We are very happy; it's quite a surprise, especially in print, because I think that print is a medium that here in Cannes is very apart from reality...they award a special kind of advertising, very clear, very universal, very Cannes. If you are focused on your market, it is difficult to build this kind of work. I think it's completely different from the NAB or One Show that awards innovations...this is not a very good print festival. I think it's a very good TV festival.
Have you seen any work that astounded you?
I've seen only the press and posters shortlist, promo marketing and direct marketing. For me promo and direct is the most interesting...this is the real integrated category...under the umbrella of a powerful concept, you've seen the fast campaign, or the Lynx campaign. It's difficult to see, it takes time, to see and to enjoy. I think we are lazy people here in advertising...the deepness of our work is in promo or direct today, and cyber probably.
What's your favorite Cannes restaurant?
Archibaldo. [I went] two times, Monday night and yesterday night.
What has changed over the years here?
It's a little bit of a monster, its difficult to hold everything that happens here, like it was in the past. Ten years ago it was very easy to see, more or less, all the work. Now it's a different way to learn. The work is more or less known to everybody, you come here for a chat with friends from Argentina or Chicago, in this sense it's a really different event, because it attracts the people. It's a completely different festival from ten years ago, not worse or better, just different. On the other hand, the festival is trying to be contemporary, and I think it fails in the separation of categories. We need a new model that needs to be more like the titanium, or the direct marketing, able to judge the integration. This festival tends to award the proud communication. They tend to separate every discipline—the world is not like this.