| Title | SOUVENIRS DE PARIS |
| Brand | CENTRE POMPIDOU |
| Product/Service | CENTRE POMPIDOU |
| Category |
A04. Travel, Leisure, Retail, Restaurants & Fast Food Chains |
|
Entrant
|
MARCEL Paris, FRANCE
|
|
Idea Creation
|
MARCEL Paris, FRANCE
|
|
Media Placement
|
BLUE 449 Paris, FRANCE
|
|
Production
|
ARTISANS DU FILM Paris, FRANCE
|
|
Production 2
|
ADF L’ATELIER Paris, FRANCE
|
|
Production 3
|
PRODIGIOUS Paris, FRANCE
|
|
Additional Company
|
CENTRE POMPIDOU Paris, FRANCE
|
|
Additional Company 2
|
MSLGROUP Paris, FRANCE
|
Credits
| Benoit Parayre |
Centre Pompidou |
Director of Communications and Public Relations |
| Catherine Guillou |
Centre Pompidou |
Director of Audience engagement and Education |
| Marc-Antoine Chaumien |
Centre Pompidou |
Assistant Director of Communications and Public Relations |
| Cécile Venot |
Centre Pompidou |
Chief of Audience Engagement |
| Paul Mourey |
Centre Pompidou |
Head of digital |
| Elodie Vincent |
Centre Pompidou |
Chief Press Officer |
| Aurélie Jourde |
Centre Pompidou |
Assistant Chief of Audience Engagement |
| Isabelle Danto |
Centre Pompidou |
Video Production Manager |
| Chloé Tournès |
Centre Pompidou |
Social Media Manager |
| Catherine Legoux |
Centre Pompidou |
Executive Assistant |
| Agathe Bousquet |
Publicis France |
President Publicis France |
| Pascal Nessim |
Marcel |
CEO |
| Charles Georges-Picot |
Marcel |
CEO |
| Anne de Maupeou |
Marcel |
CCO Publicis France |
| Youri Guerassimov |
Marcel |
Executive Creative Director |
| Gaëtan du Peloux |
Marcel |
Executive Creative Director |
| Antonin Jacquot |
Marcel |
Copywriter |
| Clément Sechet |
Marcel |
Art Director |
| Aurélie Halbmeyer |
Marcel |
Art Director |
| Arnaud Raquin |
Marcel |
Motion |
| Blandine Mercier |
Marcel |
Partner |
| Noëlla Neffati |
Marcel |
Account Manager |
| Claire Sioufi |
Marcel |
Project Manager |
| Jeanne Philippe |
Marcel |
Project Manager |
| Nicolas Levy |
Marcel |
CSO & Managing Partner |
| Julien Petit |
Marcel |
Social Media Manager |
| Romain Jouffriault |
Marcel |
Social Media Manager |
| Catherine Helfenstein |
Publicis Conseil |
PR |
| Leila Touiti-Rose |
Marcel |
PR |
| Bethany Catterson |
Marcel |
Linguistic Consultant |
| Paul Vanlerberghe |
Marcel |
Front-End Developer |
| Edouard Danesse |
Marcel |
Technical Project Manager |
| Guillaume Talvas |
Artisans du Film |
Director |
| Valéry du Peloux |
Artisans du Film |
Producer |
| Nils Runiet |
Artisans du Film |
DOP |
| Niels Benoist |
Artisans du Film |
DOP |
| Pierre Bernier |
Artisans du Film |
Camera |
| Frédéric Ouziel |
Artisans du Film |
Camera |
| Valentin Verrier |
Artisans du Film |
Sound |
| Nadia Moussa |
Artisans du Film |
First Assistant Director |
| Laura Fague Martin |
Artisans du Film |
Production Coordinator |
| Maxime Maujan |
Artisans du Film |
Camera Assistant |
| Guillaume Talvas |
Artisans du Film |
Editing |
| Cécile Valente |
Artisans du Film |
Editing Assistant |
| Thibaud Colignon |
ADF L’atelier |
Post-Production Supervisor |
| Charli Masson |
ADF L' ATELIER |
Sound Mixer |
| Johan Tür |
ADF L’atelier |
Colorist |
| David Makima |
ADF L' ATELIER |
Music |
| Suzanne Pereira Dias |
Marcel |
Producer |
| Nathalie Turmel |
Marcel |
Producer |
| Mathieu Andrieu |
Marcel |
Model Maker |
| Aurélie Halbmeyer |
Marcel |
Photographer |
| David Verduci |
Prodigious |
Retoucher |
| Pascal Crifo |
Blue 449 |
CEO |
| Julie Emberger |
Blue 449 |
Head of Digital trading |
| Théo Ravel de Fereirolles |
Blue 449 |
Social Media Strategist |
| Fouad Hachani |
Blue 449 |
Head of Brand Activation |
| Carmelle Basset-Chercot |
Blue 449 |
Endorsement & KOL |
| Clément Leonarduzzi |
MSL |
CEO Publicis Consultants |
Why is this work relevant for PR?
The whole campaign was conceived in the hope that the video of the happening would generate earned media : it was the only way for the Centre to really breakthrough.
Background
The brief was to increase the proportion of foreign tourists among the visitors. The Pompidou Centre is an exception in the landscape of major French museums: unlike other similar institutions such as the Louvre or Orsay, its share of foreign visitors is lower than its share of local visitors. In 2017, 3.37 million people visited the Centre: 40% are foreign tourists, and 60% are French. The ratio is almost the opposite for the other major museums in the capital, which have become must-see tourist destinations.
Describe the creative idea (20% of vote)
How can we attract foreign tourists to the Pompidou Centre when we have no reputation, no flagship work, no means, no legitimacy and no content ?
"Souvenirs de Paris" consisted in creating statuettes of the Centre, and selling them in the middle of the "real ones" to exaggerate the fame of the Centre... and thus convince the tourists of its unavoidable character.
Describe the PR strategy (30% of vote)
The campaign takes a shortcut to notoriety by assuming unstoppable signifiers of notoriety: the statuette and the street sellers. The street sellers are the true influencers of the campaign. But the happening itself is only a pretext.
This is why this campaign is, in fact, the Georges Pompidou Centre’s first branded film for the international market. It was produced, deliberately doubled with a broad French accent, and subtitled in more than 43 languages with this ambition. The film is the real long-term recruitment tool. The only one able to increase the number of foreign visitors, enough to achieve our objectives. It is the centrepiece of the campaign, which the Centre has pushed in PR, in anticipation of next season, to reach foreign tourists during their travel planning.
Describe the PR execution (20% of vote)
We produced 30 000 statues that were sold in 300 different small businesses and street sellers around the biggest monuments
The guerilla campaign was launched on September 1st 2018 then the brand content film was aired from November 15th to November 29th
List the results (30% of vote)
2 months after the film was launched, the campaign generated the following results:
A film watched by more than 6 million people on YouTube and Facebook, for a media purchase of €35,000. Top 5 countries: USA, Mexico, Canada, Argentina, France, having generated a considerable peak of traffic on the Pompidou Centre website from foreign Internet users (+321% over the film launch period).
TV spinoffs in many countries.
And above all, the results in terms of attendance that AFP attributes in particular to the campaign:
The Pompidou Centre, which houses one of the two most important collections of modern and contemporary art in the world, recorded an overall increase of +5% (+18% for its permanent collections) with 3.5 million visitors.
Observing that foreigners -- only 40% of visitors -- do not know it well enough, the first French museum of modern art launched a humorous video in autumn, which was very popular on the Internet.