Seb Edwards Post Production: The Mill

Song: I'll Be There Artist: Overcoats

Airborne choreography’s moment in the spotlight continues with this charismatic piece of soaring surreality for French multinational teleco Orange by director Seb Edwards with The Mill providing the weightless VFX. Produced by Academy Films and Wanda thru agency Publicis Conseil, the spot was shot by Justin Brown in Slovenia and Carrera, Italy, and features UK dancer/actor Chiara Corbetta underscored by Lee Hazlewood’s 1966 ballad “Your Sweet Love”.

[madstars-festival]

[EXECUTIVE JURY] Don't Play the Game. Change it!

- Interview with Emma de la Fosse, chief creative officer of Edelman UK

One of the five top echelon professionals chosen as a jury president for the MAD STARS 2024 awards is Emma de la Fosse, chief creative officer, Edelman UK.

Emma became the first-ever group chief creative officer of Ogilvy UK in 2016. Under her co-leadership, OgilvyOne became the most highly awarded digital and direct agency in the UK. Three years later, she became chief creative officer of one of the UK’s foremost digital agencies, Digitas UK, whose creative fortunes and reputation she helped to rebuild. She is now chief creative officer of Edelman UK, the world’s largest and most successful PR and comms agency. This legendary career began with a role as a copywriter in a creative boutique agency.

In 2020, Emma was awarded a lifetime achievement medal recognising outstanding creativity in customer marketing, the Caples Andi Emerson award. She has led her teams to win every major international award D&AD Yellow Pencils, Cannes Grand Prix, One Show Best in Show, and DMA Grand Prix through to multiple Effie awards for effectiveness and has been the executive creative director for world-famous brands such as IBM, British Airways, British Gas, Kimberly Clark and Kellogg’s.

Emma gave MAD STARS a preview of her judging criteria as well as an insight into her career and the key elements of great work!

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Q. What are you hoping to find at MAD STARS?

A: Margaret Heffernan, professor of business practice at Bath University is one of my heroes. She says, “A world that was once complicated is now complex.  There are still patterns, but they don’t repeat. In today’s world, creative thinking is essential to business.” So what I am looking for are creative solutions for our world’s problems. As Margaret also says, “Don’t play the game. Change it.”

Q. What makes a good MAD STARS awards judge?

A: Sometimes, senior people can become a little cynical when they’ve worked in the industry for a long time. But MAD Stars jurors are still like kids in a sweet shop when it comes to ideas. They are those who ask “why not?” instead of “why?” People who believe in the power of the impossible.

Q. What skills and talents have you used in your career?

A: Gosh, that’s a question I’ve not really thought about before. I suppose tenacity is one of them. Average is easy. Great is hard. You can’t give up easily if you want to get the best ideas made. What else? My brain sees connections very readily, it spots patterns and recognizes similarities between things. That helps when looking at old problems in new ways. I’ve got quite a strategic brain too, so I can write a decent brief and tell if somebody else’s is right or wrong. But mostly I have a sense of fun and I love to build creative teams. To me, it’s like family. A strong creative culture is essential to getting great work made.

Q. What are the biggest challenges to getting MAD STARS award-worthy work through?

A: All great creative work is hard to get out of the deck and into the world. That’s because it challenges you, it can put you outside your comfort zone. As human beings, we instinctively gravitate towards the familiar. Especially in times of global strife or economic uncertainty. So, the kinds of ideas that win at MAD STARS, those that seek to shift the status quo, will have been pretty challenging to get live.

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To give you a glimpse into her judging criteria, Emma shared with us four of her most recent inspirations and one of her favorites.

Read on to find out what inspired her!

<SOLAR IMPULSE - PRÊT À VOTER> Location: France Brand: Solar Impulse Agency: Publicis Conseil

: Solar Impulse is a foundation headed by the explorer Bertrand Piccard, it is dedicated to solving the knowing gap when it comes to tackling environmental challenges by collecting and promoting innovative ideas that are pragmatic and economically viable- it leads to what it calls 'eco-realism'.

Solar Impulse curated chose 50 out of 1400 ideas that were pragmatic and economically sound solutions for key environmental problems in a book called: “Ready to Vote”. A limited edition of books was sent out to 577 newly elected MPs along with this pre-drafted legislation that MPs could use in debates in Parliament.

So far 3 legislative proposals from Prêt à Voter have been adopted word for word, integrated into the Renewable Energy bill of the French Government. There is momentum for further concrete change, with 9 other ready-to-vote proposals being debated in the Senate, 1 is being scrutinized by the Swiss Parliament, and an environmental law being submitted to the European Union.

Image Source: SOLAR IMPULSE FOUNDATION

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<THE BRAKE ROOM> Location: United States Brand: Chick-fil-A Agency: McCann New York

: More than 65,000 food delivery workers in New York go above and beyond to deliver for the city. Winter conditions make what they do even more challenging. While they’re always on the go, they essentially have no place to go in between stops.

The Brake Room is a first-of-its-kind rest station allowing food delivery workers to get warm, use the restroom, and grab a cup of coffee in between deliveries, free of charge.

Chick-fil-A describes the service as ‘an extension of the same experience that Chick-fil-A restaurants provide to guests,’ and ‘just a small way to show our appreciation for the delivery drivers who help fuel our business.’

Image Source: Chick-fil-A https://www.chick-fil-a.com/brake-room

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<50+> Location: Mexico Brand: Popeyes Agency: GUT Mexico City

: In 2022, the global chicken and burger brand Popeyes will celebrate its 50th anniversary, and to honor the occasion, a special campaign called “50+” was launched in Mexico. Although Popeyes has been around for 50 years, the brand was relaunched in Mexico in late 2021, more than a year ago.

“50+” was born out of the problem that more than 20% of unemployment cases in Mexico are between the ages of 45-65. The idea was to celebrate the 50th anniversary by hiring people over the age of 50, who are often stereotyped as low performers and unable to find work. The campaign was designed to positively impact the Mexican community and encourage people to get involved in the continued growth of Popeyes in Mexico.

Image Source: INSIDER LATAM – YouTube ‘Popeyes- GUT México’

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<Heinz Fraud Ketchup> Location: Canada Brand: Heinz Ketchup Agency: Rethink Canada

: Heinz is one of the world's most beloved ketchup brands, known for its distinctive thick, rich sauce and irreplaceable ketchup. However, due to cost concerns, many restaurants refilled Heinz bottles with other ketchup, and it wasn't hard to find social media posts from consumers directly criticizing this act. Inspired by these posts, Heinz launched a bold campaign called “Fraud Ketchup” to uphold the brand's core belief that ‘It Has To Be Heinz’.

The campaign encouraged people to take photos of restaurants they suspected were using another brand of ketchup in Heinz bottles and tag them on Heinz's Instagram. In addition to working with the local restaurants most tagged with “fraudulent ketchup,” Heinz created a collaborative project to get them to use Heinz ketchup and offered free ketchup for a year to the first 10 restaurants that committed to using only Heinz ketchup.

Image Source: Rethink Communications

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<Contract for Change> Location: United States Brand: Michelob ULTRA Pure Gold Agency: FCB Chicago

: Contract for Change is a campaign by Michelob ULTRA Pure Gold, the first beer brand to be USDA-certified, to support farmers converting their existing barley fields to organic. The campaign is designed to address the challenge of organic barley production, with only 1% of U.S. barley fields being organic, to drive sustainable growth and support the expansion of the organic grain industry.

One of the reasons there are so few organic barley fields is that converting existing fields to organic is expensive, and farmers face a three-year wait with an uncertain future. To address this, Michelob ULTRA signed a long-term transition contract to purchase barley grown during the transition period and the first year of organic production. Michelob ULTRA purchases barley grown during the transition period at a 25% higher price to support farmers. In addition, farmers participating in the campaign will benefit from the ability to sell organic crops other than barley grown in rotation.

This resulted in 175 farmers signing contracts to participate in the campaign, enabling 4% of all barley fields in the U.S. to produce organic barley.

* Emma Says, “This is not recent but it’s one of my all-time fave pieces of world-changing work!”

Image Source: shachter - Michelob Ultra. Contract for Change

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You've seen the interview with Emma, our executive jury, and we hope it inspires your entries.

Remember, the 1st entry deadline is approaching fast! It closes on May 10th (KST), so there's only one week left to take advantage of the early bird.

Seize this opportunity to showcase your creative ideas on a global stage! We're eagerly waiting for your submissions that will change the world.

👇🏻Submit your entry now👇🏻

[lesterplatt]

Renault ~ R5 from ManvsMachine on Vimeo.

Come To Light

We were honoured to partner with Publics Conseil once again to design and direct a vibrant set of films for the highly anticipated, all-electric, reboot of the iconic Renault 5.

A complex mix of next-level car photography, luscious cinematography and photo-real visual effects, the film tells the story of the innovative new hatchback as it navigates its way through a deep labyrinthian maze and out onto the streets of Paris.

R5volution is back.

CREDITS —

Client: Renault

Agency: Publicis Conseil

Director: ManvsMachine

Production Company: Friend London

French Production: Quad

Cinematographer: Daniel Bouquet

Editor: Toby Heard @ Pundersons Gardens

Post-Production: Electric Theatre Collective

Song: Daft Punk ‘Instant Crush’

Arrangement & Sound Design: Start-Rec

[paolalopezfeliu]

Recently voted in France (40 years after Europeans countries like Sweden), the law for the educational violence abolition (slapping, spanking, pinching, humiliation) states that parental authority is exercised without physical or psychological violence and prohibits all Ordinary Educational Violence.

Beyond the law, and after centuries of existence, habits still persist in French homes. It is the mission of the StopVEO association to support parents towards awareness and good parenting. But how to raise parents aware of the harmful effects of such violences, without making them feel guilty and question their whole education method ? Publicis Conseil has designed a 3’10’’ film of a rare emotion that moves deeply and goes far beyond telling parents the right way to educate. Brilliantly directed by Laura Sicouri (Insurrection), the film stages a very strong relationship between a mother and her child, through two temporalities, a present and a dreamed up, that evoke that it is possible not to be violent.

This film questions us about what we lose when we give in to educational violence, while making an ode to the love for children. When people use educational violence they give up communication with their child and reduce one of the strongest relationship to an absolutely nonconstructive gesture. The film entitled "The words I won’t say " illustrates this moment of lost sharing.

[onemanjury]

Name: A true story

Client: Gustave Roussy

Agency: Publicis Conseil

Award Prediction: Bronze

Award Result: Silver

[yespat49]

Comment Publicis et la Knight Foundation contrôlent la presse mondiale

NewsGuard, qui contrôle et note la presse internationale, n’est pas une association à but non-lucratif, mais une entreprise prospère.1 Elle compte parmi ses conseillers : Anders Fogh Rasmussen, ancien secrétaire général de l’OTAN et actuel conseiller du président ukrainien Volodymyr Zelensky ; Michael Hayden, ancien directeur de la CIA ; Tom Ridge, ancien secrétaire à la sécurité de la…

[mellowyknox]

https://vimeo.com/804796366

Renault "Safety: Inside and Out"

Agency. Publicis Conseil Paris

Production BIG Productions Director. RÉALITÉ Cinematographer: Monika Lenczewska Production Design: Pituka Fernandez Editor: Eric Jacquemin Colourist: Mathieu Caplanne

Year: 2023

[goseenews]

RENAULT GRAND KANGOO in an eye-catching Barbie-color look by TORSTEN KLINKOW for Publicis Conseil

TORSTEN KLINKOW photographed the new RENAULT GRAND KANGOO. The French car Grand Kangoo celebrated its premiere at the IAA in Munich. Even more dynamic lines, a C-shaped LED light signature, and 17-inch wheels: the re-interpretation of its characteristic profile makes the Kangoo a real eye-catcher. And thanks to its extended wheelbase, it has space for up to seven passengers or plenty of payload.

“Sparing neither cost nor effort, my team built a skatepark in Spain in Barbie Florida colors. The goal was to show a cool family around their minivan – one step away from the digitally constructed landscape. Production was once again brilliantly organized by Prodigious Paris. Big thanks to the client, too, for green-lighting set construction. A shame though that the skatepark had to be scrapped after production,” Torsten tells GoSee.

Read more - https://bit.ly/3rEa20G

[aurevoirmonty]

Élisabeth Badinter, actionnaire majoritaire et vice-présidente du conseil de surveillance de Publicis, ancien professeur à l’École polytechnique, ancien membre du conseil scientifique de la Bibliothèque nationale de France.

[compellingselling]

Beautiful! Transcendent! Cryptic! 

This short film with a line and a logo at the end is breathtaking and engaging – inspiring, even.

But I don't particularly understand why Orange, a wireless provider, paid for this obviously lavish production.

"More room for trust"? Is “trust” what the planner said was the higher-order end benefit of network security? Is this about wireless network security? As a viewer who wasn't invited to the briefing I'm left in the dark a little. And does Orange's Web 3.0 offer more security than their competitors? “More room” for trust? How much more? Am I supposed to wait to be served the Instagram ad that has more details?

I shouldn't have to ask so many questions. Just a couple of more words at the end would likely solve it.

Great edit, sharp effects, cool music. Beautifully directed by Seb Edwards. Agency: Publicis Conseil

[carlos-ritter]

Ad | Renault - Rafale from MPC x The Mill Paris on Vimeo.

Director : Dan Di Felice Production : Birth Agency : Publicis Conseil Executive Producer : Fabrice Damolini VFX producer : Sébastien Noyon CG Supervisor : Valentin Lesueur VFX Supervisor : Stéphane Pivron Shoot : Adrien Borzakian Editing : Sophie Fourdrinoy Grading : Didier Le Fouest Grading Assistant : Loic Lavaux VFX Coordinator : Milan Vicet, Mathilde Cohen-Selmon, Alexandre Dupouy Modeling : Luca Kraether Generalist : Luca Kraether Rigging : Alexandre Sauthier, Marine Sisnaki Animation : Alban Lelievre, Ganaël Chevallier, Alexandre Sauthier Lighting :Adrien Borzakian, Mathias Barday Motion design: Yohann Leroy, Manon Baillet Compositing : Eric Lemains, Randy Gudin, Paul Goubet Flame : Stéphane Pivron, Sébastien Aubert, Sébastien Kremer