Cannes Lions 2015④ Interview with Pioneer Jim Stengel: Methodology for Successful "Cannes Participation"

Advertiser participation at Cannes has grown to 3,000 people, now accounting for a quarter of all attendees. The importance of creativity in marketing is now widely recognized. Terry Savage, President of Lions Festivals, which organizes Cannes, stated: emphasized the significance of experiencing the event firsthand and discovering its potential: "The greatest advantage is seeing a world you can't see from your office, in 360 degrees. Understanding and embracing creativity can lead to outputs with high return on investment."
We asked a pioneer who made their "Cannes debut" as an advertiser about effective ways to leverage Cannes.

—Cannes back then was practically a paradise for creatives, right? I hear there was strong resistance to advertisers participating.

There was risk involved. Even internally, people asked, "Why go to Cannes? Isn't that just an agency event?" But actually, it was our partner, Search and Search, who encouraged us to participate. They said, "It will change your perspective on things in a positive way." So I brought it up with our CEO, and he agreed.

―What was the scale of the delegation, and who participated?

The first year, we took about 20 people from offices worldwide. They were key account managers for our main brands. Most were marketing staff, with a few research specialists. The core group consisted of middle to senior management who could take immediate action. We've participated every year since, with attendance typically between 25 and 50 people. We once had 70 participants, but it gets unmanageable when it gets too big. We established clear eligibility criteria and centrally managed all participants. It was a system where if your name wasn't on my list, you couldn't go to Cannes. Without that, it would be impossible to control, and before you knew it, we could have ended up with 300 people going.

―Tell us specifically what you did in Cannes.

Upon arriving in Cannes, we first gathered everyone for an orientation. We had prepared a guidebook-like document in advance, outlining the company's goals and various information, plus tailored recommendations for programs, speeches, and workshops each person should attend based on their role. We distributed this to clearly input the goals and agenda. During the festival, everyone worked on gathering information and learning based on their agendas. We also arranged for them to explore with agencies they don't normally work with. Then, on the final Saturday as Cannes closed, All participants gathered again. We spent 4-5 hours sharing what we learned in Cannes and how to apply it back at work—listing set goals and action steps, prioritizing them, and creating action plans on the spot. They took these back to their offices.

―On-the-spot briefings and debriefings are crucial, aren't they?

Exactly. This is precisely where the return on investment for Cannes lies. When I first attended Cannes, spending a week there revealed how incredibly fast decision-making was at other creative companies. We spent too much time debating. Like many Japanese companies, we valued unanimous agreement. Cannes made us realize we needed to change that. Making decisions quickly keeps things moving at a steady pace without stagnation. Agencies welcome that and become more powerful. We made "making decisions quickly" one of our action goals. Others included improving the quality of briefs to agencies, enhancing the quality of campaigns for our top three brands, changing research methods, and challenging new media. We also had goals like trying to work with new agencies.

―Outside the Palais, the Cannes venue, companies seem to be holding various activities. Beyond internal meetings, what other activities are there?

I think it's the same for every company, but they hold meetings on truly diverse themes. For example, seminars are held inviting advertisers and agency personnel to discuss case studies of global brand campaigns. There are also social events. We host dinners and invite guest speakers to talk. We encouraged employees to attend as many social events as possible, to network and learn. It's about breaking out of your shell, becoming an explorer, peeking into unknown fields, and making new discoveries. Since you're already in Cannes, it's far more important to go out seeking new encounters than to just meet with the usual colleagues. Walk around the venue, attend workshops, absorb various themes. And as I mentioned, turn what you see and learn into action plans while you're still in Cannes.

―What changed significantly after you started going to Cannes?

We've become a more creative, innovative, and risk-embracing company. The change manifested quickly. People in positions to act were there, energized by Cannes, creating action plans and executing them immediately.
I always say that work and results come from the combined strength of the advertiser and the agency. When advertisers grow, it benefits the entire advertising industry. What we learn at Cannes raises the bar for creativity, which then sparks new ideas. If you can challenge yourself with new things, it will inevitably pay off in business. I think other companies do this too, and it's incredibly effective. Now, many advertisers participate, and Cannes itself has transformed significantly.

―According to Cannes Lions Festival Chairman Savage, Japanese corporate participation still seems quite low.

Japan has many global companies, so doing the same would be very beneficial. Holding seminars at Cannes is also a good idea. Yes, like Dentsu Inc. does. Dentsu Inc. runs excellent seminars. This year they had four, right? Ten years ago, it wasn't like that. But now, they've fully embraced Cannes, utilize it well, and show their presence. If Japanese global companies gave speeches at Cannes like that, it would be amazing. It would send the message that those companies have high expectations for the advertising industry. I think coming to Cannes is definitely a plus. You probably attend major trade shows around the world. Why not participate in Cannes the same way?

—Cannes is incredibly massive, and I imagine it's often confusing at first to figure out how to engage with it. Could you share the secret to working with Cannes?

The first year, go with a small team and just observe and learn. From the next year onward, set clear objectives. The initial year should be about experiencing it without specific assignments. Then discuss how to approach it and what would be effective. Should executives participate, or mid-level staff? Is it better to send marketing personnel, or are design or research staff more suitable? It's also helpful to talk to companies that have attended several times. Interviewing a few of them—asking what their objectives were, who they sent, what they learned, and what impact it had—can spark many ideas.
A few years ago, something like this happened. An Asian company contacted me, wanting to send 70 people to Cannes for their first time and asking for my help. I advised them that was far too many people; starting with around five was reasonable. If they had a positive experience and felt it was worthwhile, they should consider sending 70 the following year. Sending 70 people right away would be a waste of money and time.
If your purpose is clear and you participate with a strong desire to make a change, Cannes will undoubtedly be beneficial for most companies. Of course, the weather is great, the food is delicious, there's entertainment, and it's an excellent networking venue. There are plenty of enjoyable elements. Participating in search of inspiration also generates motivation to drive change.

―More advertisers are holding seminars. For agencies, it's about demonstrating their capabilities, but what are advertisers aiming for?

I think many companies want to communicate to agencies what they prioritize. Another purpose is to appeal to agency creatives—to spark their desire to work with them. Often, agency creatives can choose their clients. They want to inspire creatives to think, "I'd love to work on that brand." The target isn't to change agencies, but to influence the creatives within their current agencies. Of course, some companies also use it for internal purposes, like boosting employee pride, or to impress investors.

―That's quite different from Japan. By the way, after leaving P&G, Mr. Stengel founded the think tank and consulting firm "Jim Stengel Company," focusing on talent development, particularly nurturing the younger generation. You also launched and lead a marketer development program at Cannes. One is the "Young Marketers Academy," which began in 2011. The other is the "CMO Accelerator Program," which started in 2013. What is the USP (Unique Selling Proposition) for each?

Hahaha, that's a great question. First, the USP of the CMO Accelerator Program (hereafter CAP) is helping CMOs become leaders who inspire people. The goal is for them to learn from other companies' examples, develop clear plans with ideas on how to lead their company and employees, and return with actionable strategies. We identify and compile their top challenges beforehand. Participants then engage in group discussions about these issues and receive support in planning what to change and how. We've also introduced mentorship. This relationship continues after the program ends, covering career updates and consultations. I personally stay in touch by visiting or calling them.

The Young Marketers Academy (YMA) aims to broaden perspectives with more flexible thinking and raise standards. Many participants leave feeling that "what we're doing with agencies still isn't enough." This is a good thing. If they tell agencies, "You should be able to create something more creative, something truly great that resonates with more people," it spurs agencies on and raises the bar. Here, they realize they've often placed restrictive demands on agencies that stifle creativity. They've imposed fixed formats or given poor briefs. For example, we teach that a brief should be simple enough to be expressed in a 140-character tweet.

―How many participants are there each year? What is the selection process?

Participant numbers fluctuate annually, but for YMA, around 40 is ideal. This year we had 37. We've had years with 50, but that felt a bit too many. Around 40 allows everyone to get to know each other well—not too many, not too few, just right. The average age is around 28 to 30.
For CAP, we had 29 participants this year, though around 25 is ideal. The average age is about 40. Some are already CMOs, while others are on their way to becoming CMOs.
Since it's not a school, we don't check academic records for selection. Instead, we look at the individual's work and assess their fit for the program. At the same time, we value balance and diversity in terms of company size, gender, nationality, etc. Companies conduct their own screening during the application process. Some even hold video interviews. Participants come not only from Europe and the US but also from Asia, the Middle East, Latin America, Africa, and beyond. We also have participants from Japan in YMA. It's wonderful that so many outstanding companies show interest. Diversity is truly important. Cannes, as the name suggests, is an international festival, after all (laughs).

―Speaking of Cannes, from an advertiser's perspective, what do you hope for its future development?

Well, I have three points.
First, for advertisers, creative effectiveness—how well the ad actually worked—is crucial. Great creative should be effective, but I hope we see even greater focus on measuring that effectiveness.
Second, I hope learning programs like the ones we run continue. They're accessible and practical for companies. Many people come to Cannes and get overwhelmed by its sheer scale. Remember your first time? It was crazy with so much happening simultaneously, right? That's why having a guide is such a help. We serve as that guide. I'd like to see more programs like ours. And I wish the presentations at the seminars held within the festival grounds offered a bit more substance for advertisers. More focus on the advertiser side, more stories from their perspective—like successful brand-agency relationships. It is a festival of creativity, after all, so naturally that should be central.

―Finally, many people in Japan are following your work, Stengel. What are your future aspirations?

I started my business with the mission of supporting clients' growth toward higher goals. I am blessed with a talented team, and I want to continue doing good work with them. In terms of education, I want to continue lecturing not only at Cannes but also at business schools such as Kellogg and UCLA Anderson in the United States, and I want to try online education. I am also writing a book. I want to continue learning and growing myself so that I can continue to make an impact.

I look forward to the program that can be heard in Japan. Thank you very much for today.

 

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#01 Year of Convergence
#02Dentsu Inc. Employee Special Report: Yumiko Ota & Nippo
#03Wake up with The Economist: Getting to the CMO's True Thoughts
#04Pioneering Jim Stengel on Methodologies for Cannes Success
#05Why Heineken is Chosen by Creative Marketers