Danielle Hinde on Celebrating Musical Outliers and Disruptors at Cannes 2023

Danielle Hinde is the owner and executive producer at LA-based production company Doomsday Entertainment. The company has won two Grand Prix in the Entertainment Lions for Music category before, so who better to lead the jury in 2023 than Danielle?

Bringing with her the experience from winning the category and two decades overseeing groundbreaking music videos for the likes of Marvin Gaye, Childish Gambino, Tribe Called Quest, Katy Perry, J Lo and hundreds more, she will be at Cannes for the first time in person this year to judge the year’s best music content.

The Entertainment Lions for Music celebrate musical content that ‘creatively leverages’ an artist or platform to communicate with consumers, weighting its criteria at 20% strategy and insight; 30% creative idea; 30% craft & execution and 20% results. So, Danielle will be leading the jury and evaluating the work across all these points - with an eye especially on the “outliers and disruptors” that might compare to Doomsday’s own visceral winners from 2019 and 2022: Childish Gambino’s ‘This Is America’ and Residente’s ‘This Is Not America’.

To discuss her approach to judging this category and how she’s seen musical content evolve, Danielle sat down with LBB’s Ben Conway ahead of Cannes Lions 2023.

LBB> You’re not only a music video production expert, but a Cannes Lion Grand Prix winner too - what experiences and insights from these will you be bringing to the jury?

Danielle> We were very honoured to have won this category twice, once in 2019 and again in 2022, so to be asked to be the jury president of a category we hold near and dear was very humbling and exciting. Both of our projects that won were a visual gut punch and often controversial, so I wanted to bring that same ethos to this jury. I believe it’s important for filmmakers, especially when working with music, to comment on social injustices or the current state of the world. Music historically celebrates the outliers and disruptors and I love seeing films that honour that tradition. 

(Doomsday Entertainment's 2019 Grand Prix Winner: 'This Is America')

LBB> The Entertainment Lions for Music celebrate musical content that ‘creatively leverages’ an artist or platform to communicate with consumers. How have you seen musical content evolve from music videos to this new generation of branded music content? What innovations are set to impress in this year’s category?

Danielle> There are a lot of technological advances with AI and interactivity that allows fans to get closer to their favourite artists than ever before. Musicians and their original tracks also serve as a powerful tool to reach the younger generation with important messaging that helps combat climate change or injustices. And most of the time, brands are using artists and music to reach gen z to break through to their social media channels, whether through TikTok duets, choreography, etc.

LBB> How are you preparing yourself and your jury for the jury room this year?

Danielle> It’s definitely an endurance event, with a lot of incredible submissions. So we’re making sure we take a lot of care and time into viewing each piece and all their supporting materials.

LBB> What is it about the Entertainment Lions for Music category that really excites or interests you?

Danielle> Music videos are where filmmakers are truly able to flex creatively. We are often awarded more creative freedom than on other platforms so it’s exciting to see the various interpretations of music. Music videos often offer windows into different worlds and cultures that we wouldn’t ordinarily have access to, and it’s been an adventure viewing such incredible work from all over the world.

LBB> What are the current big debates within this specific category - or more generally across the industry - that you expect to see coming through in the judging?

Danielle> Whether a brand is truly genuine in its attempt to ‘do good’ or bring awareness to marginalised communities, or if they are just box ticking with contrived content.

LBB> Looking at Doomsday’s Grand Prix winner from last year ‘This Is Not America FT. Ibeyi’, what collaborations and creative partnerships on that project do you think made it so successful?

Danielle> I believe it was seen as a piece that was pushing culture forward and it made very relevant and poignant commentary. It had such a massive cultural impact as well with so many Latin communities using that song and our visuals as the backdrop for their own protests or struggles.

LBB> What issue or topic does the industry need to find more alignment and unity on? And how do you hope we will get there together?

Danielle> Honestly, it’s not allowing our creative to be dictated by fear. There is so much fear in every aspect of the industry, both at record labels and agencies/brands.  People are worried about taking a stand or saying anything that may rock the boat and it’s affecting the creativity and integrity of projects. A lot of the work these days feels safe and risk-averse. 

LBB> Cannes is also a time of celebration. What will you be celebrating this year?

Danielle> I will be celebrating my first time at Cannes! And taking my husband with me for our first vacation alone without our five-year-old.