Malcolm Poynton, chief creative officer Europe of SapientNitro, is one of the judges for this year's Cyber category. Here he talks about being a judge in Cannes, the appeal of the festival and why he won't be at the Gutter Bar.
What are you most looking forward to most about the Cannes International Festival of Creativity?
Every year I look forward to the full-on sensory overload the Cannes festival offers - getting immersed in the best of the year's work, endless conversations with clients and colleagues about 'what's next', catching up with foreign friends, catching up with UK friends, eating and drinking too much. In fact the only thing not to look forward to is paying too much for everything.
Do you feel that it's been a good year in terms of creative output from the industry?
We've seen huge progress this past year with the likes of Nike's immersive and interactive football film My Time is Now and Nike+'s Fuel Band release - we've also seen fantastic traditional film with The Bear for Canal+, not to mention all the other great work. The industry is truly starting to get to grips with the digitally centred world in which we live and it's never been more exciting.
How has the previous 12 months been for Sapient?
These past 12 months have been incredible for SapientNitro, winning the Ladbrokes ad account and the WWE account, as well as being appointed Chrysler digital agency of record globally. Sneakerpedia has collected gold at every show from Cannes to One Show and Clios, our Absolut work from India is landing awards, we were named Agency of the Year and we've seen our business grow another 20 per cent. But that was last year, we're more excited about what lies ahead.
You're judging the Cyber work; are you expecting it to be a good year in that category?
Cyber is increasingly where the action is at and I've no doubt this year will be full of surprises, showing just how far the world has moved on these past 12 months.
How different is the festival when you're part of the judging process?
Judging at Cannes is a real privilege as it gives you a deep dive into what's going on the world over - at the same time it makes the Cannes experience kinda surreal since it's dark in the Palais whilst judging and then the only time you see folk (other than fellow jurors) to catch up is during the night when it’s dark. In short, it spells sleep deprivation and I don't know anyone who would have it any other way.
What's the hardest part about being a judge?
The hardest part about being a judge from the UK is being locked in doors whilst outdoors everyone else enjoys the equivalent of seven British Summers in one week .
How important do you think the festival is in inspiring and motivating the industry?
Put simply, there's no other festival that contributes so much to our industry in terms of inspiration and motivation. Rightly so, Cannes attracts the best of clients, the best of creatives, planners and account folk and the best of technology and media folk alike. I cannot imagine it any other way.
What themes or topics do you think will be/should be the main talking points inside the Palais this year?
The Palais will be full of chatter about so many things beyond 30 sec spots this year - Nike Fuel Band for one, the new Mobile category will be another.
What's the strangest thing you've ever seen in Cannes?
Rain. It actually rained one year.
What's your one tip for surviving the Cannes week?
The one tip for surviving Cannes is to sleep the week before.
It's 2am, the party's over, where to; Martinez, Carlton Terrace or Gutter Bar?
I've never been one for The Martinez, I've lost more hours than I can count at the Gutter Bar so this year it'll be Carlton Terrace.