Title | PITCHING FRENCH FILMS TO HOLLYWOOD |
Brand | ALLIANCE FRANÇAISE DE SINGAPOUR |
Product / Service | CINE-CLUB |
Category | A04. Online: Non-fiction |
Entrant | ALLIANCE FRANçAISE DE SINGAPOUR Singapore, SINGAPORE |
Idea Creation | OGILVY & MATHER SINGAPORE, SINGAPORE |
PR | OGILVY PUBLIC RELATIONS WORLDWIDE Singapore, SINGAPORE |
Production | JOINERY Los Angeles, USA |
Name | Company | Position |
---|---|---|
Eugene Cheong | Ogilvy & Mather Singapore | Chief Creative Officer |
Nicolas Courant | Ogilvy & Mather Singapore | Executive Creative Director |
Axel Grimald | Ogilvy & Mather Singapore | Creative Director |
Aritra Dutta | Ogilvy & Mather Singapore | Senior Copywriter |
David Stevanov | Ogilvy & Mather Singapore | Senior Art Director |
Kevin Wijaya | Ogilvy & Mather Singapore | Digital Art Director |
Carole Domange | Ogilvy & Mather Singapore | Global Group Account Director |
Alvin Chin | Ogilvy & Mather Singapore | Regional Head of creative Services |
James Brook-Partridge | Hogarth & Ogilvy Singapore | Head of Broadcast Production |
Justine Hazlett | Ogilvy & Mather Singapore | TV Producer |
Stephenie Lee | Hogarth & Ogilvy Singapore | Art Buyer |
Leon Lee | Hogarth & Ogilvy Singapore | Senior Editor |
Alex Grossman | Joinery | Director |
Gerard Cantor | Joinery | Managing Director |
Elliot Lucas | Joinery | Executive Producer |
Mark McCune | Joinery | Producer |
Ross Girard | Joinery | Head of Production |
Seamus Tierney | Joinery | Director of Photography |
Chelsea Oliver | Joinery | Art Director |
Charlie Zwick | Joinery | Editor |
Aaron Fitzgerald | Joinery | Additional Editorial |
Edward Flores | Joinery | Casting Director |
Elaine Ong | Miracle Factory | Digital Imaging Artist |
Dionne Chin | Miracle Factory | Executive Director |
Omar De Vera | Freeflow Productions | Senior Editor |
Cara Suplido | Freeflow Productions | Producer |
We pitched three films to Hollywood heavyweights. What they didn’t know is that these films were existing French cinema masterpieces. They rejected the pitches as they thought these ideas didn’t match their criteria of what can make a successful film.
We created a series of humorous videos that captured the cautious and negative reactions of these Hollywood professionals. These videos were shared
By demonstrating that you can make great films without following Hollywood formulas, this campaign helped change the perception of people who think Hollywood films are the ultimate form of cinema and showed them how French films offer a completely different cinematic experience. The campaign created lots of buzz in the social media and made the headline in the new channels like Hollywood Reporter, Vanity Fair, The Independent and The Times. Starting with the journalists, soon people across the world including Hollywood celebrities and other film professionals started discussing about the necessity for cultural diversity. In the end, the campaign actually attracted 43% more non-French people to book tickets for the French Cinema screenings.
We chose a captivating and entertaining way to promote French Films to a non-French audience who tend to prefer Hollywood blockbusters. To demonstrate that great French films don’t need to follow usual Hollywood formulas, we pitched three films to Hollywood heavyweights who didn’t know that these films were existing French cinema masterpieces. The cautious and negative reactions of these Hollywood professionals helped us to create a mini-series of humorous videos that captivated and connected with the non-French audience in a new way and opened their eyes to the need for cultural diversity and the need to watch great French films.
We needed to position French cinema as a very distinct cinema experience compared to Hollywood cinema. To do so, we decided to demonstrate that you can make great films without having to follow the Hollywood usual formulas and that’s all what French Cinema is about.