Podcasts about Cannes

Most companies treat effectiveness like a scoreboard. Traci Alford, Global CEO of Effies Worldwide, sees the entries from 130 countries, and she says that is exactly where it goes wrong.Measuring the crop does not grow it.In this conversation recorded in Cannes, Traci lays out the 4 things behind every winning case:understand the business problemfind a real insight rather than a statement of factexecute the creative brilliantly, andmeasure what happened so you can learn from it.Plenty of companies are strong at 1 or 2. Almost nobody is strong at all 4, and fewer still can tell the story that ties them together.Traci also draws a line most of the industry blurs. Brave is not the same as risky. Risk means you have not thought about your headwinds. Brave means you made a calculated choice and you can defend it in the room. And her data says you cannot do it halfway. Stick to your knitting and execute well, or take the real swing. Hovering in the middle is where work dies.Marc and V push on the parts that hurt. Why the short term always wins the budget fight. Why agency relationships go sour when a campaign is the only unit of measurement. Why marketing jargon loses the room. And where technology spend quietly eats the money that could have gone into media.Traci keeps coming back to the same place. This is a people business, and the habit has to live at the executive table, not just in the marketing team.Timestamps00:00 Cold open and welcome02:37 The 4 pillars behind every winning case05:39 Brave is not the same as risky09:18 Why this is a people business13:24 The short term trap and shared accountability18:28 Talking to the C-suite without the jargon24:07 Insight is the one most people fail29:34 Risk retreat, tech debt, and opportunity cost36:16 What to take home from CannesShow Notes LinksEffie Worldwide: https://effie.org/Tubi "Rabbit Holes" Super Bowl spot https://www.youtube.com/watch?v=mROTZBUM1YkPrevious SBP episode with Karen Pearce, RethinkEhrenberg-Bass Institute 95:5 rule https://marketingscience.info/news-and-insights/the-955-rule-is-the-new-6040-rule

Quali film e serie TV vale davvero la pena vedere ad agosto 2026? Dopo aver festeggiato il primo posto nella classifica di Apple Podcast, torniamo con la puntata più importante del mese: la nostra selezione delle principali uscite tra cinema, Netflix, Apple TV+, HBO Max e FX. Partiamo dal ritorno di Ted Lasso. La quarta stagione riprende una storia che poteva tranquillamente considerarsi conclusa, affidando però al protagonista una nuova squadra femminile e provando a ricominciare senza copiare le prime tre stagioni. Tra le serie più attese c'è soprattutto Lanterns, il nuovo progetto DC firmato da Damon Lindelof, Tom King e Chris Mundy, con Kyle Chandler nei panni di Hal Jordan e Aaron Pierre in quelli di John Stewart. Al cinema segnaliamo Camp Miasma – Adolescenza, Sesso E Morte, lo slasher metacinematografico con Hannah Einbinder e Gillian Anderson che Federico ha già visto a Cannes e considera uno dei migliori film dell'anno. Molto meno entusiasmo per il live-action di Oceania, accusato di riprodurre quasi esattamente il film animato, e per Robin Hood – Il Prezzo Del Sangue, il nuovo film con Hugh Jackman e Jodie Comer. Parliamo inoltre dell'horror Hokum con Adam Scott, della miniserie Tip Toe, del thriller fantascientifico The Last House, della serie animata Ricky Gervais' Alley Cats e del documentario dedicato a José Mourinho. Completano il mese The End of Oak Street, It's Always Sunny In Philadelphia 18, Insidious: Fuori Dall'Altrove, La Vendetta Perfetta: Bear Country, Dark Matter 2 e The Whisper Man con Adam Scott e Robert De Niro. Sedici titoli selezionati, tra grandi ritorni, possibili sorprese, film già bocciati in partenza e almeno un'opera che dovete assolutamente vedere. (00:00) Primo posto su Apple Podcast! (04:12) Ted Lasso 4 (08:09) Hokum (10:54) Tip Toe (16:17) The Last House (20:39) Ricky Gervais' Alley Cats (23:3'0) Mourinho (24:58) Oceania (27:46) The End Of Oak Street (30:48) Lanterns (33:32) It's Always Sunny In Philadelphia 18 (34:57) Camp Miasma - Adolescenza, Sesso E Morte (40:16) Insidious: Fuori dall'Altrove (44:31) Robin Hood - Il Prezzo Del Sangue (47:15) La Vendetta Perfetta: Bear Country (49:14) Dark Matter 2 (51:58) The Whisper Man - L'uomo Dei Sussurri Learn more about your ad choices. Visit megaphone.fm/adchoices

(REDIFFUSION - première diffusion le 22 mai 2026) Alors que le Festival de Cannes 2026 touche à sa fin, le Brief fait le point sur les différents mécanismes qui permettent de financer le cinéma aujourd'hui, qu'ils soient privés, publics, régionaux, fédéraux ou internationaux. Quel rôle pour les marchés comme le Marché du film de Cannes? Quel rôle pour les diffuseurs et pour les plateformes de streaming, aujourd'hui concurrentes des salles de cinéma, mais également productrices pour un nombre croissant de films? Pour répondre à ces questions, le Brief accueille Philippe Reynaert, cinéphile et critique de cinéma. Il a été le premier directeur de Wallimage, le fonds wallon de financement du cinéma, entre 2000 et 2020. Il cosigne aussi le livre "Par ailleurs, le cinéma est une industrie". Face à lui, Jean-François Sacré, le "Monsieur Cinéma" de L'Echo, côté business. Ensemble, ils décortiquent aussi les conséquences de la polémique de Cannes 2026 – le clash entre, d'un côté, 600 professionnels du cinéma français qui appellent à boycotter Vincent Bolloré, propriétaire du groupe Canal+, et de l'autre, le directeur de la chaîne Canal+, Michel Saada, qui appelle à ne plus travailler avec les 600 signataires de l'appel au boycott. Quel impact cette décision aura-t-elle sur le cinéma français et européen alors que Canal+, via sa maison mère Vivendi et ses filiales comme StudioCanal, est le premier producteur privé en Europe? Production et présentation: Julie Vuillequez Le Brief, le podcast matinal de L'Echo Ce que vous devez savoir avant de démarrer la journée, on vous le sert au creux de l’oreille, chaque matin, en 7 infos, dès 7h. Le Brief, un podcast éclairant, avec l’essentiel de l’info business, entreprendre, investir et politique. Signé L’Echo. Abonnez-vous sur votre plateforme d'écoute favorite Apple Podcast | Spotify | Podcast Addict l Castbox | Deezer | Google PodcastsSee omnystudio.com/listener for privacy information.

Nuevo episodio — Pepe y Pablo destripan las historias de marca más locas del momento. Hablamos de fama, aceite de oliva ketchupizado, hacks virales y fábricas chinas que se saltan a todo el mundo — con la mezcla de negocio y filosofía de siempre (y Pablo, que es superdotado, dándole una vuelta a todo desde otro planeta).La Velada del Año VI: el evento más rentable del entretenimiento hispanohablante y lo que no se ve del evento.Vaseline y los hacks reales: ni un producto nuevo y un León de Titanio en Cannes. Cómo convirtieron a sus fans en vendedores con comisión.Las fábricas chinas que se saltan a las marcas: el intermediario que nunca viste ahora tiene más seguidores que la marca que le compra. Y lo que esto nos dice sobre el verdadero valor de un logo."A Mind Is a Terrible Thing to Waste": el eslogan que lleva 50 años intocable y que ha ayudado a recaudar más de 5.000 millones de dólares.Graza: la marca que ketchupizó el aceite de oliva y facturó 48 millones sin gastar en publicidad.Además, contamos la que nos pasó en Andorra con los chicos de Tengo un Plan: una persona se sentó con nosotros en la mesa a contarnos cosas. Todavía no sabemos muy bien qué hacer con esa historia, pero teníamos que compartirla.Y hablamos de la fama: qué significa hoy, qué construye y qué destruye.

Interview de Maxime Perrin, co-fondateur de Platonia Games, réalisée lors du Festival International des Jeux de Cannes 2026

Bienvenue dans le 279ème épisode de "Chez Kevin Razy". Deux fois par semaine, on se retrouve ici pour parler de ce qui se passe dans la vie comme dans un groupe WhatsApp. On ne s'interdit aucun sujet.Pour soutenir notre podcast :https://fr.tipeee.com/ckr-podcast/Rejoins notre canal Telegram :https://t.me/CKRnews▬▬▬▬▬▬ DANS CET EPISODE ▬▬▬▬▬▬▬Cette semaine, on revient sur :Le racisme, Réseaux sociaux interdits aux mineurs, Bergé à CannesPartagez, commentez, débunkez▬▬▬▬▬▬▬ ON EN A PARLE ▬▬▬▬▬▬▬▬Livres :"Fake news: Évite de tomber dans le piège !" Kevin Razy, Hamza Garrush : https://amzn.to/3S9rOSz▬▬▬▬▬▬▬▬▬ LA TEAM ▬▬▬▬▬▬▬▬▬Host : Kevin RazyRéalisation & Montage : Gaëlle Cany Canian Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Agentic advertising was the buzzword of the year at Cannes this year. It stands to reason this hype is ahead of reality. Jon Roberts, chief innovation officer at People Inc, gives a reality check of where the hurdles to agentic advertising, which holds...

Collective CIO Natalie Silverstein joins Next In Media to explore how creators are evolving into full-fledged media networks and what it takes for brands to scale authentic partnerships in a hyper-fragmented landscape. Natalie, also breaks down real-time crisis agility, strategies for training AI language models on video content, and how to combat the algorithmic reach recession with targeted paid media. Key Highlights

How can building an audience in advance help your stories reach the people who make movies? And how can you prove there's demand for your book or screenplay before you've written it? Brooks Elms shares his advice after more than 20 years as a WGA screenwriter. In the intro, what doesn't work for book marketing and what does [Amy Chan SubStack; Unsingle; Rephonic]; Goodreads giveaway for Bones of the Deep; FutureVision XPrize. This podcast is sponsored by Kobo Writing Life, which helps authors self-publish and reach readers in global markets through the Kobo eco-system. You can also subscribe to the Kobo Writing Life podcast for interviews with successful indie authors. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Brooks Elms is a WGA screenwriter with over 45 scripts, over a dozen sales, and he has directed two indie features. He is the creator of the Answer the Call system and has trained over 1,000 writers. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes How to see the opportunity in AI when others only see the threat How to test a story with samples, and what a 16-second movie can do Building the trailer before you write the screenplay Letting your audience finance the film once they have validated the idea Why Hollywood still wants existing IP, and what makes them pay attention Feeling safe enough to write the truth, and finding a concrete path forward You can find Brooks on LinkedIn or email him at brooks@brookselms.com. Transcript of the interview with Brooks Elms Jo: Brooks Elms is a WGA screenwriter with over 45 scripts, over a dozen sales, and he has directed two indie features. He is the creator of the Answer the Call system and has trained over 1,000 writers. So welcome to the show, Brooks. Brooks: Thank you. It's awesome to be here. Jo: Fantastic. So first up— Tell us a bit more about you and how you got into screenwriting. Brooks: I started filmmaking first. A buddy came up to me in high school and said, “Hey, we're making a karate movie, do you want to help us?” I was like, “Oh my God, yes, that sounds amazing.” So next thing I know, I had this karate outfit on, and we were just making this completely ridiculous and totally fun movie, and it was amazing. It was so fun. Then it went to a whole other level when we shared it with a friend, this guy Jay Sharon, and he watched the movie and he laughed so hard he literally fell out of his chair. I was like, “Oh my God,” the fun I had making it could actually transfer to somebody else. I was hooked. So from there I went to NYU film school, and then made a few independent feature films which were good but not great in terms of how they were received. They were great for me in terms of enjoyment, but I knew I needed to iterate faster at that point. So then I was like, “Well, it's expensive and it takes a long time to make a movie,” at least back then. So I pivoted to screenwriting, and pumped out two, three scripts a year, got signed at UTA, got writing assignments, and basically launched a screenwriting career. Then I still tried to get some stuff going, but it's hard when movies are so expensive. It's not hard, it's just that it takes a lot of precision in the marketing, and a lot of conversations to find the right matches to finance something, and you're either interested in doing that or you're not. I just was like, “Well, I'll just mostly write screenplays.” Then I started teaching at UCLA Extension and then coaching after that, along with writing. Then all the way up to the future. What's great about moving forward is that with AI, shot-making is becoming very close to cinematic quality. You can actually match cinematic quality in moments in some genres, but probably by next year. Right now you could actually do a really good horror movie all AI for 10, 20,000 bucks, depending on how much you're doing yourself or getting other people to do. So the economics are going to absolutely explode. So I'm sitting on dozens of scripts that didn't get through the Hollywood packaging bottleneck because they're too expensive, and I now have this giant slate that's ready to go, and I'm just absolutely thrilled. It's been a lifelong dream for me. Jo: Oh, so much to come back on there. Where to start? I do want to talk about what you just said there, sitting on dozens of scripts and now seeing the opportunity. I actually wrote down in my journal about a year ago, I see what's coming with AI, and I think that the best thing I can do is create as much original IP as possible, so that I can make the most of the opportunity ahead. So let's just get into the AI, because a lot of people feel it's a super bad thing. Talk about the opportunities and the attitude that you've got [around AI], and that you've seen others have around this, for what is ahead in a positive way. Brooks: It's fascinating to see how people respond to AI. I wonder, when the printing press rolled around, if there was some sort of backlash. Books must be handwritten. They can't be mass-produced. Here's one of my theories. At a deep psychological level, it's so profoundly powerful that I think the default setting is, “Oh, crap.” When I was a kid, some things were hard, and that power imbalance, when something big, new and powerful comes along: I'm going to get screwed, and so this is somehow a bad thing. I think that's the base psychological thing going on with most of the noise. Obviously there are some legit problems, in terms of copyright infringement from learning models, or from some of the environmental situation. So I'm not saying it's all rainbows and butterflies, but I think 90% of the noise around it comes from a fear of change. Here's the other one—a fear of, “Oh, yikes, I'm going to get taken advantage of somehow by either robots, or the corporations are going to use the robots against me,” or something like that. I have real empathy for me when I feel that way a little bit, but I don't feel it much, and for other people that do feel it. The other thing is, you know what it is? I think they fear their own empowerment even more. I had a therapist who was really good. He said, people aren't so much afraid of failing as they are afraid of succeeding. Because if we fail, we're stuck in act one and we don't go anywhere. The fear is answering the call and going to act two, when everything effing changes in the new world. So I think people are afraid of how goddamn powerful they're going to be when they can have a team of AI agents helping them do everything they want in business or life or whatever. I think it's the same thing with the internet. People are like, “Oh, I don't like social media, blah, blah, blah.” And I get it. There's a lot of noise and a lot of crap. Yet we have access to billions of people, and the algorithms in social media right now I think are level three out of 10. They're just going to get better and better. Even as it is now, if I do a post about something and it gets ignored, that's on me. The algorithms are trying to match me to my people. So if I'm not unique enough and authentic enough and aware enough of how virality works, that's on me, and it's a learnable skill that I can embrace and then change and then get better at. So I think people then resist that change. They resist the empowerment of learning the art of virality, or learning the art of some sort of social media stuff or whatever. The last thing I'll say about this rant is, I don't want to act like I'm the guru on the hill that has all the answers. I refuse calls all the time. I'm scared about all sorts of things. I'm certainly not perfect. I feel frustrated when I'm trying to put my big ideas into action and I can't get this technology thing to work or that one, and I throw tantrums. I'm trying to come at it from a real human perspective, but by and large, I've got stars in my eyes. I'm like, “This is amazing. This is going to be so powerful.” For so many people, you just have to be ready to embrace it and just go along for the ride, because there's going to be some big-ass changes. There already are, and that's going to accelerate. Jo: You mentioned there learning the art of whatever it is. One of the things is, I've spent 20 years, and so have you, learning our craft and our art, and now it can be done very easily. I'm generating video, as you mentioned, which is a craft I haven't spent 20 years on, but now I can generate. So things have definitely changed in that way. Just coming to the screenwriting side. Probably about a decade ago now, I did my first screenwriting course. I've written screenplays. Then I looked at the game you have to play and, like you said, the conversations you have to have, the events you have to go and network at, all the things that you have to do to put a screenplay in front of the right person at the right time. I was like, “I cannot do that. It's just not going to happen. I can't do that along with everything else.” So I put it aside, but now I feel maybe it's time to bring it back because things are changing. So can you maybe talk about, if someone has a screenplay now that they've written, or some IP like a book that they have now— What would you recommend people do in terms of wanting to get that [IP] in front of somebody, or doing something with it themselves? Brooks: It's such a good question. By the way, not even a screenplay—you could do the same things with a novel. Let me try to be succinct here, which is a good challenge for me. A simple way to look at it is, you're giving samples. Let's say it's a lemonade stand, and you give out a little shot of your… maybe you have cayenne pepper lemonade, some sort of fun lemonade. If you give out a sample and people are into it, they're going to come back and they're going to tell friends. If you give a sample of the lemonade and they're not into it, then you go back to the kitchen and you mix up a different flavour. So that's some basic business, but the internet allows us to do that at scale. So what I like to encourage people to do when I coach them is come up with the minimum viable material. It can be a 10-second clip. There's a writer in my community who made a really beautiful 16-second movie. It's one shot. I love it so much. It's two wine glasses. There's a lipstick smudge on one of the wine glasses. They're half full, and it's just that shot. It's sitting there, and all of a sudden you hear this thundering, thumping down these stairs, dun, dun, dun, dun, dun, dun. Then you see out of the corner of the frame one person runs by, and then the other person behind her runs by and goes, “Wait.” That's it. That's the whole movie. It's 16 seconds. He did that with his phone. So there's so much going on. There's a couple of basic elements, but he just did it with his phone, and you can evoke enormous emotional impact on people through social media, whether it's just words. You guys have a big advantage as novelists because you're so good with words. Whether it's a little bit longer, like sudden fiction, that's a couple of pages or whatever. Even just copywriters are really in a good position for the future because they're super potent with two words or three words or 10 words. Then novelists are probably really advantageous because it doesn't cost anything to just put some words out on the internet. The point is, if you put something out, it's a signal, and you're talking about billions of people who could find that signal. If you do it and then you look at the response, and then you try again, you look at the response, we can do this iteration infinitely for free. So you can do it already. You've been able to do it for 10, 15, 20 years, just with words. But now you're going to basically be able to do that with movies or clips or trailers. So the thing that I'm leading in my community of writers is having people build trailers in advance, or clips. When a book or a movie is done, how the heck do we get people to see it? One way is a trailer or some sort of behind-the-scenes material. You can just do that stuff now before even writing the screenplay. I saw that you were doing this project, a trailer for this competition. And then you mentioned, “Oh, I've got to write the screenplay.” Not really. You have to develop the story enough to know what you're referring to, and then it's about studying the craft of either trailer construction, or whatever the clips are, or viral clips. They all have a structure, and then you just test it. If you enjoy that testing process, which I find absolutely thrilling, it feels like the filmmaking version of a stand-up comedian. If I did stand-up, I say a joke, they laugh or they don't laugh. It's really beautiful feedback from the universe. Nerve-wracking, right? But we can do that now as storytellers. We put a story out there in any format, and the audience responds. Just like you have to read any room, you have to learn how to read the engagement on social media. What do likes mean? What do shares mean? What do comments mean? How do you deal with trolls? All that is just part of the new art. Once you get good at it, holy smokes, that's the key to the kingdom. You can build audiences in advance, and for movies you could even have them finance your movie in advance, if you've built an email list of 20,000, 30,000, 40,000 people because you kept putting out all these viral clips around your story, novel, or screenplay. Then you go, “Okay, now 30,000 people are on my email list and I tell them about me and my perspective and my world. We're going to make this darn thing with AI for 20,000 bucks. You guys have got to pony up some money. Put in a dollar, five, 10, or you get the VIP $500 experience.” It's like crowdfunding, but much more sophisticated, because most crowdfunding was like begging friends and family to donate to your crazy dream. What I'm talking about is going to the audience directly, developing enough of the story, then going to the audience second, and then only when they validate the idea, to the extent that you're happy with. You could do a crazy idea that's going to have a small audience, and you don't have to have a blockbuster audience. You get to pick the audience size that you want, and then put the samples out there and see if you have a relevant audience size for this next project. Once the audience tells you, “Yes, we want this,” then you go make it. So you're ultimately reducing risk to almost zero. It takes time and you have to learn how to do this stuff, but it's thrilling to me because we just have the capacity to test the material and listen to the audience upfront. The last thing I'll say, and I've rambled a lot, I'm sorry. When I made a movie in 1994, a feature film right out of NYU, it took me three years to find out what the audience thought about that movie. I had to make the damn thing, and then I ran out of money, and that took me years to edit it, and I finally got it, blah, blah, blah. And again, I loved it. I loved every facet of it, and it was fine, but it was super inefficient. Today, I could take those same elements, create an AI trailer this weekend, put it in front of hundreds of thousands of people, and they could tell me right away, “This sucks,” or, “This is interesting,” or, “Holy smokes, this is amazing. I want this.” If it's not, “Holy smokes, this is amazing, I want it,” I can go ahead and re-edit the whole damn trailer, and just keep reiterating at almost no cost. Then once the demand is there, I can take that demand and that audience and go to Hollywood, and that's when they're going to want to work with me. Then it doesn't take a million conversations and finding the needle in the haystack, because Hollywood sees the numbers and they go, “Oh, you're the people we do want to do business with. You've proven demand. We want to do business with you.” Jo: Yes, it's so interesting. I can hear people listening and they're like, “Easier said than done, getting an email list of 40,000 people.” And in fact— It's exactly the same as building up a career as an independent author. This is as a filmmaker, as a visual person, and the industry is visual, so doing a visual trailer is the obvious thing. And as you say, the tools I use just to do this one, I use Midjourney, and I've used Seedance as the main video model. It does take a while, but it is pretty fast now, if you have a visual image of what you want in your head, which obviously you're a visual person as well. But is it… Brooks: Hold on. I want to push back on that a little bit, because I think it's really important. So yes, that's true, but underneath that, my friend, it's a relationship. It's the relationship, and the media is secondary. You have been prolific in connecting with your audience, and that's why I think a lot of people like you, because you share and they get to know you in that sort of cadence. I saw you in another podcast, you mentioned Seth Godin, who just said, “Hey, I want to be the type of person that has this relationship with my audience. I'm going to share some of my thoughts every day.” He happened to do it with words, with his background in marketing, but you could do the same thing with still images. You could do the same thing with a five-second movie clip once a week. It's the relationship you want with your fans. I'm not saying you snap your fingers and you have 50,000 people on your email list. What I'm saying is, what else are you doing? If we're artists and our impulse is to create and share, and if you do it in this way, if I can create and share and inspire trust in this relationship with a stranger because they like my genre thing and they like the way they felt when they experienced my media, words, images, movies, it doesn't matter. They just like the feeling, and they go, “Ooh, I want more of that feeling. How do I get more of that? Oh, this person has this email list or community.” If I can do it with one, then I can scale it out. So getting the first one, or the first 5 or 10 samples, that is a whole process. But then once you do that, scaling up is more of a mechanical thing. It's not even that hard, especially when you can do paid ads. So you can scale up very quickly if you have the sauce. If you don't have the sauce, it doesn't matter who you're related to, you've got to get the sauce right. Jo: Yes, and again, it's so parallel to the indie author community. I've just got to ask you, in the olden days, an author might write a screenplay, or a screenwriter write a screenplay, and then they would send it. They'd find an agent. They'd pitch an agent, and I guess then they'd hope that someone would turn that into a movie. So is that just dead now? Is it realistically that you need to get yourself out there, build the audience in the same way that it often is for authors? Brooks: So, no. I've got two screenplay deals going right now. So here's how it's going to work. Think about Broadway, or the theatre district in Britain. It's like West End or East End or whatever… Jo: The West End. Brooks: Sorry for my American ignorance. West End, okay. So every town on the planet has a stage, but there's only one Broadway, there's only one West End, right? And every town has its own festival, but there are a few significant tastemakers. There's Cannes, there's Sundance, there's Toronto. Hollywood is always going to be a tastemaker in our lifetime, for sure. What they don't have anymore, what they enjoyed for the first 100 years of the industry, is that they had a stranglehold on basically the equipment, the financing, and the audience, and that's all going away. Do you want to hear a fun story about the birth of cinema? Do you know why Hollywood started in Hollywood? Jo: No. Brooks: So Thomas Edison invented the camera, or the type of model camera that they were using in, I don't know, 1910 or something around there. They didn't want to pay his patent. They didn't want to pay the patent to make these movies, so they went all the way across the country, a bunch of outlaws, and they set up shop in California because he couldn't enforce his patent that they were basically stealing. And reason number two, LA enjoys amazing weather almost all year round. The weather here is either nice or really nice. You have mountains, you have beach, you have desert, you have all these different locales. So when it was really important to be on location, LA was the perfect place. Anyway, that is all going away. For many decades, more people could make movies. In the early '90s, Robert Rodriguez made a movie for 9,000 bucks. There was a book in the '80s that I bought that I loved, it was Feature Filmmaking at Used-Car Prices. This guy, Rick Schmidt, I think his name was. There were the independent filmmakers really in the '60s and the '70s. So the cost has been going down and down and down, and now it's less than ever. Once social media came along, now you have access to the audience, so why do you even need Hollywood? That being said, there are tons of people. There are 400,000 people already working in the movie and the TV industry here. And they're voracious. We have a voracious demand. Humans need stories. We need big stories, long stories. We need stories, and Hollywood is so good at giving them stories. And so they have a need for these things, and they're still spending a lot of money on those budgets. So yes, there's still a demand for turning books and optioning them and turning them into movies. Books are great. Any sort of existing IP is great because there are marketing efficiencies there. People already know that stuff, know the vibe of it, and so it's easier to market than something that's totally creative and new. When you're spending that much money, you want those marketing efficiencies. They're really important. So the point being, the power is shifting away from Hollywood. Hollywood will still be a tastemaker, but you and me can reach anybody on the planet now. Almost. Billions of people. If it's making a movie, right now you could make a movie that most people wouldn't realise is an AI movie. If it was a horror film, I know a handful of people that could make a feature-length horror film right now with AI and 99% of the audience couldn't tell, if it was professionally written. Jo: I think the point here though is, I'm an author, the people listening are authors, and we don't want to make movies. We want to license our IP to people who want to make movies. Brooks: Yes. Great. Okay, good. So then you could, if you wanted, build an audience. Hollywood loves when something's already proven, so that's that IP thing, right? So if you just have a great book, then it's all about the sales. You guys have Dragons' Den, we have Shark Tank here. And what's amazing about that show is these are people or entrepreneurs pitching an idea, and there's an amazing rhythm that happens. They say, “We've got this great idea. It's this sort of company.” And the sharks, or the dragons, will listen. And there's a huge turning point when they reveal sales. They're either really excited about the idea and then they go, “Well, how are the sales?” And the person goes, “Well, we don't have any sales yet.” And they go, “Uh,” and they're not interested. Or they might even be like, “Eh, it doesn't seem like a good idea.” And they're like, “Well, how are the sales?” And they're like, “Oh, well, we've sold through the roof.” And then all of a sudden they perk up. So it's all about the sales. So step one is writing something that you want. Step two is making sure other people in your target audience are also loving it as much as you do. Step three is proving in some way at scale that there's real demand for it. So you could do that with trailers, you could do that with clips, you can do that as an indie publisher. There's all sorts of things that you can do. Humans are much more persuaded by concrete data than they are by just vibes. So if you can bring Hollywood concrete data of any type, like viral videos, like audience, like obviously bestsellers. Awards mean something, but not quite as much as sales. Then you're going to get Hollywood's attention because that reduces risk for them. So even now, when Hollywood's definitely shrinking and contracting, there's still very significant money being spent because it's a huge demand. If you ever walk around a studio lot, those things are opulent places. It's stunning. Like, how are they paying for all this stuff? These lots are enormous. It's because humanity is voracious for stories, and movies are one premium type of storytelling. The demand for stories is steady if not going up. It's just that we have a wider variety of types of stories that we can do, whether we're an indie author. So anyway, did I answer the question? You get me too excited with these questions, Jo. It's a problem. Jo: Yes. I think there's a lot of opportunity and a lot of ways in, but the parallels with being an indie author I think are quite clear. One of the things I found interesting about your profile and what you do is that you help clients who are already accomplished but not quite breaking through, and that sounds like a lot of mid-list indie authors, probably a lot of mid-list screenwriters, mid-list filmmakers. This is a hard place to be because, on the one hand, we are grateful for what we have achieved and what we can do, and yet wanting more, wanting that big Hollywood deal or the Netflix deal, or wanting the massive bestseller or whatever. So if someone wants to get to that next level, what are some of the ways that they can perhaps try and get there? Brooks: It's a great question. Coaching is a really wonderful way to learn anything of this sort of complexity and challenge, especially if it's a hyper-competitive business. We need two things, I think, to write a great novel or screenplay or both. A, we need to feel profoundly safe in our space. If we can't really feel deeply authentic about the things that are embarrassing, or that we feel shame about, or just our shadows, or anything that we don't feel completely comfortable saying and sharing in public usually. We need to be able to touch those things, and be articulate about those things, and that's one part of it. Then we need a concrete path forward. Maybe you're thinking about some tragedy that you had in childhood, and how you dealt with it and how difficult that was. So you need to be able to be real precise in those observations about what it felt like, and how you tried to compensate for it, and that didn't work and it made it worse. Whatever your observations are about your life journey, you need to be really specific and really deeply felt. A good coaching relationship allows you to be in that space, to be really honest with yourself and authentic. g Aood coach will push you back and say, “You know what? That sounds interesting, but maybe not quite as true to you deeply.” So that's one piece of it. Then there's a concrete path forward. You need to have the emotional access to that truth, and then you need to know what to do with that truth in a step-by-step way. Because most people, the ones that you're talking about, they're accomplished in something else. What happens is when we first start writing, and maybe this happens with novelists, but for sure it happens to screenwriters, you just start typing words. But you haven't really thought through the theme, the concept, the structure, the character, all the deeper questions that really matter. The milestones, like a North Star: winning a major award, or getting a publisher. That's the direction that we're heading towards, and then you set it and forget it, but you want to keep checking it every week, every month or whatever. But you want it very specific. “I would like to sell a book, or sell a book to Hollywood, or write a screenplay, or get a producer attached to a screenplay.” Whatever the milestone is, make it really specific, really concrete, and then reverse engineer. This is what I do on the concrete path. I reverse engineer every step to get there, starting with a really tiny one we can do today, and I make sure they feel really safe, and then we just walk through. Then what happens is, if you do that, if you feel safe, if you're showing up authentically and you have a process that's repeatable, not just willy-nilly, it's got to be something that's proven to work. It wasn't an accident I wrote 45 scripts. I've got a whole system. But by the way, the first five scripts took me forever. The last movie that I made took me three years to write that script. I can write a better script with those same elements in three months now, because I know I have a concrete path. So if you want to do something new, whether it's playing the piano or getting six-pack abs or writing a screenplay, work with somebody who's got a system that's already proven, and make sure you relate to them, and then just follow the system. Then when the doubts come up, and they will, that's where the feeling safe is really important. Because, oh, I want the six-pack abs, but I don't feel like going to the gym. I want the extra donut. If I'm working with a really good trainer, they go, “Dude, do you want the six-pack abs or not?” And then you go back and forth, and I go, “Okay, now I can make peace with myself and say I can take one tiny bite of the donut and then still do my workout,” and then I'm moving towards that North Star. Does that make sense? Jo: Yes. I think, like many independents, I resist anything that is systematised. I'm a discovery writer, and I follow the muse, and all of that kind of thing. I think I would say something in a similar vein, which is sustainable creativity for the long term, because your 45 scripts are also years of work, and my books are years of work, and we get better at what we do. So my system, I do have a system really, because— My system is that I do the work, and I write my stories, and I get them out there, and I do the marketing. So even if it's not as systematised as such, it's still a process that I have repeated over and over again. Brooks: That's fascinating to me. Would you consider yourself a pantser? You're like, “I've got an idea,” and you just start writing? Jo: I don't use the word pantser. I guess I call it discovery writing, which is… Brooks: That's a better term. Jo: Yes. What I'm writing for this prize, for example, I know the characters, I know now what's happening. When I had the idea, it was very much a vision and a theme, and the competition has a theme: a positive future with AI and technology. But the things that came around that, I then started playing with ideas around the treatment. I haven't written the screenplay yet. I don't do a plot, or I don't follow Save the Cat or any of that kind of thing. When I write a novel, I just explore and I never write in order. Then at some point I stop and then I have to think about the structure and putting it all together, so the edits are quite big. But my fun is in that discovery, really. Brooks: Oh, that's awesome. Okay, so let me ask, that's really fascinating. And by the way, that doesn't, to me, negate the system that I use. The one that I use is ultimately… the thing is, these questions, the audience is wanting your unique answers to. You don't necessarily need to do it in a certain order. I think that's actually really cool that you write out of order and you have a few elements in mind. All that stuff sounds awesome. The only thing that then makes me curious is, how's your pace? Are you actually completing novels at a pace that feels good, or do you feel like you go too fast, too slow? Jo: I do one or two a year at the moment. Well, two a year, really. But I would say I'm not as successful as I'd like to be, so I'm not saying that my system is the best. I'm saying I want to be better. It's just that my fun is this sort of creative chaos, which I then try and control later. One of the things I really like about screenplays and treatments and doing this kind of thing for film is that it is much more structured, I think, than a 70,000-word novel. You can go in all kinds of directions, whereas with screenwriting you do have to be more disciplined really. Brooks: Yes, so this is going to be fun probably, to hear my view for your audience, and the differences as I see them. For starters, you're talking about what, 10, 20, 30 hours reading a novel sometimes, or maybe less, whereas a movie's a 90-minute experience, right? So that's different. Or if it's a TV series, you might see an hour and then an hour. So that's a very different experience. What happens is when it's condensed like that, you're loading up layers. So every scene is stacked with exposition beneath the drama, and done in a certain way. So specifically, movies are only what you can see and only what you hear. Whereas novels, if you can think it, you can write it, it can be in there. So you don't need to have a plot, but if you want to sell your book to Hollywood, it helps. So I was very resistant about structure. I went to NYU film school, where we really just made short films. It was funny, I had friends that were in the dramatic writing department, and I was like, “You guys are wasting your money. You're just learning to write scripts. We learn to write the scripts and make the movies.” What I hadn't realised is it's a different skill set to hold somebody's attention across an hour-long play, or a 90-minute movie, than it is to make a movie that holds their attention for two minutes or five minutes. I found out years later when I made a feature that was like a lot of shorts patched together, and people were not… They liked it, but they didn't love it. I was like, “Well, what's going on?” And so then I learned to really love Save the Cat in particular. It completely changed me. What happened was, I got a big old slice of humble pie. I had made my second feature, and I put everything I had into it, and it had loose structural beginning, middle, end, blah, blah, blah. But I was still, “Eh, Hollywood BS. What do they know? It's all fake.” So I was very anti-Hollywood structure. Then I was like, now I've got two independent films out there, people saw them, liked them, whatever, but it wasn't getting me consistent work. It wasn't really advancing my career in the way that I wanted. And I was like, “Well, maybe there is something to the Save the Cat.” So I went to the Save the Cat workshop with Blake when he was still alive, and he was delightful, a really awesome guy. He's got this kind of cutesy style, for people that don't know. For context, Blake Snyder was a working Hollywood screenwriter, and he had this system called Save the Cat, which actually has some really interesting ideas. He's got this very light, breezy sort of style. A lot of people don't like him and some people really love him, and everything in between. But I took his weekend seminar, and it completely changed me, because at that point, like I said, I took three years to write a script. Then once he had a process and he had a way of thinking about craft that was just much more screenwriter-friendly, I was like, “Oh my God.” It was so much easier, because I was just focused on the right thing at the right time. So it just sped everything up. After that, I was banging out two to three scripts a year, and better and better quality. So for me, because I went from winging it and wrote five scripts in 13 years, and then wrote two to three scripts every year, I became a huge proponent of system and process. Then my own system really came from that, but it's modular. I have a nine-step system, but you don't necessarily have to go in that order, other than the last three steps, but I won't get into the details. Sometimes you kind of jump from two to three and then back to two and then back and forth. So I love that you get the feel for those elements, and then you just felt your way through. But writing screenplay pages doesn't make sense until you really understand concept, you get a deep sense of beginning, middle, end, character arcs, and these other threads. There are just way better tools for those jobs than screenplay format, because it's a really weird format. It's got these weird slug lines at the top that are all in caps, because a screenplay is a blueprint for somebody else to make the movie. It's not an end-user document like a novel. I don't let my clients even go to that format because it just gets them focused on the wrong things. What they really need to know is, what is your perspective about this theme? What happened in your life that you're fascinated with, that you'd even want to write about this? And tell me what your real life lessons are. So we go into… again, I go back to relationship. What's your relationship to the universe? And what's your relationship to your best friends, or where you got your heart broken, or whatever you want to write about. And then we get that clarity, and then I show you how to express it in terms of developing a screenplay. It's really long-form storytelling, and then the structure just makes it build on itself. But with the structure, because you're talking about so much money and people involved to make it, at least traditionally, what ended up happening was narrative structure that was not so much rigid. Because here's the thing, you can look at 50, 100 years of European cinema and you can look at Hollywood cinema, and Hollywood laps them. When I taught at UCLA Extension, I had lots of foreign students. Let's say there'd be two or three students… if there were 12 people in the class, two or three people would be from America, and everybody else would be from other countries. I would go around, I'd be like, “What movies and TV shows have you been watching?” Almost in every single country, they watch half from their own country, half from Hollywood. So Hollywood storytelling works, that's just the data, and they're dominant. The reason it works is what Aristotle was saying thousands of years ago.. There's a way of thinking about beginning, middle, end that just deeply speaks to the psyche, and you can ignore it if you want. I think Godard said, “You need beginning, middle, and end, but not necessarily in that order,” right? Which is great. Just the way we experience life, there's a beginning, a middle, an end to this podcast interview. There's a beginning, middle, end to the day, a beginning, middle, end to me eating lunch. So if you don't lean into the beginning, middle, end psychological aspect of your story, you're going to bore your reader. But to your point, you don't necessarily have to sort that out in the beginning. It's more efficient probably if you do, but you don't have to. Go into it wherever the muse tells you to go, and then at some point, like you do, then you go, “Okay, now I go back and I edit.” If you're saying there's another level, you have another gear in you, then yes, I'd be curious to slowly go through how you're making those decisions. Because what's happening probably is there are ways you're holding back a little bit. There's maybe something you're afraid of being vulnerable about. That's usually where me or other writers are holding themselves back, and we can take a look at that. There are different ways I show writers to do it. Then you can go, “Oh, I was doing it here, and now I can do it there.” And it could be with process, or just a certain creative choice. With story, it's clear and compelling. Those are the simple things. So, is this clear enough? Is it compelling enough? And there are almost always ways to up-level on any facet, whether it's one sentence, or a sentence that describes the whole concept of the book, or a chapter. Each one of those can be looked at with that lens and we can just say, “Hey, this is 70%, 80%,” whatever, and then we say, “Well, how do we get a little bit more?” And then when you do that enough, it piles up. Then especially if you bring in an audience and people are flipping out for your work, they'll tell you. Jo: Yes, I love a challenge, so thank you for everything you've shared today. So where can people find you and everything you do online? Brooks: Well, one way you can find me—if anything I said seemed helpful for you, if you have questions about Hollywood or you have a screenplay in your heart—you can just email me, brooks@brookselms.com. You could look me up on LinkedIn. I'm at Brooks Elms. I also have a Skool community called Screenwriter Marketing, but it's really for any sort of storyteller, and it talks about my favourite way to engage an audience and get through it. So anybody can jump into that if you like my vibe. If you really think anything I've said, or the way I said it, seems like it could be helpful for you, just reach out. Let me know what you're up to, and maybe there's a way I can help you. Jo: Fantastic. Well, thanks so much for your time, Brooks. That was great. Brooks: You're welcome. It was a total pleasure. It was lots of fun, and I really appreciate you.The post How To Prove The Demand For Your Stories And Get The Attention Of Hollywood With Brooks Elms first appeared on The Creative Penn.

The CPG Guys are joined in this episode by Rich Lehrfeld, SVP and General Manager of Walmart Connect International and Sam's Club Connect, the retail media business units of Walmart.This episode was recorded in France at the 2026 Cannes Lions International Festival of Creativity.Follow Rich on LinkedIn at: https://www.linkedin.com/in/rich-lehrfeld-776b7786/Follow Walmart Connect online at: https://www.walmartconnect.com/Follow Sam's Club Connect online at: https://www.samsclubconnect.com/Rich answers these questions:1. Now that you're leading Walmart Connect alongside International advertising and Sam's Club Connect, what does “one connected global advertising ecosystem” actually look like operationally — and how soon will advertisers feel the difference?2. What capabilities or playbooks from Walmart Connect US are you most excited to bring into international markets, and conversely, what can Connect and international teach the core US business?3. This is Sam's Club Connect's first time at Cannes Lions — what's the headline message you want advertisers and agencies to walk away with?4. How does a presence at Cannes fit into COnnect's broader growth strategy, especially as it scales offerings like in-club, Omni Experiences, and audio/fuel screen ads?5. The industry conversation is shifting from impressions and ROAS toward broader business outcomes — what does that shift look like in practice for how Walmart structures its advertiser partnerships?6. What's the biggest misconception brands still have about what “success” should look like in retail media today?7. How does Walmart's first-party data — and Sam's Club's membership model specifically — change the kinds of insights and long-term value you can offer advertisers compared to transaction-only data?8. Where do you see the lines blurring most between media, commerce, and in-store/in-club experience — and which of those convergence points is Walmart investing in most aggressively right now?9. With Walmart's scale, data, and tech now spanning Walmart Connect, International, and Sam's Club Connect, what's your vision for the next big unlock for advertisers — and how do you think about translating that scale into measurable growth for both Walmart and your partners?CPG Guys Website: http://CPGguys.comFMCG Guys Website: http://FMCGguys.comSheCOMMERCE Website: https://shecommercepodcast.com/Rhea Raj's Website: http://rhearaj.comLara Raj in Katseye: https://www.katseye.world/DISCLAIMER: The content in this podcast episode is provided for general informational purposes only. By listening to our episode, you understand that no information contained in this episode should be construed as advice from CPGGUYS, LLC or the individual author, hosts, or guests, nor is it intended to be a substitute for research on any subject matter. Reference to any specific product or entity does not constitute an endorsement or recommendation by CPGGUYS, LLC. The views expressed by guests are their own and their appearance on the program does not imply an endorsement of them or any entity they represent.CPGGUYS LLC expressly disclaims any and all liability or responsibility for any direct, indirect, incidental, special, consequential or other damages arising out of any individual's use of, reference to, or inability to use this podcast or the information we presented in this podcast.

We're continuing our journey through Nicolas Cage's recent filmography by talking about The Surfer, which premiered at Cannes! After talking about how critics loved it (but fans didn't), we share our favorite details and moments, like: it's an Australian Christmas movie... it's the summer! We heap praise on both Nicolas Cage and Julian McMahon's performances, and talk about how it feels like this is a return to a Vampire's Kiss-esque character for Cage. So much feels like a dream... but isn't... and we talk about what that does for the movie. Joey praises it for being a really tight film with such clear wants and needs, Mike compares this surf crew to the one in Point Break, and we both talk about the rat being an item in old point-and-click PC adventure games. We look ahead to The Carpenter's Son and talk about showing off Cage's lesser-known films. Joey shares the level of artistic impact he has achieved on behalf of #CageClub.

Les sons du carnaval, une descente aux enfer, Orphée et Eurydice, la mort, la vie, lʹamour, et Rio de Janeiro. La Palme dʹor du festival de Cannes 1959, lʹOscars du meilleur film étranger en 1960, est Orfeu Negro, film musical de Marcel Camus sorti en 1959. Il est adapté d'une pièce de Vinícius de Moraes, Orfeu da Conceição montée en 1956 à Rio. Le film, comme la pièce dʹailleurs, est une adaptation du mythe dʹOrphée. Une thématique ancienne, dépoussiérée par des rythmes entêtants, brulée de soleil, grouillante de vie, dans des paysages extraordinaires avec la mer et le Pain de sucre au loin. Orphée, cʹest lʹhistoire dʹun amour absolu, dʹun musicien qui ira jusquʹaux enfers récupérer sa femme. Lʹadaptation du mythe dans les favelas de Rio, dans le cadre du carnaval est une révolution esthétique. Le film suscite lʹenthousiasme de la critique européenne et américaine, tout en soulevant des critiques au Brésil. Tout enchante : le choix des acteurs, non professionnels à lʹexception de Marpessa Dawn, néanmoins débutante dans le métier, le choix dʹune distribution exclusivement noire, saluée comme courageuse, les mélodies, le tourbillon des couleur, les rythmes. Les thèmes du film composés par Luiz Bonfá et Antônio Carlos Jobim deviennent des classiques de jazz. La bossa nova pénètre dans les cœurs, la samba nous invite à danser. Cʹest un véritable tourbillon des sens que propose Marcel Camus. Un film complètement hypnotique sur lequel nous allons poser, presque 70 plus tard, un regard tendre mais lucide, en le replaçant dans son contexte. Il ne nous reste plus à emboiter nos pas dans ceux dʹEurydice et de débarquer à Rio à la veille de carnaval. REFERENCES Jean-Michel Devésa, " Orphée et le carnaval, entre mascarades et parades. Autour d'Orfeu Negro de Marcel Camus. ", dans Penser le carnaval: variations, discours et représentations, Éditions Khartala,, 2010, 311 p. (lire en ligne [archive]), p. 177-193. Jean de Baroncelli, " "Orfeu Negro" "Al Capone" ", Le Monde,ý 22 juin 1959 Jean de Baroncelli, " Nouveau succès français Orfeu Negro ", Le Monde,ý 14 mai 1959

Recorded live at Cannes, Wpromote CEO Andrea Bendzick exposes why agile independent agencies are eating traditional holding companies' lunch while everyone else scrambles to build overpriced tech platforms. She maps out how mixing performance marketing, smart M&A, and hard revenue-backed brand metrics gives modern agencies an unbeatable edge. Key Highlights ⚖️ Independent agencies sit in a sweet spot where they're big enough to handle massive brands but agile enough to pivot while legacy holding companies stay stuck.

Cannes debuted a new award for creative consistency this year. 73 brands entered. Just two won.This week, Elena, Angela, Rob, Catherine, and Nikki unpack what actually happened at Cannes versus what just made headlines. The team shares why intelligence-gathering, not glamour, is the real reason to attend, and how AI is quietly reshaping ad tech products behind the scenes. They also weigh in on where live sports, retail media, and creator marketing genuinely fit into an effectiveness-driven strategy versus where they're overhyped. Marketers will walk away knowing which Cannes trends deserve real budget attention and which are just award-show noise. Topics covered:[02:00] Why Marketing Architects decided to start attending Cannes[04:00] The real gap between Cannes glamour and the actual work[13:00] How AI is quietly reshaping ad tech products[14:00] Live sports as a growth opportunity, not a silver bullet[17:00] Why competing streaming platforms are all facing the same challenges[21:00] Retail media and creator marketing: tools, not full strategies[24:00] Cannes' new award for long-term creative consistencyTo learn more, visit marketingarchitects.com/podcast or subscribe to our newsletter at marketingarchitects.com/newsletter.  Resources:2026 The Drum Article: https://www.thedrum.com/opinion/andrew-tindall-what-ritson-and-sharp-got-right-and-wrong-at-cannesGet more research-backed marketing strategies by subscribing to The Marketing Architects on Apple Podcasts, Spotify, or wherever you listen to podcasts.

durée : 00:04:54 - Les Matins de France Culture - Alors que le festival de Cannes bat son plein, coup de projecteur sur le métier de superviseur musical, qui consiste à coordonner du début à la fin la musique des films. Pierre-Marie Dru l'exerce avec passion depuis plus de vingt ans, avec à son palmarès "Annette" ou encore "Emilia Pérez". - équipe : La Rédaction de France Culture Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

What actually mattered at Cannes?More importantly...What should marketers do differently because of it?In this special collaboration between The Sleeping Barber, That's What I Call Marketing, and System1, we unpack the biggest lessons from Cannes Lions and turn them into practical advice for the second half of the year.Topics include:Mark Ritson & Byron Sharp's rare appearance togetherWhy creativity still beats optimizationAI's real role in advertisingThe rise of creatorsWhy memory—not impressions—is becoming the metric that mattersWhy audio may be marketing's biggest opportunityThe Q4 creative playbookIf you're planning campaigns for the second half of the year, this conversation is your roadmap.Chapters:00:00 - Welcome & Why This Conversation Matters01:20 - What Really Happened Between Byron Sharp & Mark Ritson05:35 - Where They Still Disagree06:15 - Why Consistency Is Marketing's Biggest Weakness09:20 - What Marketers Often Misunderstand11:45 - AI After Cannes: Hype vs Reality17:15 - Are We Already Bored of AI?18:35 - Brand Characters, Consistency & Memory23:40 - Why Audio Could Be Marketing's Next Big Opportunity31:30 - Why Radio Still Works37:20 - Creators: What Most Brands Get Wrong43:30 - Memory Is Becoming Marketing's Most Important Metric51:50 - The Q4 Playbook54:00 - Feels vs Deals59:00 - Why Great Christmas Ads Return Every Year1:00:30 - Final Advice for Marketers

durée : 00:04:54 - Le Reportage de la rédaction - Alors que le festival de Cannes bat son plein, coup de projecteur sur le métier de superviseur musical, qui consiste à coordonner du début à la fin la musique des films. Pierre-Marie Dru l'exerce avec passion depuis plus de vingt ans, avec à son palmarès "Annette" ou encore "Emilia Pérez". - équipe : La Rédaction de France Culture Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

What should marketers take from Cannes Lions once the presentations are over and the real work of planning for Q4 begins?In this special crossover episode of That's What I Call Marketing and The Sleeping Barber Podcast, System1's Andrew Tindall and Vanessa Chin join Conor Byrne, Marc Binkley and V to explore what the latest marketing thinking means in practice for brands, agencies and creative teams.The conversation begins with Mark Ritson and Byron Sharp's Cannes debate, looking at where they agree, where important differences remain and why marketers need to go beyond familiar headlines on penetration, distinctiveness, consistency and brand purpose. Andrew and Vanessa discuss whether distinctiveness alone can drive growth, why differentiation still matters and how the search for “new news” can lead brands to abandon creative assets before they have built recognition.The episode also examines how AI is changing advertising. Rather than removing people from the process, AI is becoming part of production, helping brands adapt and localise ideas more efficiently. The group considers Coca-Cola's AI Christmas advertising, PepsiCo adapting Lay's creative for Walkers in the UK, and why human judgement still matters. There are practical lessons on creator marketing, brand characters, fluent devices and staying consistent. Andrew explains why creators should be treated as creative partners who understand their platforms, not as interchangeable media assets.The discussion then turns to audio and radio advertising. System1 research suggests campaigns using audio can produce stronger business effects, support profit and penetration, and reduce price sensitivity. The group explores sonic branding, jingles and why radio should not be treated only as a short-term performance channel.Attention matters, but it is not the end goal. Andrew explains why marketers need to move from impressions, to attention, and ultimately to the brand memories advertising creates.The episode closes with a practical Q4 playbook for Black Friday, Cyber Monday and Christmas. “Salesmanship” may deliver immediate conversion, but emotional “showmanship” builds memories, demand and pricing power. The lesson: focus on the feels, not only the deals.CHAPTERS03:24 Ritson and Sharp at Cannes04:45 Distinctiveness versus differentiation06:00 Is brand purpose outdated?08:00 Why marketers struggle with consistency11:05 Turning theory into growth13:09 AI, creativity and human judgement16:10 How PepsiCo uses AI in advertising19:05 Why AI was quieter at Cannes19:55 AI avatars and brand characters22:01 Why marketers need to stay the course22:54 When did a campaign become a media flight?24:45 Turning Cannes insights into a Q4 plan25:22 The “Double Double” audio research28:04 Why audio matters30:13 What makes an effective radio ad?32:29 Why radio is more than a performance channel34:00 Storytelling and creating an audio world36:50 Should creators work across every channel?38:00 What System1's creator research found40:54 Is Q4 the right time for a fluent device?42:06 Moving from attention to brand memory46:36 Can brands be built through Meta and TikTok?48:49 Why brands need to appear early50:02 The Q4 marketing playbook50:43 Make people feel something51:52 Black Friday: deals versus feels52:23 Salesmanship, showmanship and short-term optimisation54:48 What marketers can learn from Amazon56:26 Feels, not deals57:01 Why brands should re-air effective Christmas ads58:00 Consumers do not get bored of good advertisingThis episode was created in partnership with System1. Find out more at system1group.com.Subscribe to That's What I Call Marketing for more conversations on brand growth, marketing effectiveness and creative strategy.That's What I Call Marketing is where marketers come for real conversations about brand, B2B, creativity, effectiveness and the future of the profession.Hosted by Conor Byrne, the show features conversations with CMOs, marketing leaders, agency leaders, authors, thinkers and practitioners about what good marketing looks like in practice.Listen, follow and find more episodes at: https://www.thatswhaticallmarketing.comConnect with Conor on LinkedIn: https://www.linkedin.com/in/conorbyrneirl/If you enjoy the show, please follow, subscribe and leave a review. It helps more marketers find the conversations. Hosted on Acast. See acast.com/privacy for more information.

As open web publisher traffic drops due to changing search engine behaviors, enterprise brand advertisers face declining reach and measurement challenges.Stephen Upstone, CEO & Founder of LoopMe, breaks down how the company leverages artificial intelligence and a network of 30,000 mobile SDK integrations to bring brand advertising into mobile apps and Connected TV.Key tactical themes covered:- Reallocating media budgets from web environments to the resilient "open app internet".- Moving brand campaign metrics from top-of-funnel reach to trackable mid-funnel intent.- Deploying internal agentic AI to increase developer code output by 5x–6x.- Building supply-side seller agents to enable automated machine-to-machine media transactions.- Reallocating talent resources to support a 5-year strategic technology vision.Stephen Upstone is the CEO & Founder of LoopMe, an adtech platform optimizing brand advertising performance across mobile apps and Connected TV using AI.Connect to us or our guestFollow Stephen Upstone on LinkedIn: https://www.linkedin.com/in/stephenupstone/Explore LoopMe: https://loopme.ai/Simplify Paid Social with Strike Social: https://strikesocial.com/guaranteed-performance-marketing/Connect with Host Dylan Conroy: https://www.linkedin.com/in/dylanconroy/

Outbound sales models relying on cold email and automated LinkedIn outreach are rapidly collapsing as C-suite decision-makers filter out generic digital noise.In this collaborative episode recorded live on The Optimist Brief with host Dan Lescarbeau (VP of Marketing at Iris North America), guest Dylan Conroy, host of The Ad Podcast, breaks down how establishing an executive media platform turns cold sales friction into an asymmetric business development engine. Conroy outlines how growth strategists and independent agencies leverage human-in-the-loop generative AI to automate background administration, prototype visual pitch assets in minutes, and achieve the execution scale of legacy holding company networks. Key tactical themes covered:Replacing transactional sales pitches with a value-first media model that grants direct access to enterprise prospects. Utilizing generative AI image and text tools to prototype client creative concepts in real time during preliminary pitch calls. Automating routine inbox and administrative workflows to maximize executive bandwidth for in-person relationship building. Leveling the playing field for boutique agencies competing against global holding networks through AI-enhanced operational efficiency. Structuring international event presence to convert passive conference attendance into a disciplined client acquisition pipeline. Connect & Scale Your Performance:Follow Guest Dylan Conroy on LinkedIn: https://www.linkedin.com/in/dylanconroy/Explore Strike Social: https://strikesocial.com/guaranteed-performance-marketing/Follow Host Dan Lescarbeau on LinkedIn: https://www.linkedin.com/in/danlescarbeau/Explore Iris Worldwide: https://www.iris-worldwide.com/

durée : 00:07:14 - Le masque et la plume - par : Charlotte Lipinska - La Bulgarie des confins vue par Valeska Grisebach. Un film récompensé du Prix du jury au dernier Festival de Cannes. Les critiques cinéma du Masque et la plume, enthousiastes ! - équipe : Stéphane Le Guennec, Ilinca Negulesco - invités : Christophe Bourseiller Journaliste France Inter et Transfuge , Ariane Allard Journaliste pour le magazine Positif, Ava Cahen Journaliste à frenchmania.fr, Florence Colombani Journaliste et critique cinéma (Le Point) Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

More than 140 wildfires are burning across British Columbia. Thousands of people have been evacuated from their homes, and thousands more on on alert to leave at a moment's notice. Dozens of structures have gone up in flames. You'll hear about the ongoing efforts to protect properties and lives.Also: German police have shot and killed the suspect in a deadly van attack on a Berlin Pride event Saturday night. Police say 21 year old Abdul Ballout is linked to Islamist extremism. Officers believe he targeted Pride celebrations, killing one person and injuring 29 others.And: You know all about TIFF and Cannes, but there's another film festival happening that's attracting tens of thousands of people from all over the world to Montreal. The Fantasia International Film Festival is celebrating its 30th anniversary this year. Audiences come to Fantasia to watch horror, sci-fi, fantasy, and cult films. You'll hear what makes it so different from the typical film fest.Plus: European wildfires, Soccer becomes Canada's second most-watched sport, and more.

Interview de Charles-Amir Perret et Philippe Gallois, Super Meeple, réalisée lors du Festival International des Jeux de Cannes 2026

Send us Fan MailIn the third episode of our series recorded live at Datacloud Global Congress 2026 in Cannes, Andy Davis is once again joined by co-host Rory Flashman from Spa Communications to explore one of the biggest challenges facing the data centre industry: power. Joining the conversation: Chris Pennington, Director, Energy and Sustainability, Iron Mountain Afonso Salema, CEO, Exus Digital Together, they discuss whether the industry is really at power capacity, or whether data centres need to become smarter, more flexible and more responsive to the grids they depend on. The conversation looks at how the industry can unlock stranded grid capacity, the role of energy storage and flexible load, and why the traditional approach of simply asking the grid for constant supply may no longer be enough. Chris and Afonso also explore behind-the-meter power, the differences between the US and European markets, and whether on-site generation is a short-term bridge to grid connection or a longer-term part of the data centre power mix. The episode also tackles the debate around nuclear, microgrids, renewable energy, affordability, total cost of ownership and the need for data centres to work more closely with TSOs, regulators and local communities. Recorded live at Datacloud Global Congress 2026 in Cannes. Key Topics: Why access to power has become one of the industry's biggest challenges How data centres can use flexible load and storage to unlock grid capacity The role of behind-the-meter power as a bridge to grid connection Why power affordability is becoming central to AI infrastructure growth The differences between US and European power strategies Whether gas can play a viable role in European data centre power The future of nuclear, SMRs and grid-connected clean energy Why there is no one-size-fits-all solution to power constraints How peak shaving and smarter energy use can reduce costs The importance of community engagement and listening to local priorities Why the industry needs to do more to challenge myths around power, water and local impact Tune in for a timely conversation on how power is shaping the future of data centre development, why flexibility and affordability matter, and how the industry can work more closely with grids and communities to support sustainable growth.Support the showThe Inside Data Centre Podcast is recorded in partnership with DataX Connect, a specialist data centre recruitment company based in the UK. They operate on a global scale to place passionate individuals at the heart of leading data centre companies.To learn more about Andy Davis and the rest of the DataX team, click here: DataX Connect

Cadent President Doug Rozen unpacks the hidden organizational silos and ad frequency nightmares plaguing modern video advertising at Cannes. Discover why shifting from audience persistence to contextual TV and total video planning is the ultimate fix for bruised brand performance. Key Highlights

In beautiful Cannes, France, one of the most interesting places during the Cannes Lions International Festival of Creativity is actually a basement — because that's where the shortlisted campaign case studies are.  The latest guest on The PR Week, Taj Reid, global chief creative officer at Burson, talks about that and much more, including how Burson and VML won the PR Lions Grand Prix for their work for client KitKat. Reid also chats about unconventional paths into the industry, AI's impact on creativity and inspirational work.  Plus, PRWeek's Carina Cole talks about winners and losers from the World Cup — that's to say brand winners and losers — and effective tournament marketing by players, countries and fans. PRWeek.comTheme music provided by TRIPLE SCOOP MUSICJaymes - First One Follow us: @PRWeekUSReceive the latest industry news, insights, and special reports. Start Your Free 1-Month Trial Subscription To PRWeek Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

This week, Katherine's Telling Everybody Everything about a harrowing brush with death as the hex on her home continues and she smashes into a glass door. Also, she was a disappointing plus one in Cannes about a month ago and completely forgot to say anything about it until now. Plus, comedian Andrew Johnston joins us from Hollywood with tales of an allegedly famous man who wants to have one daughter via surrogate and raise her to be 'his best friend', a Swedish wrestler paid his own wife $60K per year in 1990s money so that he could cheat on the road, and the infamous Tate brothers are arrested in America to face many spicy charges in the UK. Excellent! x @mandrewbrawnston Hosted on Acast. See acast.com/privacy for more information.

The CPG Guys are joined in this episode by Ali Miller, GM of Advertising and Tim Castelli, VP Global Ad Sales at Instacart.This episode was recorded in France at the 2026 Cannes Lions International Festival of Creativity.Follow Ali on LinkedIn at: https://www.linkedin.com/in/about-ali-miller/Follow Tim on LinkedIn at: https://www.linkedin.com/in/timcastelli/Follow Instacart Ads online at: https://company.instacart.com/adsAli & Tim answer these questions:So Ali, let's kick it off with you on a massive macro trend. We just read Nik Modi's latest RBC Capital report, Modi's Musings Volume 4, and theme number one is that Cultural Relevance > Brand Equity—meaning scale alone doesn't protect you anymore; you have to turn online platforms into an active "economic substrate" for identity and transaction flow. How is Instacart evolving its ad tech stack to let legacy CPG giants quickly move at the speed of a viral TikTok trend or cultural moment, turning immediate social media inspiration into a converted grocery basket? That speed to conversion is everything. Tim, let's talk about some news you announced at Cannes this week. Let's start with your AI Shopping assistant. What makes Instacart's AI assistant different?As consumers look to collapse choice complexity because of low mental energy and rising anxiety, the visible shelf is shrinking from 50+ items down to 1 or 2 AI-curated recommendations. How does this radically compressed digital real estate change your ad business strategy and Joint Business Plans with brands? You mentioned you're intentionally not running ads in AI experiences yet. Walk us through how you're thinking about that. Jumping back to the news…Immersive Feed feels like a direct response to how consumers are already discovering food on social media. How do you make sure that experience feels additive and not just like another ad unit? Does this foreshadow more to come with media publishers and creators? And for Ads Studio – is that essentially opening up Instacart's own marketing engine to brand partners? What made you confident enough in that internal capability to turn it into a commercial offering?Tim, let's pivot to New Revenue Streams and Business Models. CPG brands are desperately trying to evolve from old-school, unit-driven transactional models toward ecosystem-based monetization. With Instacart Caper Carts rolling out smart screens right into the physical brick-and-mortar aisles, you guys have built a literal physical-digital loop. How should brands rethink co-created, real-time physical store experiences using your connected hardware?Connected hardware in the physical aisle is the ultimate frontier. Ali, we can't talk about Cannes Lions without talking about Closed-Loop Measurement. Marketers are completely burnt out on self-attributed platform metrics. Instacart's entire value proposition is anchored on receipt-level, purchase-verified deterministic truth. For the brand marketers listening who are caught in the "Validation Trap," what does mathematically clean, independent attribution look like over the next three years, and how does Instacart enforce it?If it doesn't move actual volume off the shelf, it's just noise. Tim, looking at your front-row seat to enterprise sales, what separates the North Star CPG brands—the progressive companies that are aggressively growing their volume share on Instacart right now—from the legacy laggards who are still trying to run 20-year-old, static, distribution-only playbooks? What core corporate competency or operational rhythm allows them to win?Incredible, provocative insights. Now, before we pack up the mics and head out onto the Croisette for a glass of rosé, we have to save a special final question. Cannes Lions is famously the birthplace of massive, landscape-shifting partnership announcements and enterprise platform reveals. Ali, Tim... what do you guys have cooking up under the hood for Instacart that you can uniquely share with the CPG Guys community live today?CPG Guys Website: http://CPGguys.comFMCG Guys Website: http://FMCGguys.comSheCOMMERCE Website: https://shecommercepodcast.com/Rhea Raj's Website: http://rhearaj.comLara Raj in Katseye: https://www.katseye.world/DISCLAIMER: The content in this podcast episode is provided for general informational purposes only. By listening to our episode, you understand that no information contained in this episode should be construed as advice from CPGGUYS, LLC or the individual author, hosts, or guests, nor is it intended to be a substitute for research on any subject matter. Reference to any specific product or entity does not constitute an endorsement or recommendation by CPGGUYS, LLC. The views expressed by guests are their own and their appearance on the program does not imply an endorsement of them or any entity they represent.CPGGUYS LLC expressly disclaims any and all liability or responsibility for any direct, indirect, incidental, special, consequential or other damages arising out of any individual's use of, reference to, or inability to use this podcast or the information we presented in this podcast.

In this Cannes special episode of the Future Proof podcast, Duncan Southgate sits down with Mike Villalobos of Seedtag to explore how context drives media effectiveness. Together, they discuss the move from cookie-based targeting to contextual understanding, why interest, intent and emotion are becoming critical marketing signals, and how advances in AI could help brands better understand culture, content and consumer behaviour without relying on personal data. Hosted on Acast. See acast.com/privacy for more information.

Enterprise brand campaigns frequently struggle with inefficient audience targeting and poor match rates when relying on static data segments. Dharmesh Patel, Global Curation Strategy Lead at OnAudience, breaks down how multi-source identity graphs and supply-side curation are transforming programmatic media buying across the open web.Key tactical themes covered:Connecting 12 data sources within an ID graph to evaluate recency and frequency signals.Activating audience data at the SSP layer to optimize match rates and campaign KPIs.Using AI query agents to translate 25-page strategy documents into targetable ad segments.Preparing adtech architecture for automated bot-to-bot (MCP to MCP) system interactions.Embedding audience data early in creative planning to bridge the gap between creative and media execution.Dharmesh Patel is the Global Curation Strategy Lead at OnAudience (Cloud Technologies), overseeing global curation models, taxonomy strategy, and programmatic data partnerships.Connect with our guest:Follow Dharmesh Patel on LinkedIn: https://www.linkedin.com/in/darthmesh/Explore OnAudience : https://www.onaudience.com/Simplify Paid Media Process with Strike Social: https://strikesocial.com/guaranteed-paid-social-media-ads-outcomes/Connect with Host Dylan Conroy: https://www.linkedin.com/in/dylanconroy/

Many agency and corporate sales teams lose new business pitches despite having superior creative work because they lack the presentation skills to sell their ideas effectively. Ben Levy, CEO and Founder of "Sell It Great," breaks down how to build a structured presentation framework that closes the execution gap and improves pitch win rates.He shares practical insights on using low-stakes internal meetings as practice grounds, analyzing video recordings to fix body language ticks, and leveraging strategic silence to emphasize core messaging during client negotiations.Key tactical themes covered:Closing the gap between creative work quality and presentation delivery.Debunking the "natural presenter" myth to make public speaking a trainable team skill.Using internal agency prep sessions as safe practice spaces.Reviewing practice videos to catch and correct unconscious body language habits.Applying strategic silence to project confidence and give clients time to process key points.Ben Levy is the Founder and CEO of "Sell It Great," coaching executives, agency leaders, and sales teams on pitch mechanics and presentation skills.Connect with our guest:Follow Ben Levy on LinkedIn: https://www.linkedin.com/in/sellitgreat/Explore Sell It Great Frameworks: https://sellitgreat.com/Optimize Your Paid Social with Strike Social: https://strikesocial.com/guaranteed-paid-social-media-ads-outcomes/Connect with Host Dylan Conroy: https://www.linkedin.com/in/dylanconroy/

Programmatic advertisers frequently face low engagement and conversion bottlenecks caused by static, generic display ad formats.Fabrice Rousseau, Director of Advertising Experiences at Amazon, breaks down the major update to Amazon's Responsive E-commerce (REC) ad product and how generative AI is transforming display advertising across the open web.Key topics covered include:Automating creative asset generation—including full-bleed images, motion, and video—directly from product detail pages.Integrating Amazon's "Prompt" agentic shopping assistant into open web banner formats.Utilizing runtime Dynamic Creative Optimization (DCO) to personalize creative per publisher context and user intent.Driving downstream brand impact and a 27% conversion lift over traditional display units.How to set up component-based REC campaigns inside the Amazon DSP.Fabrice Rousseau is the Director of Advertising Experiences at Amazon Ads, leading product innovation, automated creative engineering, and agentic e-commerce applications.Connect with our guest:Follow Fabrice Rousseau on LinkedIn: https://www.linkedin.com/in/fabricerousseau/Explore Amazon Ads: https://advertising.amazon.com/Simplify Paid Social with Strike Social: https://strikesocial.com/guaranteed-paid-social-media-ads-outcomes/Connect with Host Dylan Conroy: https://www.linkedin.com/in/dylanconroy/

Mid-market enterprises and growing brands frequently face severe market friction when trying to compete against category captains with massive advertising budgets.Courtney Lewis, CEO & Partner, and Courtney Williams, Chief Growth Officer & Partner at The Variable, break down how to identify, unlock, and scale hidden growth variables to drive outsized market impact.Key tactical themes covered:Uncovering hidden levers in consumer perception and media consumption for challenger brands.De-risking AI implementation by giving creative teams psychological permission to fail.Building sustainable talent pipelines through structured mentorship and internship architecture.Analyzing the competitive advantages of independent agencies over corporate holding company networks.Courtney Lewis is CEO & Partner and Courtney Williams is Chief Growth Officer & Partner at The Variable, an independent agency helping growth-focused underdog brands punch above their weight class.Connect with our guests:Follow Courtney Lewis on LinkedIn: https://www.linkedin.com/in/courtney-lewis-187b36114/Follow Courtney Williams on LinkedIn: https://www.linkedin.com/in/courtlyndelle/Visit The Variable: https://thevariable.com/Simplify Paid Social with Strike Social: https://strikesocial.com/guaranteed-paid-social-media-ads-outcomes/Connect with Host Dylan Conroy: https://www.linkedin.com/in/dylanconroy/

Mid-sized and independent agencies frequently face high operational barriers when attempting to access tier-one programmatic media buying infrastructure.Christoph Berg, CEO and Founder of MINT Square, breaks down how programmatic DSP reseller models provide independent agencies with low-barrier access to enterprise platforms such as The Trade Desk, Adform, and Active Agent.Key topics covered include:Bypassing enterprise spend minimums to access top-tier Demand-Side Platforms.Evaluating why client budgets are shifting from major holding networks to agile indie agencies.Navigating European expansion and maintaining simple GDPR compliance across borders.Deploying agentic AI trading models to automate real-time media buying.Building custom adtech workflows using large language models without dedicated coding teams.Christoph Berg is the CEO and Founder of MINT Square GmbH, a programmatic infrastructure provider helping European independent agencies scale their media capabilities.Connect with Christoph:Follow Christoph Berg on LinkedIn: https://www.linkedin.com/in/christophberg/Explore MINT Square: https://mint-square.com/Simplify Paid Social with Strike Social: https://strikesocial.com/guaranteed-paid-social-media-ads-outcomes/Connect with Host Dylan Conroy: https://www.linkedin.com/in/dylanconroy/

Enterprise marketing and lifecycle engineering teams often run into campaign execution bottlenecks and privacy constraints when attempting to scale multi-channel customer journeys.Spencer Burke, Senior Vice President of Growth at Braze, breaks down how to embed agentic AI and customizable Large Language Models into automated lifecycle platforms.Key tactical themes covered:Transitioning from static recommendation blocks to real-time, LLM-generated product synthesis.Using in-product AI assistants (Operator) to process complex customer journey configurations.Preserving corporate privacy standards through flexible "Bring Your Own LLM" cloud integrations.Designing interactive B2B event marketing campaigns that generate crowdsourced content streams.Spencer Burke is the Senior Vice President of Growth at Braze, overseeing global commercial expansion, enterprise go-to-market strategies, and lifecycle technology integrations.Connect with our guest:Follow Spencer Burke on LinkedIn: https://www.linkedin.com/in/spencertburke/Explore Braze: https://www.braze.com/Simplify Paid Social with Strike Social: https://strikesocial.com/guaranteed-paid-social-media-ads-outcomes/Connect with Host Dylan Conroy: https://www.linkedin.com/in/dylanconroy/

Vous voulez réagir ? Appelez-le 01.80.20.39.21 (numéro non surtaxé) ou rendez-vous sur les réseaux sociaux d'Europe 1 pour livrer votre opinion et débattre sur grandes thématiques développées dans l'émission du jour.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

In this episode of Best in Fest, host Leslie LaPage brings together an extraordinary panel of award-winning directors, producers, cinematographers, and film professionals from around the world to reveal how they built successful careers in filmmaking—and what aspiring filmmakers need to know to do the same.From self-taught directors to internationally acclaimed producers, these guests share honest stories about rejection, persistence, networking, film school, mentorship, funding, and finding your place in one of the world's most competitive industries.In this episode, you'll learn:• How successful filmmakers got their first break• Is film school worth it—or can you succeed without it?• The importance of networking and building creative relationships• How producers, directors, and cinematographers build lasting careers• What award-winning filmmakers wish they knew when they started• How to overcome rejection and keep creating• Why storytelling matters more than expensive equipment• Advice for women working in the film industry• How international co-productions and film festivals open career opportunities• The mindset required to survive—and thrive—in independent filmmakingFeaturing insights from acclaimed filmmakers whose work has premiered at Cannes, Berlinale, Venice, and major international film festivals, this conversation offers practical advice for filmmakers, film students, writers, producers, actors, cinematographers, and anyone dreaming of a career in movies.Whether you're making your first short film, pitching your first feature, or looking to grow your filmmaking career, this episode is packed with real-world lessons from professionals who've done it.Subscribe to Best in Fest for more conversations with award-winning filmmakers, festival directors, screenwriters, actors, producers, and industry leaders from around the globe.

Bonjour! In this episode, Shelby and Laura react to 79th annual Cannes Film Festival. Laura spills all the behind the scenes tea as an employee at the American Pavilion within Cannes's international village. Laura ranks the 15 movies she saw, identifies the most highly anticipated films of the festival, and shares how it felt to walk the Cannes red carpet! She also describes the fashion and luxurious aesthetic of the French Riviera.Check out our podcast episodes reviewing the 2025 and the 2024 Cannes Film Festivals!To stay up to date on all things SWW: Follow @SistersWhoWatch on all social media channels (⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠LinkedIn⁠⁠⁠⁠⁠⁠⁠) Subscribe to our ⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠ channel. Check out our ⁠⁠⁠⁠⁠⁠⁠website⁠⁠⁠⁠⁠⁠⁠ and fill out the contact information form. What should we watch next? Email us at ⁠⁠⁠⁠⁠⁠⁠sisterswhowatch@gmail.com⁠⁠⁠⁠⁠⁠⁠ or DM us on ⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠ with your suggestions. Thank you for listening and we appreciate your support! Please rate, subscribe, download, share, and leave us a review :)

B2B marketing isn't playing a different game. It's playing the same game on hard mode.In this episode, we're joined by Ty Heath, Global Director of Thought Leadership Go-to-Market at LinkedIn and co-founder of the B2B Institute.Fresh off serving as Jury President for the Creative B2B Lions at Cannes, Ty shares what separated the best work from the rest—and why B2B creativity is entering a new era.We discuss:What won at Cannes B2B LionsWhy B2B creativity has maturedThe role of emotion in B2BBuying committees and "viability"Why ecosystems beat campaignsThe origin story of the B2B InstituteLong-term thinking inside LinkedInWhy B2B marketers are playing the game on "hard mode"Whether you work in B2B, B2C, media, or brand strategy, this conversation offers practical lessons on creativity, leadership and marketing effectiveness.Chapters:00:00 - Welcome Back, Tyronna Heath00:38 - Tyronna's New Role at LinkedIn01:11 - Winning an Effie for “Only on LinkedIn”02:58 - Becoming Jury President for the Creative B2B Lions05:24 - Reviewing 355 Cannes Entries07:20 - Has B2B Creativity Finally Matured?09:14 - What Effective B2B Creativity Looks Like12:00 - Why the Best Ideas Can Be Explained in One Sentence13:24 - What Is Still Missing from B2B Creative?16:01 - Why Ecosystems Can Be More Powerful Than Campaigns18:09 - The Role of Emotion in B2B Decision-Making18:23 - Cannes as a B2B Brand Experience21:37 - The Origin Story of the B2B Institute25:25 - How the B2B Institute Built Its Influence28:05 - Thought Leadership and Betting on What Won't Change31:09 - Human Behaviour as the Enduring Marketing Truth32:43 - Where B2B Creativity Goes Next34:15 - Why B2B Marketing Is “Hard Mode”37:07 - LinkedIn's Long-Term B2B Playbook38:01 - Building Authority, Credibility and Confidence39:10 - The B2B Institute as a Marketing Cheat Code40:05 - Where to Follow Tyronna and the B2B Institute

durée : 00:04:28 - Les Matins de France Culture - La 79e édition du Festival de Cannes s'ouvre ce mardi. L'Île-de-France est de plus en plus prisée par les productions pour les tournages de films. Le long-métrage d'ouverture présenté ce soir, "La Vénus électrique", a par exemple été tourné dans les décors extérieurs de TSF, à Maisoncelles-en-Brie. - équipe : La Rédaction de France Culture, Caroline Bennetot, Éric Chaverou Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Buongiorno! Setzt euch dazu, wir fahren heute bis nach Cannes. Das haben wir zumindest so manifestiert und geben Vollgas bei Hosennaht! Oder so. Ihr wisst dit doch schon!Für Bonusfolgen, Videofolgen, Early Access und viele weitere tolle Dinge, supportet uns gern auf Patreon: https://www.patreon.com/c/gaestelistegeisterbahn Hosted on Acast. See acast.com/privacy for more information.

Many enterprise brand strategies face dropping engagement rates because they allocate budgets through disruptive paid networks that modern digital consumers systematically tune out.Josh Rosenberg, co-founder and CEO of Day One Agency, breaks down how to construct high-yield earned media strategies by balancing core storytelling with targeted community tracking.He shares his operational playbook for using internal data vaults to monitor internet trends, running short flash promotions to validate memes safely, and partnering with niche independent Substack curators to capture trusted audience authority.Key tactical themes covered:Transitioning expensive paid media spend into unfragmented organic sharing pipelines.Utilizing specialized data vaults to track long-term consumer communication patterns.Running short flash validation loops to de-risk full campaign budgets.Tracking how Gen Alpha media habits influence millennial family spending choices.Partnering with independent newsletter networks to increase long-term brand authority.Josh Rosenberg is the Co-Founder and CEO of Day One Agency, directing integrated public relations, earned creativity frameworks, and cross-channel marketing systems for dominant global enterprises.Connect with your guest:Follow Josh Rosenberg on LinkedIn: https://www.linkedin.com/in/jzrosenberg/Explore Day One Agency: https://d1a.com/Simplify Paid Social with Strike Social: https://strikesocial.com/guaranteed-paid-social-media-ads-outcomes/Connect with Host Dylan Conroy: https://www.linkedin.com/in/dylanconroy/

Recorded live at Cannes, this episode explores the shift from surface-level ad efficiency to true business effectiveness in a hyper-fragmented media landscape. VaynerX's Jon Morgenstern delivers a masterclass on navigating the creator economy, leveraging YouTube's cross-screen dominance, and using common-sense attribution to cut wasteful ad spend without harming the bottom line. Key Highlights

Sports media host and "Casuals" podcast creator Katie Nolan joined Mixed Signals live at Cannes to talk about navigating two decades of upheaval in sports media. Max and Ben ask Katie why she turned down gambling advertising when it was everywhere, how politics keeps inserting itself into sports whether she wants it to or not, and whether the window that opened for women in sports media is closing again. They also get into call-in radio, hockey's underrated chaos, and what it took for her to become a Jeopardy! champion. Sign up for Semafor Media's Sunday newsletter: https://www.semafor.com/newsletters/media  For more from Think with Google, check out ThinkwithGoogle.com. Find us on X: @semaforben, @maxwelltani If you have a tip or a comment, please email us mixedsignals@semafor.com

REDIFF - Tandis que Sylvie Tellier décrit son séjour à Cannes, AZ ne peut pas s'empêcher d'exprimer son mécontentement... Fous rires, réponses inattendues, nouvelles rencontres, redécouvrez cet été les meilleurs moments de cette saison 2025-2026 !Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Chalene has a Travis Kelce wedding update, a personal Travis Kelce story she's mildly embarrassed about, and a correction from Wednesday's episode before getting into a lot. The Siders case in Ohio just got a lot more complicated. Gary Sr. collapsed on his way to court, got released on a recognizance bond, and his attorneys filed two major legal motions on the same day. Chalene walks through what that could mean and why people are raising eyebrows at the timing. Then there's the Turpin family, another case of children isolated for years inside what looked, from the outside, like a completely normal home. Chalene talks about why that one is actually the scarier story, and what it says about how these things stay hidden for so long. Two singers are in the news this week. Adele is stepping away from performing, and she has a reason that is hard to argue with. And Ariana Grande has postponed tour dates, and Chalene does not think it is for the reason everyone assumes. Then there is a harder conversation about the platforms giving massive audiences to people who are clearly in crisis, what responsibility looks like there, and what Chalene knows from her own experience about how long it can take to even recognize there is a problem. She is recording from Cannes, France, and yes, you will hear the mopeds. Go Beyond The Podcast Join Chalene on her private podcast

Phoebe Berman's Gonna Lose It out NOW: https://sites.prh.com/phoebe-bermans-gonna-lose-it SUBSCRIBE TO THE BNC CHANNEL: https://bit.ly/45Pspyl  Ad Free & Bonus Episodes: https://bit.ly/3OZxwpr This week, Brooke and Connor talk about traveling in luxury. From business meetings in Cannes, to sleeping with a bat in the Dolomites, and partying like it's the Jersey Shore in Ibiza, there was no shortage of stories from Connor's 3 week Euro trip! Plus, they reveal some hateful interactions they've had recently and what it's like to get back into the gym. Join our Facebook page: https://www.facebook.com/groups/5356639204457124/  Right now, DripDrop is offering podcast listeners 20% off your first order. Go to dripdrop.com and use promo code BNC.  Download Cash App Today: https://capl.onelink.me/vFut/5vj8zukj #CashAppPod Cash App is a financial services platform, not a bank. Banking services provided by Cash App's bank partner(s). Prepaid debit cards issued by Sutton Bank, Member FDIC. Cash App Visa® Debit Flex Cards issued by Sutton Bank, Member FDIC, and The Bancorp Bank, N.A., pursuant to a license from Visa U.S.A. Inc. See terms and conditions for the Sutton prepaid card, Sutton debit flex card, and Bancorp debit flex card. Cash App Green features, Savings, Direct deposit, Round ups, Overdraft coverage and Discounts provided by Cash App, a Block, Inc. brand. Visit cash.app/legal/podcast for full disclosures. Shop SKIMS Cotton, and all of my favorite pieces, at https://skims.com/bnc Get a full meal plus premium chicken bites for just $7, only at SONIC. Live Free, Eat SONIC. Our listeners can buy one pair of glasses and get 20% off any additional pairs at WarbyParker.com/bnc  — and using our link helps support the show. #WarbyParker #ad Check out https://www.squarespace.com/bandc  to save 10% off your first purchase of a website or domain using code [COUPON CODE].” Language can be slightly modified to match tone. B+C IG: https://www.instagram.com/bncmap/ B+C Twitter: https://twitter.com/bncmap TMG Studios YouTube: https://www.youtube.com/tinymeatgang TMG Studios IG: https://www.instagram.com/realtmgstudios/ TMG Studios Twitter: https://twitter.com/realtmgstudios BROOKE https://www.instagram.com/brookeaverick https://twitter.com/ladyefron https://www.tiktok.com/@ladyefron  CONNOR https://www.instagram.com/fibula/ https://twitter.com/fibulaa https://www.tiktok.com/@fibulaa Hosted by Brooke Averick & Connor Wood, Created by TMG Studios, Brooke Averick & Connor Wood, and Produced by TMG Studios, Brooke Averick & Connor Wood. Chapters: 00:00 Intro 00:30 How ya been, girl? 03:59 The scoop on Cannes 07:21 Chaos in the Dolomites 13:03 Mac Demarco in Milan 15:50 Falling in love with Dancing 17:53 Feeling like Dua in Copenhagen 18:53 Drip Drop 20:48 Cash App 22:57 SKIMS 23:49 That bill is not my concern  25:05 Cosplaying office life 27:27 Manifestation 32:42 Living in a hole in NYC 35:56 Puking at the gym 39:19 Sonic 40:10 Warby Parker 41:34 Square Space 42:50 Travel Plans 44:07 Getting Shushed 50:07 Hateful People 55:19 Laps at the Equinox 59:18 250 recap 1:01:02 A perfect day 1:04:08 LA apartments & a limit on pets 1:07:49 See you in bonus!!! Learn more about your ad choices. Visit megaphone.fm/adchoices

In this short episode of The GaryVee Audio Experience, I answer a few impromptu questions at Cannes about how to grow multiple brands at the same time, why the experts telling you to niche down are wrong, and which platform is most underrated right now. I share why being multidimensional beats being one-dimensional over the long term, why you have to have the humility to take fewer views on individual pieces, and how AI-assisted editing makes 1,000 pieces of content a day possible.You'll learn about:• Why Multidimensional Beats One-Dimensional• The Humility to Get Fewer Views per Piece• How 1,000 Pieces a Day Actually Works• AI Tools for Content Editing• Snapchat Spotlight as the Next Underrated Platform

In this episode of The GaryVee Audio Experience, I sit down with Laura Desmond, CMO of Adobe, at Cannes 2026 for a Marketing for the Now conversation. We get into why experience maxing — IRL, in real life — is mattering more than ever, why VaynerX bet the farm on becoming an experiential agency, and why AI tools will get commoditized at scale exactly the way big data did. I share the Photoshop history lesson every fearful creative needs to hear, why the human matters more in an AI world, not less, and the jungle-gym career advice every young marketer should be writing down.You'll learn about:• Why Experience Maxing (IRL) Is Mattering More Than Ever• Why the Human Variable Matters More, Not Less• The Humility to Take a Step Backwards

On today's podcast David, Jason and John talk about David's trip to Cannes, last night's Jackass premiere and the fight David got into with Natalie on the red carpet. Also, Jason confronts John about the last podcast, David talks about his new business vlog including meeting with Dhar Mann and a stunt he recently shot with Steve-O. Also, the art of small talk and what goes on in everybody's head when they're at a party. And a little later, Jason's awkward encounter at 7-11, making $10 Million a month on Facebook and the insane IPO that David missed out on.  Jason's latest All Good Things podcast here: https://open.spotify.com/episode/39DmlUJNVa6dR6cxT7MvLp?si=4yIEnO8-RfuVMFQZseRLeQ Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.