The HOC's Back-to-school Chronicles #3

Welcome to 'The HOC's Back-to-school chronicles,' where we explore marketing, creativity, awards, and the transformative power of AI. In this edition, we delve into A24's innovative marketing strategies, and hear from Nancy Delhalle about her Gerety Awards experience and feminism in advertising. We also engage in a captivating AI and creativity conversation with Estelle Gharbi and An Rietjens. Lastly, we uncover Google's AI-driven 'Search Generative Experience' before to invite you to discover how we partners with the Media Marketing/MarTech Club to explore the future of digital identity in marketing strategies and tech trends. Join us on this 5-stage journey through marketing, creativity, and technology!

#1 A Lesson in Marketing: How A24 Took on Hollywood

As a Strategic Planner, my role demands me to be curious about things that go beyond the realm of advertising, but always identifying patterns and how these things can be linked back to marketing. One such source of inspiration I hold dear to my heart is the world of Entertainment. After seeing the weaves that connect Hip Hop Music to marketing and what brands can learn from it, it only made sense do delve deeper in entertainment marketing with a trip to the mystical land of Hollywood.

When discussing great films, names like Spielberg, Hitchcock, and Peele typically come to mind, along with renowned actors such as Meryl Streep, Viola Davis, and Morgan Freeman. However, there's a new player in the mix, one that isn't an individual but a studio: A24. If it doesn’t ring a bell, you probably have seen this logo:

With over 50 Oscar nominations and 16 wins (Moonlight, Ex-Machina, The Lobster, Room, Everything Everywhere All At Once,…), A24 has made a significant impact on the cinematic landscape, but what sets them apart isn't just their films—it's their innovative marketing strategy.

Foundations of A24's Strategy

A24's success rests on two fundamental creative principles. First, they grant directors unprecedented creative freedom, a risky move that sets the stage for unique storytelling. To finance this approach, they steer clear of traditional marketing routes, opting for viral campaigns and word-of-mouth tactics. This cost-effective strategy aims to captivate audiences through unconventional means, proving that creativity can be a powerful promotional tool (viral GIFS, Memes, Tinder accounts for Ex-Machina’s robot protagonist, etc).

A Transformative Journey

Initially a distribution company only, A24's focus was curating outstanding indie films and acquiring their distribution rights. This method allowed them to establish a strong brand identity without the hefty expenses of film production. However, their transformative moment arrived when they ventured into film production themselves, starting with "Moonlight." The movie's success marked a turning point, demonstrating that A24 could not only market films effectively but also produce them with artistic integrity.?

Unique Branding and Exclusivity

A24's branding sets them apart in the industry. Their films are known for their neon aesthetics and distinctive visual choices. This visual language, combined with their commitment to up-and-coming directors, has created a recognisable signature style. Additionally, A24 takes cues from the fashion industry, offering limited edition merchandise (taken straight from the films) and collaborations that foster a sense of exclusivity, building a devoted fan base that craves their distinct offerings.

The Art of Concealing Missteps

Not every film released by A24 is a hit, but their clever approach to dealing with less successful releases is noteworthy. Instead of drawing attention to their failures, they discreetly distribute these films through platforms like Apple TV with whom they’ve secured a distribution deal. This strategy allows A24 to maintain their brand's reputation without tarnishing it with subpar content.

Final word

A24's journey from a distribution company to a powerhouse in the film industry showcases their mastery of marketing. By championing creativity, emphasising unique branding, and discreetly managing their missteps, they've carved out a space that's distinctly their own. Their success is a lesson in embracing the unconventional, trusting in artistic vision, and crafting a brand that resonates with a diverse and dedicated audience.

#2 Gerety Awards 2023: Nancy Delhalle (Grand Jury), her favorites, and feminism...

The Gerety Awards are the only creative awards that recognize advertising campaigns with the greatest impact on a female audience. With judging sessions held worldwide each year, Gerety brings together some of the industry's leading female creative minds to evaluate work from a powerful perspective. As every year, the Grand Jury has awarded its Grand Prix winners, available here !

This year, it was Nancy Delhalle, Co-Founder & Chief Operations Officer of Serviceplan, representing Belgium on the Grand Jury: "As a passionate advocate for creativity and advertising, I was thrilled to be invited to participate as a member of the Grand Jury at the prestigious Gerety Awards. This renowned international competition celebrates and rewards the best work in advertising and communication, with a unique feature: an all-female jury. As a member of this diverse and talented panel, I felt honored to be part of such an innovative event and to witness the power of female perspectives in shaping the future of advertising."

Nancy Delhalle granted us an interview focusing on the Grand Prix, but also on her place in an all-female jury and a bit of feminism...

PUB: What are your overall impressions as a member of the Grand Jury for the Gerety Awards?

Nancy: "A little context. I'm 51 years old, and I've been fortunate to have a successful career. Throughout my journey, I never really questioned gender equality in the workplace; it seemed obvious to me. Then one day, a colleague told me that gender equality in the marketing sector was far from being respected, especially in boardrooms. It's true that in our sector, whether it's agencies or advertisers, we have more women than men, but as soon as we reach the board level, it's predominantly male with only 10-15% female representation. The same goes for major associations and international juries judging creativity. We represent half of humanity; it's time to stop referring to women as a minority. There is clearly a problem. A few years ago, I convinced Patrick Steinfort to launch a female-focused marketing expert hub called FAM (Female Association of Marketing), which earned me the feminist label. That's why I was contacted to join this Grand Jury.

The Gerety Awards have a lot of legitimacy, and I'm flattered to be part of an all-female jury. Being on the Grand Jury is an even greater honor. I was surrounded by inspiring women with impressive career paths, true role models. This is a cause that is very dear to my heart. I want things to change and improve and, most importantly, inform people about this reality. When someone tells me, 'We can't find women to participate in talks, conferences, or juries because there aren't any,' it's simply not true! You just need to look for them in the right places. The Gerety Awards discover these incredible women working in agencies or on the client side who have stories to share..."

What about the gender pay gap??

"When I launched this female-focused expert hub, I presented a lot of data that unfortunately proved that the gender pay gap still exists. No one believed those astronomical figures, except that they came from real studies; I didn't make them up. I'm an entrepreneur, and I have a startup in addition to Serviceplan, and it's the same story in the startup world. The world's largest startup conference, Slush, which takes place in Helsinki every year, has only 10% women participants. Julie Foulon is a great example. She launched GIRLEEK because for many, women and tech still don't seem to go together.

The problem is that our demands came at the same time as all the LGBTQIA+ movements where you could talk about minorities. But women aren't one! Ultimately, we are supposed to set an example in advertising and marketing, yet we still see the same male figures and profiles. We need to lead the way. We are far from it. Initiatives like the Gerety Awards need to continue because they draw attention to something that isn't right. I'm the mother of two daughters, and I want the world to change, and it won't change unless men are aware of this. It's not us we should be trying to convince..."

How were the discussions with other members of the Grand Jury?

"We met only once in July to discuss the campaigns to which we had awarded Gold scores, and based on the Golds, we decided which would receive the Grand Prix. It's quite amazing because we almost all pointed to the same campaigns, for the same reasons. Our opinion, in the end, is universal and intercultural...

We found some good campaigns, with a high level, and some really stood out. It's a real return to creativity!

And this is more personal, but I could see the evolution of our industry, which is increasingly focused on solutions. There are campaigns, not just for NGOs but also for brands, that no longer focus solely on advertising but genuinely seek to change the lives of people in need. It's great to think beyond just social media campaigns or TV spots. We go further and contribute to a better world. And I'm convinced that it's brands that will change the world, not the government. They have no choice but to reinvent themselves and contribute to a better world, whether it's social, environmental, or economic. Future generations will pay much more attention to what brands do and their values, and they won't hesitate to hold them accountable if they don't follow that path. And that's a good thing!"

In your opinion, what is the most important criterion for winning the Grand Prix?

"Definitely impact. We obviously considered the idea, but also the impact a campaign had and how it was disseminated. Sometimes, the impact is achieved through massive media budgets, as seen in the controversy around that Barbie film, but that's a different debate (laughs)... Here, we considered the impact not related to media budgets, along with the idea, of course. The simpler the idea, the more effective it is. We focused less on technology and technique and placed more value on the message rather than heavy artillery."

Your favorite campaign?

"The advantage we have on the Grand Jury is that we have to judge the best campaigns, already among the best (laughs). So, it's quite a challenge!

1. ALMA Foundation, I Don’t Remember : The simplest ideas are the best. There was a lot of buzz around this idea, and it gained a lot of traction on social media. Using a footballer to promote such things is amazing! For me, this campaign deserves a Grand Prix because the idea and the message are very simple but incredibly impactful...
2. Vaseline, See My Skin : Among the advertisers willing to propose interesting ideas, Vaseline stands out! When we talk about the lack of visibility for women, it's even more pronounced for women of color in all those beauty product ads. So, it's fantastic that a brand like Vaseline is launching this kind of solution.
3. Dogs Without Borders, KDOG Cancer Detection Group : This campaign might not have been as highlighted by my colleagues on the Grand Jury, but I loved that DWB helps women detect breast cancer in hard-to-reach places, thanks to animals.
4. VIF Network, #UnExaminable : I was deeply moved by this campaign that draws attention to the fact that young girls in Europe still have to undergo pre-nuptial exams. I really liked the execution. It's a long format but very engaging.
5. Canesteen, Mermaid : I don't want anyone to think, and I want to emphasize this, that we only voted for causes related to women; that's far from the truth! The coincidence here is that it also involves women, or rather, young girls. I laughed a lot; I love humor, and there's a real lack of it in advertising these days..."

Only one shortlist this year (compared to 11 last year). What do Belgians need to rank higher?

"The Gerety Awards select cities, and in those cities, they call upon a 'local' jury. Last year, Antoinette Ribas led the Belgian jury. This year, there was no local jury in Belgium; it was just me who was invited to the Grand Jury. So, to win more awards, it's better to have local juries. There wasn’t any this year. I couldn't vote for my own campaign, obviously, and I didn't have any other Belgian campaigns to vote for, so... It's a shame. In my opinion, Belgians are not lacking anything, except the motivation (laughs). And don't think that Gerety is only about feminist campaigns or campaigns related to women; not at all! It's only been around for five years, and it's important to get that message across!"

The good news is that Lucia Ongay, Co-Founder at The Gerety Awards, has announced that the competition will have a jury in Belgium next year! Stay Tuned...

Find all the 2023 winners on www.geretyawards.com and all the Grand Jury members here !

#3 Exploring the Boundaries of Creativity: A Dialogue on AI in the Creative Industry with Estelle Gharbi and An Rietjens

Estelle: What defines your creative profession?

An: I think our profession is defined by empathy and curiosity, a desire to have an impact, a sense of reality and the ability to dream.

For me, the essence of creation is to invent and make something that didn't exist before. There's this desire for ... an output that solves something or changes everything.

Obviously, these definitions are very personal. My profession, although often associated with big budgets and real-world problems, has a very clear connection to my childhood. As a child, I had several aspirations for my future life. Two of them were to be an inventor and a professional gift wrapper. In my current career, I enjoy the analysis and problem solving, as well as the equally important consideration of how things are "packaged" and presented. Perhaps in another life I would have been a frivolous researcher.

Some might say that our profession is also characterized by ego and prestige, and again I see a parallel with scientists. They also want to do pioneering work and be recognized for it. But they also often do it with a lot of dedication and idealism.

Estelle: As a creative director, have you ever used AI tools to generate advertising ideas or texts? If so, can you tell us how it was done and what the results were??

An: Not for ideas as such. For me, AI at this stage is about options, angles and alternatives. Everyone knows that the quality of the input determines the output. So the output is defined by the prompt and the model training. I think it's very interesting to experiment with that, although I don't think it's easy to generate immediately useful originality. But it can be a trigger, a new leap, or a turn in your existing idea.

A lot of times I find that AI results still have a very re-produced and artificial feel to them.

But I think there are a lot of cool ways to use AI. I'm interested in how it can scale, automate, evolve and influence creative ideas.

For me, there is already great value in the pragmatic integration of AI, such as creating additional material in an image or retouching seamlessly without too much effort. I also see video directors working with it, and I find it very exciting to see the results. For copy, it's really useful for translation and editing. It helps to be more precise and accurate. However, it's not always a huge time saver - it really depends on how much of your tone and story you want to find in the final copy.

Estelle: In your opinion, can AI tools be considered competitors for creative communication professionals? Why?

An: I think AI will challenge creatives and our creativity. That's not a bad thing.

AI will teach us about the power and limitations of our humanity. It will make us question our own roles and contributions.

Some say they see no difference between AI and human creations. Maybe that says something about how predictable or mediocre we sometimes are in how we think, act, create, produce. And the other way around, about our standards when we "consume" creations. We humans often settle for what already exists, or some variation of it. AI will push us to add value.

Right now, it feels like AI has its limits, so the technology feels complementary to what we do. I think as long as we value humanity, stay interested and connected to the subtleties and needs of other humans, we can create meaningfully for each other. AI will be our partner, another kind of creative at the table. Perhaps we will give it a face and a name to make it easier to include in our daily considerations. But that's just my opinion at the moment - I don't pretend to know the future.

Estelle: What are the advantages and limitations of using AI tools in your creative process?

What worries and fascinates me at the same time is that AI doesn't care about facts or reality or social likeability. It is unhindered by morality, scruples, and judgment.

Even if it generates hilarious or nonsensical results, at least they are out there to be evaluated. AI can help us remove the filters that keep us from sharing an idea, even a precocious one, because we judge it stupid or unfit. It feels safer to let AI be ridiculous in our place.

If AI allows us to be more open and crazy, great! I love people who feel free in their creative work to go beyond paradigms and walk down fantasy lane like it's the high street. I imagine you could have an incredibly fun night out with ChatGPT or Midjourney if they were a person. However, you still have the responsibility to guard your boundaries and check when you interpret.

What I would regret is that AI would install another homogeneous view and interpretation of the world, or worse: make us more lazy and stupid.

Estelle: How do you nurture your creativity? What is your creative process? How do you train your creativity? Brainstorming?

An: Nourishing yourself as a creative is first of all nourishing yourself as a person: being curious, interested, in big and small things, with humility and the will to change your point of view. Living with the intention to see things from a different perspective isn't easy, because you have to leave your comfort zone and maybe accept that you're just as right or wrong as anyone else. This process is fostered by trust, by feeling supported and psychologically safe. So this is my first task to do for myself and others.

#4 AI-Powered Transformation: Google's Impact on the Digital Landscape

The recent introduction of Google's "Search Generative Experience", an AI-driven feature, will have an impact on the entire digital ecosystem. This program aims to revolutionise how we consume web information by giving users quick, concise responses.

While improving user experience, this innovation also presents a complicated web of opportunities and difficulties for both advertising and publishers. The conventional dynamic, in which visitors are routed from search engines to websites and exposed to numerous adverts, is about to change. The route from query to content consumption may become more straightforward and condensed if customers are capable of receiving detailed responses immediately on Google's platform.

This necessitates a reevaluation of the success indicators for advertisers. They may start to place more emphasis on visibility and impression metrics directly within the search environment as the long-standing dependence on click-through rates wanes. A redesign of ad designs may be necessary to make them more interesting in this new setting. Additionally, there is potential for more integrated and contextually appropriate ad placements within these AI-generated summaries if Google's platform develops into a major information hub.

Reduced website traffic, on the other hand, is a difficulty for publishers because it might affect ad impressions and earnings. Google's straightforward responses could result in fewer consumers feeling the need to visit other websites for more in-depth content. Since quick summaries can't capture deeper ideas or distinctive viewpoints, publishers must innovate and create new kinds of information.?

There are certain benefits as well, though. Additionally, this change offers a possibility for closer cooperation between publishers and marketers. They may guarantee that users get value while still being exposed to relevant advertising by producing content that is both instructive and ad-friendly.

Agencies like Mediaplus Belgium emerge as key allies in this developing digital story. We are well-positioned to help advertisers navigate these developments since we have a thorough understanding of the digital ecosystem. In order to keep businesses at the forefront of digital innovation, we provide strategies that not only respond to the present changes but also foresee subsequent ones.

At first glance, new features like Google's "Search Generative Experience" may seem disruptive, but they also present an opportunity to rethink and reinvent the digital landscape. For all parties involved, the future holds promise with the appropriate tactics and partnerships.

Currently, the Google Search Generative Experience is in its testing phase in the US. However, there is a strong possibility that it will become available in other countries in the near future.

#5 Join the Media Marketing/MarTech Club with Serviceplan???

Serviceplan is partner of the Media Marketing/MarTech?Club. The next edition will take place on Tuesday October 3, from 6 p.m., at TheMerode, and the topic of the evening will be?Unmasking the Future of Identity - From SSI to Web 3 & Beyond!

Ever wondered how the next wave of digital identity will impact your marketing strategies? Or how tech trends like self-sovereign identity (SSI), Web 3.0, and decentralized apps are redefining the identity landscape?

Speakers of this day: Nicolas Lierman?(Head of Innovation at MultiMinds), Agnès Maqua?(Founding Partner at AdaStone) &?Kobe Deraeve, (Customer data & information responsible at Colruyt Group).

Free registration via:

https://mediamarketing.idloom.events/mm-club-7

Free code:?MMTechSERVICEPLAN