Peter Schellenberg is the new Chairman of the Board of Directors of PublisuisseBy Markus KnöpfliPeter Schellenberg, Director of SF DRS, is now also Chairman of the Board of Directors of Publisuisse, which markets programs for SRG TVs. Walter Rüegg, Director of commercial-free DRS radio, is also a new member of the Publisuisse Board of Directors (BoD).
The Publisuisse Annual General Meeting has elected SF-DRS Director Peter Schellenberg as the new Chairman of the Board of Directors. He replaces former SRG CFO François Landgraf, who is stepping down for reasons of age. Jean-Claude Gisling has also stepped down. Walter Rüegg, Director of Radio DRS, and Daniel Jorio, Head of Finance & Controlling at SRG, were newly elected to the Board of Directors. A further five Board members, including Schellenberg's fellow directors Gilles Marchand (TSR) and Remigio Ratti (RTSI), were confirmed.
With Schellenberg's new dual role, programming and commerce are also moving closer together at SRG TV. He and the other TV directors already sat on the Publisuisse Board of Directors. However, this is the first time that one of these directors has chaired the board, and the one who heads the SRG channels with the highest reach and revenues (see table).
With Schellenberg, who is also a member of the SRG Executive Board, Publisuisse will have a direct vote on the highest SRG body for the first time. Landgraf did not have a seat there. Publisuisse Director Ingrid Deltenre hopes that Schellenberg will bring Publisuisse's concerns to the Executive Board. "Mr. Schellenberg now has a mandate for this, and he will also be called upon by us," she says.
Is Rüegg's seat on the Board of Directors a precursor to the new RTVA?
But how does the man who previously pretended not to be interested in the commercial side of SRG TV reconcile money and programming? Schellenberg told WerbeWoche via e-mail that "for me there is no gap between commerce and programming". At the same time, he emphasized that advertising at SRG "never has a direct influence on the programme" - at most to the extent that: "If we make successful programmes, Publisuisse successfully sells advertising space. With a successful program, we generate advertising revenue and can therefore produce even better programs."
Interestingly, Rüegg was also elected to the Publisuisse Board of Directors as a representative of the advertising-free DRS radio stations. Is the new radio and TV law to be preempted? Rüegg himself cannot be reached for comment. Deltenre pauses. "We haven't even discussed how to comment on this election," she explains. SRG spokesperson Josefa Haas refers to a new SRG principle, according to which management board members should have a stronger presence on the boards of SRG subsidiaries. Rüegg is a member of the management board. But why do four members of the management board - him, Schellenberg, Ratti and Marchand - now sit on the Publisuisse board?

The Jobpilot Index has been measuring the development of the Swiss online job market since JanuaryJob advertisements in the Swiss press have been declining again for several months; online advertisements, on the other hand, increased between January and April. The Jobpilot Index launched by Jobpilot.ch and the University of Applied Sciences Solothurn Northwestern Switzerland (FHSO) shows growth of 5 percent for the first quarter of 2001. A comparison of the first two surveys by the FHSO shows that job advertisements on corporate websites were the main contributors to this growth, with an increase of 14 percent. Job platforms only recorded an increase of one percent.
Online advertisements in the marketing, advertising and PR professions showed the most negative development: the overall index fell from 100 to 77. The professional groups with the most positive development were finance and accounting as well as medicine, nursing and social professions. The overall index in these areas rose from 100 to 119 and 115 points respectively. For the Jobpilot Index, data is collected four times a year from ten Swiss job platforms and ten corporate websites of Swiss industry leaders.
Online job market with sales of up to 30 million francs
Daniel Moschin, CEO of Jobpilot .ch, has contacted Manpower to discuss aligning the Manpower Index with the Jobpilot Index. This is the only way to reflect the market in its entirety. The online job market with a turnover of up to 30 million francs is no longer a negligible size.
25 million francs correspond to around 5 percent of the entire job advertising market. In terms of volume, however, the online share of the overall pie is likely to be much higher, as print ads are still significantly more expensive than web ads. In the coming years, the Internet will continue to gain in importance as a recruitment channel. The increasing use of the Internet by private individuals and companies as well as the internationalization of the job market will contribute to this. Clemens Hörler

Muse & Musse Simone Jörg
What was the last cultural event you attended?
Simone Jörg: The AC/DC concert, sick, from the edge of the forest on the Käferberg.
What are you reading right now?
Jörg: Stefan Marquard's cooking school. Why? Because of the herb-crusted zander on tomato chutney, for example.
Which CD do you currently prefer to listen to?
Jörg: "Pan Am, the sound of 70's" by Yoshinori Sunahara.
Which movie would you most like to see again?
Jörg: All films with Philip Seymour Hoffman, because no Pitt has anything to offer against him.
What TV show did you fall asleep during the other night?
Jörg: I don't have a TV, but I fall asleep just as well.
What is your latest discovery on the Internet?
Jörg: www.krd.ch
What could you never do without?
Jörg: Garlic.
What do you do in a free minute?
Jörg: No smoking.
Love is...?
Jörg: ...greetings to all my loved ones.

After seven years at Wirz, where he was most recently CEO of Public Relations AG, Thomas P. Hermann is moving to Ogilvy, where he will become Managing Partner of the new Swiss branch of Ogilvy Public Relations Worldwide as of July 2. Along with Hermann, his assistant Yves Baer is also moving from Wirz to Ogilvy, as well as from the clients Medtronic, the leading pacemaker company, tire manufacturer Michelin, Big Star Jeans and the Zurich Children's Hospital. "However, the relationship with Wirz is completely unencumbered," explains Hermann.
The special circumstances: Ogilvy was Wirz PR's most important client for years, with an IBM budget for the London office.
Hermann was attracted to Ogilvy on Bergstrasse in Zurich by the fact that he would find "a similar structure to Wirz - but all under one brand". Hermann has also always been interested in international business. Ogilvy PR is the fastest growing agency network in the world among the top 20 in the industry and today has 53 offices in 47 markets. In Switzerland, Hermann is aiming for "a medium-sized agency" (pan).

At the 48th International Advertising Festival in Cannes, AY&R won a Lion d'Or with the Médecins-sans-Frontières spotBy Samuel HelblingThe USA and Great Britain dominated this year's advertising festival on the Côte d'Azur. Around 19,000 works from more than 80 nations competed for the most coveted advertising trophies. 9000 delegates watched the advertising spectacle. For the first time since 1994, the Swiss returned with a Gold Lion in the TV commercials category.
The disappointment was written all over the faces of the Swiss Cannes delegation at the end of the week. They came away empty-handed in both the Press & Poster and the Media and Cyberlions categories. Their last hopes rested on a Film Lion. But even in the supreme discipline of advertising, only 2 out of 74 works made it onto the shortlist. The joy was all the greater when it was announced on Friday evening that the spot for Médecins sans Frontières ("Borders") by AY&R had won a Lion, and a Gold one at that. The same work that was voted campaign of the year by the readers of WerbeWoche in January.
The fact that the idea had already been awarded a Gold Lion in the Press & Poster category in 2000 almost proved to be the spot's undoing. However, the Swiss were able to credibly prove that they had previously won the budget for Médecins sans Frontières in a competing presentation. An act of compensatory justice that everyone involved could live with. The Autostopper spot for a temporary company by McCann-Erickson made it onto the shortlist, but did not stand a chance (see also interview with Martin Spillmann).
This year's Film Grand Prix was won by Cliff Freemann & Partners from New York for the US broadcaster Fox Sports (WW 23/00). In documentary-style spots, fictitious sports from exotic regions are presented, which often end badly for those involved. In one spot, two Chinese men chop down a tree that is to be caught by the third. A hopeless endeavor ... The spots seem so over-the-top and absurd that they have the laughs on their side. Otherwise, Great Britain (16 Lions) and the USA (16) were again ahead in the film competition, followed by Argentina and Holland (6 Lions each).
In the Press & Poster category, Paradiset DDB, Stockholm, won the Grand Prix for their Diesel ad. The Swedes narrowly beat the extraordinary New Beetle campaign by Arnold Worldwide in Boston (WW 23/00).
The campaign for fashion manufacturer Diesel parodies Western ethnocentrism, quoting the fictional newspaper "The Daily African", in which Europe and the USA are portrayed as the Third World and Africa as a rich continent. The nations with the most medals in this category were Brazil and Spain (15 Lions each), closely followed by the USA (14).
Skepticism towards films accompanying the media idea
Media or creation? This was the question on the minds of the judges of the Media Lions competition, which was held for the third time this year. This is about innovative ideas and their implementation in the media strategy. The jury had to assess the target group orientation of a campaign and the optimal use of the available media. However, the boundaries are fluid, so the jury found it difficult to reach a decision and constantly put this into perspective at the awards ceremony. Media representatives were irritated by the elaborate promotional films used by media works to promote their media idea. Andy Lehman from Optimedia Switzerland said: "It is absurd if advertising films that sell the media idea are awarded and not the idea itself." If these accompanying films become the norm, things will get tight for us. Customers are unlikely to be willing to invest in such commercials in our country.
In the Media category, there are only Lions and one Grand Prix. This went to the USA in the category "Best use of Cinema", to the agency Crispin Porter + Bogusky, Miami, for the spot "Secrets of a tobacco executive", an anti-smoking campaign. The USA and Brazil came top with four Media Lions each, followed by Spain and Mexico.
F/Nazca Saatchi & Saatchi from Brazil was named Agency of the Year, and the Palme d'Or went to @radical.media (USA). A complete overview of all Lion winners can be found on the homepage www .canneslions.com.
Cyberlions and Press & Poster Shortlist

The Swiss agency RØSA qualified for the Cyberlions in the Brand Promotion category with Patman and Fashion Store. The Brazilians achieved the highest number of entries for the websites with 54 and the USA with 50 shortlisted places. Switzerland was shortlisted for the Press & Poster Awards with eight entries: Fruit Bowl, Hero Konfitüre, Matter & Partner; Don't worry, New Beetle, Lowe Lintas GGK; Media-plan, TV3, WHS; Punchline, Books/Reini Weber & Erich Liebi, WHS; Plug, Panasonic/ John Lay, Jung von Matt/Limmat; Around the world in 80 days, VBZ, Advico Y&R; Long Jump, Berner Zeitung, Wirz Werbeberatung; Hamlet, Books/W. Jäggi, Lesch + Frei.

The Association of Freelance Photo Designers in Stuttgart has published a book featuring the latest works by 60 photographers. «Spots» also includes the contact information for the featured photographers, references to related books, and various specialized articles, such as those on copyright. ISBN 3-933989-12-4. Advertising Stars on the Rails. Starting in mid-July, Swiss advertising heavyweights will be zooming through the countryside at speeds of up to 230 kilometers per hour. As a promotional event for their vehicle advertising, SBB has invited representatives from the 50 largest Swiss advertising agencies and marketing directors from the biggest companies to a photo shoot. Two group photos will be taken, which will adorn the sides of an SBB locomotive for the next six months. The «advertising locomotive» will run starting July 12 on the Geneva–St. Gallen and St. Gallen–Bern–Brienz routes. The event was conceived by the agency Eventicum.
Record covers as historical artifacts. Roman Hofer, art director at the Mach communications agency in Baden, has donated hundreds of record sleeves from his collection to the Baden Historical Museum. Situated at the intersection of art and cultural history, they document not only the evolution of self-promotion by musicians and the music industry. The influence of contemporary art—from Warhol to Magritte—on cover design makes record sleeves particularly appealing to art enthusiasts as well.
New SRG Strategy. One of the cornerstones of the SRG’s strategy for the period 2001 to 2006 is the introduction of a program monitoring system that evaluates qualitative and quantitative targets. Furthermore, the SRG is considering consolidating subsidiaries such as Publisuisse and Publica Data into a financial holding company. In French-speaking Switzerland, an information channel is also planned for the medium-wave band, on which radio news will be updated several times an hour, around the clock. An expansion of traffic information is already underway. To this end, the SRG has founded the company Viasuisse in partnership with SBB and TCS, which plans to broadcast traffic information on various channels (radio, WAP, SMS) starting October 1. For the first time, the SRG has presented a report in which it intends to annually substantiate its concept of public service with facts and figures.
SUCCESS WITH ONELINE. About two-thirds of the members of the Forum Corporate Publishing (FCP) report that premium journalistic content already accounts for between 10 and 20 percent of their revenue in the new media sector. Half of the FCP service providers rate future market potential as «good» to «very good.» The CP specialists came to this conclusion, among other things, at their 3rd Members’/Annual General Meeting in Cologne. Switzerland is represented on the FCP Executive Board by Viviane Egli of Zurich-based Frontpage.
Filling Up in New York. With an advertising sticker on a gas pump at a gas station or next to the door handle of a delivery van, Lowe Lintas GGK in New York won the Finalist Award at the 2001 International Midas Awards. The below-the-line campaign was created for Credit Suisse youtrade. The Midas Award is the first global award in the Financial Services Communications category, organized by the New York Festivals. The team responsible for the sticker included Creative Director Ercole Troisi, Copywriter Serge Deville, Art Director Nicole Domokos, and Consultant Reto Dürrenberg.

At Dorland, New Year’s comes in the summer. The Zurich branch of the Dorland network doesn’t send out its annual greetings at Christmas, but rather in the summer. On June 21 of this year, for example, about a hundred selected recipients received the CD «Sol do meio dia» by Brazilian musician Egberto Gismonti. With this «untimely» mailing, the agency lives up to the tagline «where the sun never sets,» which the agency group has adopted as its motto. «The slogan contains several promises: for example, that we are part of a network and deliver outstanding results,» says Creative Director Philipp Welti.
Coca-Cola's Cool Summer. With a mini-fridge filled with drinks—which it had distributed to major newsrooms on June 21—Coca-Cola thanked over 7,000 journalists for their excellent collaboration, introduced its new public affairs team, and created a festive atmosphere. The idea came from Scotti & Jeanguenin, the Zurich-based in-house agency for Coca-Cola Light. With «Cool down now,» the company also announced its slogan for the summer of 2001.
Editorial

Run for the hills from awards, if you can
It certainly catches people’s attention when Sebastian Turner, spokesperson for ADC Germany, calls on his industry to put an end to the competition craze and submit entries to only a handful of festivals. Vast numbers of commercials and ads are submitted to creative festivals every year in an effort to shine in the battle for ranking positions and new clients. To prove their creative reputation, agencies are incurring ever-increasing financial costs. Participation in these self-indulgent spectacles easily costs the major agencies several hundred thousand francs annually.
Even the Cannes Lions International Festival of Creativity is not immune to this rampant award inflation: Not a single day of the festival goes by without some award, title, or other accolade being presented. Kilograms of printed material are handed out to the press, and a press conference is scheduled almost daily. With increasingly specialized offerings, the goal is to make money in the competition market. Cannes does not want to (or cannot?) escape this trend and adds even more events every year. It’s a shame, because Cannes is still considered a safe bet in the increasingly confusing sea of creative competitions.
It’s easy to overlook the fact that the primary purpose of creative festivals is to promote the creative quality of advertising and make the market more transparent
to shape. This idea seems to be falling by the wayside amid the prevailing festival inflation and price gouging. However, the agencies are not entirely powerless in this situation, as they ultimately determine the demand in this market. Read more about this year’s advertising festival on the Côte d’Azur on pages 6, 7, 23, and 24. Samuel Helbling

A fresh injection of funds from private banking circles is set to secure the future of the daily newspaperBy Christophe BüchiThe shareholders of the French-speaking Swiss daily newspaper Le Temps are about to undergo major changes. Two private bankers, including Bénédict Hentsch, and the Sandoz family foundation will in future have the say alongside Edipresse. The new main shareholders will take over the assets and liabilities of the deceased Journal de Genève AG.
Times are also changing at Le Temps. The French daily newspaper, which was created from the merger of the Journal de Genève with the Edipresse newspaper Le Nouveau Quotidien, was previously 47 percent controlled by Edipresse on the one hand and by the public limited company of the defunct Journal de Genève on the other (the remaining 6 percent is reserved for the Le Temps editorial team). This was intended to ensure that the two merger partners were on an equal footing.
The Swiss Federal Competition Commission (ComCo) also stipulated that the Chairman of the Board of Directors of Le Temps must not belong to either of the two shareholder groups. Until recently, this was the former economic diplomat David de Pury. The Neuchâtel native, who as the main author of the White Paper was at times portrayed as a figurehead of the hard-core Swiss neoliberals, died unexpectedly recently.
Engel Group: merger enemies with disruptive potential
The shareholder structure of Le Temps has proven itself to some extent: Edipresse and the representatives of the ex-Journal on the Board of Directors seem to get on well. Nevertheless, a problem arose: the shareholders of the late Journal de Genève are very fragmented and have been quite divided since the demise of the former Geneva newspaper. It will be remembered that the decision to merge the respected liberal paper with the cheeky pile baby Nouveau Quotidien caused a huge stir in the good Geneva society at the time. People tended to forget that the liberal Journal de Genève had swallowed up its Vaudois liberal sister paper Gazette de Lausanne a few years earlier ...
However, the chairman of the Journal de Genève AG, the former member of the Geneva Council of States Gilbert Coutau, who had pushed through the decision to merge the Journal with the Quotidien together with important shareholders such as the Sandoz family foundation and the private banker Bénédict Hentsch, was repeatedly accused by minority shareholders of having "betrayed" the Geneva newspaper and "sold" it to the monopolist Edipresse for a lentil. The spokesman of the merger opponents, Geneva law professor Pierre Engel, even tried to prevent the merger in court, but without success. However, the small Engel Group has so far had considerable disruptive potential within the Journal de Genève AG.
That is about to change. Last Friday, the "SA du Journal de Genève et Gazette de Lausanne", as the public limited company is called in full, was dissolved. The restructuring plan, which was presented to the shareholders at the same time, envisages that the 47 percent of Le Temps share capital previously held by the Journal AG will go to a group consisting of three important investors from French-speaking Switzerland: the Geneva private bankers Bénédict Hentsch and Guy Demole and the Sandoz family foundation.
Sweetened farewell for former Journal shareholders
However, the bitter pill will be sweetened for Journal shareholders with a sugar coating. After all, the investor group is prepared to provide eleven million francs and take over all the liabilities of the highly indebted AG. The liquidation of Journal AG will probably result in a small surplus, which should allow a liquidation dividend to be paid out to shareholders, presumably in the amount of the nominal value of the share (CHF 12).
And above all, it seems to have ensured that Le Temps' financial requirements, which are likely to remain considerable in the near future, are secured for some time to come. As Gilbert Coutau explains to WerbeWoche, the new major shareholders of Le Temps want to join forces in a shareholder pool. "The important thing, however, is that Claude Demole, Bénédict Hentsch and the family foundation are prepared to inject new funds to enable the future development of Le Temps."
Competition Commission has reservations about Garelli
Finally, Le Temps will also have a new Chairman of the Board of Directors. De Pury will be succeeded by Stéphane Garelli, a professor of economics from Lausanne. However, Garelli was previously a member of the Board of the Sandoz Family Foundation. Now the Competition Commission will only give its consent to Garelli's election if he cuts his ties with the Sandoz Foundation or if the family foundation withdraws from the Le Temps shareholder base, which is unlikely. Garelli will therefore have no choice but to resign from his position on the Board of Trustees.
Le Temps in the red

Last year, Le Temps posted a loss of 1.95 million francs. Turnover rose by 12 percent to 51.2 million francs. The operating loss is mainly due to the high investments required for the launch of the TéléTemps supplement. Since the birth of Le Temps in 1998, the cumulative loss, interest and depreciation have totaled 9.6 million francs.

Most of the time, people in Zurich are rather envious when they say they're going to Cannes. Wrongly so! Cannes is hard work and requires a good level of fitness. by Beat Fritsch This year there were exactly 6117 spots to be screened, there was also a competition for Media Lions and a Press & Poster competition. The conference program also includes a long series of seminars by international creative gods such as Conrad, Vaske and Schmetterer. Many side events take place, and in the evenings it's party, party, party! Real hard work, as I said. So anyone who is delegated to Cannes should think twice about whether they really want to take on this job.
This year there were particularly aggravating circumstances: the unbearable suspense until Switzerland was finally on a list of Lion winners. On Friday night, the rumor spread that there would be a trophy after all. On Saturday it was confirmed! It was a Gold Lion, something that hadn't been seen for a long time. Switzerland was presented with the golden cat of prey thanks to the campaign developed by Advico Young & Rubicam for Médecins sans Frontières.
But let's start the eventful week from the beginning. The screenings start on Sunday, but the majority of advertisers from all over the world only arrive on the Côte d'Azur on Wednesday. As a result, the events up to the middle of the week are much more enjoyable. You don't have to be a fighter to get to the troughs, i.e. the buffet, and you're not constantly standing on women's feet. There is no official event on Mondays, so you go to the "Martinez". People meet there all week after dinner until the early hours of the morning, and the same applies here: you should have visited the "Martinez" terrace once by midweek, after that there's no getting through, and at the bar you wait a quarter of an hour for a drink that costs 100 francs but only tastes good for 98 francs.
The Cyber Lions ceremony and gala dinner took place on Tuesday evening. The first prizes were awarded, and half a Gold Lion emerged for Switzerland. The London branch of Publigroupe worked on a public service campaign submitted by eMCSaatchi. Otto Meier and Markus Ehrle were delighted with Serge Manoukian from the London agency. The reception at the "Martinez" Beach was the best of the official events.
Every Wednesday, the Swisslunch takes place at the Plage du Gray d'Albion, hosted by Matthias Luchsinger from RMB Switzerland. Here in Cannes, most of the Swiss can be found en bloc, from young to von Matt. Most of them bring their partners, some even bring their children. In any case, at least four budding young recruiters were bustling around the tables, creating a family atmosphere.
Alex Taiganidis from Guye & Partner and Dave Hanselmann from Jung von Matt/Limmat represented Switzerland at the Young Creatives competition. They had already finished their work on Tuesday, so they were able to have a little fun with Grischa Rubinick.
Roger Baur from Qualiclick seized the opportunity, as RMB had also flown in some managing directors from media agencies. After all, these are also Baur's clients. For example, Urs Renner from The Media Edge, Andy Lehmann from Optimedia, Josy Baur from Adplus and Chris Flückiger from Universal-McCann. Headhunter Hélène Müller was also in attendance. Hunting for personnel on the Côte is much more pleasant than in Zurich. Nicole Steinegger from RMB also deserves a special mention: She had everything under control and more than once got us invitations and tickets for galas or parties.
Incidentally, the period from Tuesday evening to Thursday morning is by far the toughest part of the week. Immediately after the Swisslunch, the Young Directors Awards continued. In the ballroom of the Carlton, the European Advertising Film Producers Association honored the work of young directors. Switzerland was represented by Martin Fueter, but unfortunately there were no prizes for our country. Incidentally, the event is not yet an official part of the festival, but could well become one, as it is inspired by top creatives such as Michael Conrad.
"No shirts, no shorts, black tie" was the dress code for the Media Lions Ceremony & Gala an hour later. An event for hand-picked guests only. Thanks to Matthias Luchsinger's ongoing commitment, Switzerland is always represented with two tables. They may not be right next to the stage, but larger countries and agencies sometimes only get one table.
Tickets for the so-called Dutch party organized by Condor and Massive Music afterwards are also in high demand. Only seasoned Cannes professionals can get there. This year, the big pig drive (let the pig out!) took place at the Plage Galion and is one of the three best parties of the festival. There's not really much more to say about it, because normally you can't remember anything the next morning. I remember going in with Bettina Bussey, seeing Reiner Roduner, Alberto Venzago and Schoscho Rufener in the crowd, waking up the next morning in my own hotel room and finding my way home.
The strict Wednesday is one reason why Thursday is considered ideal for chilling out in Cannes. And to recharge your batteries for the weekend, so that you don't doze off in the well-air-conditioned cinemas when you're thinking about the shortlist of spots. In the evening, the parties of Shots, das Werk and ORF Enterprises continued. Shots was pretty boring, das Werk was pretty full. But the ORF party turned out to be the perfect event for the chill-out day. Not too many guests, enough space, extremely comfortable sofas and fine drinks. The perfect end to a quiet day.
Towards the weekend, you should prefer small agency events at the festival. For example, the one at Bates, London, to which we were invited by Michael Bungey and John Fawcett. In the garden of the Bates villa, you could fill your belly with delicious barbecues and salads. Afterwards, they stopped by Reiner Roduner from Absolut Turnus for a glass of wine. He rents a beautiful property in Mougins with his buddies and had invited a good 20 film people from all over the world to dinner that Friday.
After Reini's party, we went back down to Cannes. Once again to the beach of the Hotel Martinez, more precisely to the DDB Worldwide party. As CD of Seiler DDB, Markus Cavegn naturally had access to tickets, which he said he took advantage of almost beyond the pain threshold. So there were a few Swiss people there that night too, first and foremost the RMB crew of course, who were joined by Tarkan Özküp's mother Inge. A really likeable person. Once again, the saying that the apple doesn't fall far from the tree proved to be true.
And finally, finally it was Saturday, the final gala, the final bouquet. A tough week lay behind us, and the relief on many faces all around us was clear to see that it had all come to an end. Including the Festival of Advertisers in beautiful Cannes.
Speaking of which: Matthias Luchsinger and the WerbeWoche shortlist team have nominated each other for another lion. The Iron Lion. For the iron will to persevere day and night, for tireless party hopping and for the fact that both Luchsinger and the shortlist author and countless other kind helpers also worked on the Côte.
Beat Fritsch

meets Roger Hatchuel, eminence grise and Chairman of the Festival de la Publicité, in Cannes. The man is a complete professional and posed patiently for the shortlist photo, even though everyone wants him at every turn. What else the shortlist author found out about the Swiss in Cannes can also be read on the Internet.
Where there are usually parties in the advertising scene, we will be at various events in the scene. Do you already have something to report? Pick up the phone (01 296 97 98) or hit the keys ([email protected]). Event tips and further shortlist images are available online at www.werbewoche .ch/shortlist.

The Interpublic Group of Companies (IPG) is back at the top of the world's largest marketing groups: last week IPG completed the takeover of the advertising holding True North.News Merger of True North and IPG
The shareholders of True North approved the deal at an extraordinary meeting: 97.3% of the shareholders present voted in favor of the sale to IPG. The takeover will cost IPG around 1.7 billion dollars.
Iomega seeks European agencyThe US storage media manufacturer Iomega has put its traditional advertising budget for the whole of Europe out to pitch. The four London agencies Leith, Farm Communications, Myrtle and Springer & Jacoby International are competing for the budget of over ten million Swiss francs. Iomega, whose European headquarters are in Geneva, is managed in the USA by Publicis Hal Riney.
Philips media budget goes to CaratThe electronics group Philips has chosen Carat as its global media agency. Carat, which had previously served Philips in Europe, prevailed in the final round of the pitch against Initiative Media and Starcom Mediavest. Philips' global budget amounts to around 600 million dollars. This does not include media planning and buying in Latin America, which will continue to be managed by Starcom Mediavest for the time being.
Weak start on the stock market for JCDecauxThe French outdoor advertising group JCDecaux had a weak start on the stock market. The subscription process on the Paris stock exchange was completed on June 21. At EUR 16.50, the issue price was at the lower end of the planned price range. According to the Group, 27.4 percent of the capital was issued, raising around 680 million euros before the 15 percent greenshoe option was exercised. On the first day of trading, the JCDecaux share lost
0.2 percent to 16.30 euros.

Film juror Martin Spillmann on the judging marathon "Good works were never at risk"
This year's film jury had over 6000 spots to review. Despite this record number, only 70 Lions were awarded. With the spot for Médecins sans Frontières (MSF) by Advico Young & Rubicam (AY&R), Switzerland won a Gold Lion for the second time. The last one was also won by the Gockhauser agency in 1994 with its cow commercial for ZVSM.
Congratulations on the Gold Lion. How do you feel after this week?
Martin Spillmann: Like when you've had an overdose of commercials: dog-tired. I spent ten hours judging over eight days, which really takes its toll. It's a great feeling to have won a Gold Lion.
Two films on the shortlist and one of them wins gold. A good haul.
Spillmann: Without a doubt (laughs). We should also get an Effie for that. Seriously, it was very, very hard to make the shortlist this year.
Did you still have to do a lot of convincing on the jury?
Spillmann: No, the decision was unanimous. This only happened 10 times in total. As a rule, a two-thirds majority was required for a Gold Lion. There was no discussion about this award. Everyone was in agreement.
After all, a similar idea was awarded a Gold Lion in the Press & Poster category last year.
Spillmann: That was a talking point. However, we were able to prove that we had won the budget in Switzerland in a competitive presentation when the campaign in question had not even been presented by McCann-Erickson, Madrid. A case of poetic justice.
Was the Spaniards' prize subsequently revoked?
Spillmann: No, it may be that two agencies had the same idea almost simultaneously. That's why I think it's right that the other agency can keep the prize.
Why did the McCann-Erickson, Zurich, Autostopper commercial and the Hakle commercial miss out?
Spillmann: The Autostopper spot only just made it onto the smaller shortlist - which only comprises around 200 spots - but didn't get enough points to be pursued any further. I kept stressing that the Hakle spot was not my favorite. It is too polarizing. The term "first dry and then wet" touches on a taboo zone for Americans. The commercial implicitly says that if you don't clean wet, you're not cleaning well enough. This went down badly with the Anglo-Saxons, but the opposite was true for the southerners.
What was the mood like on the jury?
Spillmann: We had a very good understanding. Bob Isherwood did an excellent job. At first it was said that he had difficulty asserting himself, but the opposite was true: he was able to assert himself when it mattered; not loudly, but firmly and precisely. There is still an antagonism between the Latino faction and the Anglo-Saxons, but it never blocked our work. Good work was never jeopardized because the jury members behaved incorrectly. The search for good ideas allowed the chauvinistic feelings to fade into the background.
Have you discovered something new?
Spillmann: I haven't seen any new trends. It's simply about leaving the beaten track and trying to retell the consumer's relationship with the product. As a juror, you are not a professional idiot, but first and foremost a normal consumer who watches advertising and wants to be entertained. Boredom is poison. It's as simple as that.
What surprised you the most this year?
Spillmann: Car advertising was exceptionally strong this year, the strongest category of all. This is all the more pleasing because the car industry is also the most advertising-intensive sector. In the past, car advertising was always "gliddering horseshit". That has changed. Germany has also made a very positive impression in this respect.
What advice would you give Swiss advertisers on their way home?
Spillmann: Look for ideas that are relevant to the product and take the consumer's perspective. You should always ask yourself in a campaign: How does the consumer behave with the product in everyday life? What kind of relationship do they have with it and how can I, as an advertiser, tell this story in a new and surprising way? It is crucial that you put yourself in the consumer's shoes.
Can you think of an example from the competition?
Spillmann: The Fleurop campaign comes to mind, which works according to the motto: "Give your girlfriend or wife flowers and she'll do something for you." The commercial only shows the woman's surprising reaction. The whole thing is amazingly realized. The common and banal message in flower advertising, on the other hand, usually follows the following pattern: "We have beautiful flowers that you can use to make your wife happy." That simply no longer works today.
How would you sum up Cannes 2001?
Spillmann: It was an average year with highlights and continuations of existing campaigns such as Budweiser's "Whassup" campaign.
However, this campaign in particular only received bronze.
Spillmann: And rightly so. We've often seen parrots and aliens that talk. Not particularly original. It's obvious to continue such campaigns, but you can't give any more Gold Lions for them. It is certainly a good thing that the campaign is being continued because it strengthens the brand. However, the implementation was not astonishing enough. In contrast, I found Budweiser's follow-up commercial with the business people greeting each other with "What are you doing?" and holding a Heineken in their hands much more original. Interview: Samuel Helbling

Stefan Halter and Mehmet Inan from Special Ads, a new division of IP Multimedia, claim to have localized "the sexiest place on air": the new form of advertising is a commercial break that is broadcast between the end of the program and the commercial break. In this way, the bridge between the broadcast program and advertising becomes a smooth transition, with jingle and advertising merging. "Whoever advertises with the divider picks up the customer before anyone else," explains Special Ads Director Inan. "And nobody else can offer this platform apart from us," explains Special Ads Manager Stefan Halter. Sunrise has already made use of its offer and is going on air this week with 60 advertising bumpers.IPM's Special Ads department has only been in existence for three months and only offers special forms of advertising. Specifically, these are currently the advertising bumpers, special sponsorship and longspot modules. "Our goal is to establish ourselves in the market with these three focal points by the end of the year," says Halter. Later on, advertising formats from Germany will also be integrated during broadcasts (ko).

There he stands, life-size, declaring with the utmost conviction: «I see no other book far and wide that would justify a length of over 500 pages.» He speaks the truth, dear Marcel Reich-Ranicki, commonly known as MRR. Let people buy phone books, then. And whatever lies at MRR’s feet is apparently of little value. With all due respect: That’s nonsense, yet there’s a method to it. Boosting phone book sales with MRR? Others do it too. Claudia Schiffer promotes H&M with her USP—a lot of skin. With MRR, the body’s center of gravity lies elsewhere than with the supermodel. That’s right—in his head. The irony of coincidence joins the advertising. Last week, MRR made it onto the cover of the news magazine *Der Spiegel* for the third time. Hats off! The Frankfurt-based literary critic, who reads and writes freely, recommended a canon of books that belong to a reader’s basic intellectual arsenal. How observant Deutsche Telekom’s media department was: in that very issue, the ad featuring the grumbling autobiographer («My Life») was missing. Want to bet that MRR didn’t include any phone books in his canon? No need to check. He didn’t. Instead, his list includes a novel (exactly 758 pages) about a Lübeck merchant family by his favorite author. Man, so much contradiction in one person—only MRR can pull that off. Carlo Bernasconi Column

The Good Idea
by Peter Lesch
A good idea usually involves several people. It’s also certain that a good idea—as soon as it’s born—has several natural enemies. First, there’s the copywriter, who drifts further and further away from it and, after days of laborious writing, ends up somewhere in the realm of incomprehensibility. But this has no impact on the art director’s work, because he doesn’t read the text—unlike the client-focused consultant. He always knows exactly what the client doesn’t want. There’s a high risk that the idea will cease to be an idea once it lands where all ideas land: on the product manager’s desk. The product manager is primarily found in multinational companies. He is diligent, professional in his dealings, and takes initiative within carefully defined parameters. And he’s equipped with a checklist. It reads: Does this ad sell? Will even a Green Party supporter buy into this? Isn’t that too creative? The checklist is a useful tool. After all, you can always refer to it when you’ve produced a flop by following the checklist to the letter. Without the checklist, the Product Manager’s career would suffer an irreparable setback; but with it, he can recommend himself to his superior for higher-level responsibilities. Besides, thanks to the checklist, he knows exactly what the marketing manager doesn’t want. That doesn’t always serve the cause, but it does make dealing with him easier. Thanks to the checklist, the marketing manager knows exactly what the board of directors doesn’t want. And he’s well prepared for his presentation to that body. Between the agenda items «Survival Strategies in an Intensifying Competitive Environment» and «New Parking Regulations for Executive Vehicles,» he’ll present the checklist-backed campaign. He just hopes that external consultant won’t be there again this time. After all, during the last presentation, the consultant asked, «Tell me, Schönenberger, what was actually the idea behind this campaign?»
[email protected]
Peter Lesch is the owner of
Lesch+Frei, Zurich
Language Observer

"Du" or "Sie" on the Internet
I recently came across the following netiquette guideline online: «In the MausNet®, you usually use the informal »du’ form with each other—that means nothing to English readers because they don’t know the difference between ‘du’ and ‘sie.’ ‘Duzen’ means addressing each other with ‘du’ and is used among friends or anyone else you know well; it corresponds to the English ‘you.’ ‘Siezen’ no longer has an equivalent in modern English and is typically used in a work setting …”
In another German netiquette guide, point 17 addresses the question «Du or Sie?»: «Unlike in English, the fact that information is in German raises the question of whether one should use the informal »du’ or the formal ‘Sie’ when addressing other online users in HTML pages, articles, and emails. There is no universally applicable rule for this; however, it has become customary to address others informally (Du). 99.9 percent of users find this perfectly acceptable, at least in emails and newsgroups, and would consider it rather odd if they were suddenly addressed formally (Sie).”
A third Internet policy states: «The use of ‘Sie’ and a normal conversational tone are clearly becoming the norm on the Internet as well. Therefore, here is some basic advice: Use ‘Sie’ and everyday language on the Internet. So: If you have any further questions, I’m happy to help.”.
Instead of: »If you're a newbie and still need some help, I'd be happy to give you a hand."
P.S.: It is a common misconception that English only uses the informal “you” form. In reality, all English speakers use the formal “you” form. The informal “you” form, as we know it from Shakespeare or the Lord’s Prayer (“Hallowed Be Thy Name”), has long since fallen out of use.
PPS: In the U.S., corporate executives use first names with one another only from the top down. A vice president may still call the president «Bob» or “Jim,” but he must address the CEO as “Sir.” Thanks to this informality, the vice president is supposed to feel a personal sense of obligation to his superior and will gladly work a few extra hours so as not to disappoint his “friend.”.
PPPS: If you don't know how to address someone, just say "hello." This made-up word was invented in 1877 by Thomas Alva Edison to test a telephone machine called the "telephone." “Hello” has been tried and tested billions of times and works just as well for Mr. Meier as it does for Bruno. Beat Gloor, www.textcontrol.ch