Saatchi & Saatchi Germany’s CCO on Her Cannes Lions Jury Experience, Brand Authenticity and Entertainment

“It is an honour to join,” says Lu, short for Luitgard Hagl. She is the chief creative officer (CCO) at Saatchi & Saatchi Germany and is part of the Entertainment jury at Cannes Lions this year. “Cannes means so much to all of us creatives,” she says with a radiant smile. “We are working towards it the whole year and the whole industry will be there, to set the standard, of what excellence and creativity means right now.”

Her excitement shows even through the video call. She laughs, “I know people on LinkedIn say ‘It’s a big honour bla bla bla’ but it really is that way. I started my career as a copywriter… Back then I would never have dreamed of being invited here.”

With the International Festival of Creativity approaching in June, Lu is busy watching the creative work in her category. “After that we have the second round, where we shortlist before the last judging period.”

Defining good work in Entertainment can be difficult, she says. “Entertainment can be so broad… But we have talked about this among the jury and think it’s important that it is still advertising something – and yet be truly entertaining at the core and all the way.” While aesthetics and storylines are important, at its core it should still be an advertisement, she says. “The work should still do its job.”

She explains that there have been some trends in the industry that she expects to see in the category. “There is a big movement towards nostalgia. Millennial creatives especially have a thing with the ‘90s,” she laughs again. “We have all noticed that our knees hurt and now we want our youth back.”

“Sometimes it works well when it fits the brand and the message,” she adds. What makes nostalgic projects relevant and successful also applies to emotional ones. “It has to feel authentic and still resonate with the target audience.”

“We have also seen a trend in the last two years away from the dramatic purpose-led project to some humour.” She says especially in a difficult political and economic climate it helps to have creative work that “makes you laugh and takes your mind off the hard day-to-day.”

Judging good creative work is all about gut feelings, she thinks. “No matter what category it is about, you can feel it in the room when people think something is great work. If you have been in the industry for a long time like us, you have seen a lot of work. A lot of good and a lot of bad stuff too. You just know something is good when everyone at the table goes quiet and gets emotional.” She admits with a smile that there is a sense of jealousy involved. “You think ‘Oh, I wish I would have made that.’”

Lu is excited not only to watch the different creative projects but also to have fruitful discussions with the rest of the jury. “This is what I am looking forward to the most. Having great chats with the whole jury and also disagreeing on stuff and discussing the work. We have such an amazing and diverse panel.” The international Entertainment jury has leaders from creative agencies, tech companies and streaming services. “You have so much experience in one room. And it’s great that we can give everything a fair chance and not only have a Eurocentric perspective on the work. I am excited about everyone bringing their perspectives and experiences.”