“I love what advertising affords and supports content and storytelling,” but the current “incarnation of the market” has just been between publishers and advertisers and forgetting the viewer, Marchese says.

“Joe as a person who sells advertising is bullish on it, as a content creator we want it, to support it. But as a viewer, the value isn’t there,” he adds in this interview with Beet.TV at Beet Retreat in the City: Television Advances as Consumers Choose, which took place at the Luce Auditorium at Meredith Corporation in Manhattan.

Marchese, who is President, Advertising Revenue at Fox Network Group, sees ROI on TV ad spending as a two-step process.

“The opportunity to get someone’s attention, that’s step one of an ROI process. Step two is what are showing them and what are you telling them,” he says in response to a question from interviewer Ashley J. Swartz, CEO of Furious Corp., which specializes in linear TV and video yield optimization.

It’s the responsibility of media companies to offer marketers “the best opportunity to talk to people, to have their attention,” Marchese says. “And so we build products that optimize for the best opportunity to talk to people.”

For the second part, “we have to be collaborative” or else the viewer loses out.

As the founder of engagement-advertising pioneer true[X], which he sold to 21st Century Fox, Marchese has a rather simple view of the world. “There’s twenty four hours in a day, people spend only so much time with media, people spend only so much time with ad-supported media, people spend only so much of that time with advertising actually paying attention to messages,” he explains. “Your greatest share of that possible, in whatever format, it could be out-of-home could be television, could be digital, your greatest share of people who you want to spend time with your message, that’s what you’re optimizing for as a marketer.”

He’s not fixated on marketing funnel parameters.

“I don’t care what part of the funnel you’re in. If you’re just learning about a product or you’re ready to buy a product, everything comes down to did you get someone’s attention.”

Asked by Swartz for a 36-month prognosis for the TV industry, Marchese narrows things down to two types of content: on-demand and live. The first will “require very different ad formats and systems” including frequency reduction and higher impact “because in the on-demand environment, people just learn that this is the way they should watch.”

Live programming “will hold advertising in a much better way but we need to be smarter about what we do with it.”

At the Cannes Lions International Festival of Creativity later this month, Marchese will participate in a leadership forum on the Future of Television presented by FreeWheel, in partnership with Beet.TV, at 10 a.m. on Tuesday June 19. Check back to this post for the agenda and registration.

This video is part of The Road to Cannes, a preview of topics to be addressed at Cannes Lions. The series is presented by the FreeWheel Council for Premium Video. For more videos from the series, please visit this page. FreeWheel is a Comcast company.

There is a parallel here to the 2018 Cannes Lions International Festival of Creativity. While there is a category for Brand Experience & Activation, there isn’t one for “branded” entertainment, notes Ari Halper, one of 20 judges in this year’s Entertainment category.

So Entertainment entries have to go “above and beyond what we typically considered to be entertaining content that was on behalf of a brand and rise to the level of entertainment at large,” the CCO of FCB New York explains in this interview with Beet.TV.

“We need to create experiences for people and content for people that rises to that level, that caliber of entertainment to the point where they want to engage with it regardless of knowing that it may be on behalf of a brand.”

Halper cites as an example work FCB is doing “with the top people at Xbox” to develop a video game for teenagers that “needs to be at the level of other video games that they play out there.” The goal is to make the game experience itself “organic to the message that we’re trying to get across to the teens.”

The same concept applies to long-form content and short films, “where the brand is while linked appropriately to what you’re bringing forth to the consumer is not so overtly mentioned to the point where the consumer repels from it because they feel like they’re being advertised to.”

Halper invokes FCB Global CCO Susan Credle’s 2017 Tweet about storytelling being over “when the world is perfect” in discussing the short attention span of consumers and their ability to “skip everything or fast forward through it on their DVR’s.” Thus the onus on great storytelling has never been higher “because it’s more pervasive than ever.”

Halper also believes “we need to tell fresher stories in new mediums.” Although lots of people equate film with television, the overwhelming majority of video content is online video. “Whether or not you’re telling a narrative in that space or whether you’re telling a narrative on the television doesn’t necessarily really matter.”

Like others in the advertising industry, Halper notes the limitations of creative versioning to achieve one-to-one messaging—one being manpower. This is where data and automation come into play.

“Knowing that there’s only twenty four hours in the day, it’s incredibly important to be able to tap into data to mine for this ability to reach people on this more customized basis, to have this versioning and make things more programmatic so that it’s automated.”

This video is part of The Road to Cannes, a preview of topics to be addressed at Cannes Lions. The series is presented by the FreeWheel Council for Premium Video. For more videos from the series, please visit this page. FreeWheel is a Comcast company.

Amid the TV Upfront negotiating season, consumers are embracing streaming video options on big and small screens. As a result, “technology is definitely moving the conversation from addressable television, which we’re still talking about, to OTT,” Cohen, who is Magna’s North American President, says in this interview with Beet.TV.

“We see it as the big, beautiful images that linear television delivers with the added benefit of interactivity, the ability to kind of lean in.”

In addition, Nielsen is measuring OTT viewing “very similarly to the way we can look at Nielsen across linear television, so it is an apples-to-apples comparison.”

When advertising attribution metrics are added to the mix, “we are very, very pleased about the way that measurement has gone in the addressable space.”

Advertisers in many categories are taking advantage of OTT avails, but three in particular have done so more than others, according to Cohen. Those are automotive—one example being interactive ads that let viewers “see and build a car on a big, beautiful screen” before going to a showroom for a test drive, plus consumer packaged-goods and travel. “It’s across the board,” says Cohen.

He believes OTT today offers “a much more palatable kind of ad to edit ratio if you will for consumers than linear television. Far fewer ads, far fewer pods. You actually get the content that you’re looking to consume without a lot of ad interruptions.”

Cohen cites effectiveness studies that Magna has done and notes that some of OTT’s attributes have not been lost on traditional TV providers, some of whom are “taking a page out of that playbook to reduce the ad loads on their platforms as well.”

This video is part of The Road to Cannes, a preview of topics to be addressed at Cannes Lions. The series is presented by the FreeWheel Council for Premium Video. For more videos from the series, please visit this page. FreeWheel is a Comcast company.

“We’ve sort of gotten away from the core essence of the reason for Cannes, which is creativity. It’s a creativity festival. It’s about celebrating the work.”

Ray welcomes an anticipated move back to brand storytelling, complemented by data and technology that when combined make the end result much more compelling and engaging.

“I’m really looking forward to how can we think much more about the technology or the data or the capabilities to allow us to create more personalized, connected storytelling that then puts the relationship that consumers have with brands much more on their terms,” he says.

Ray will be a featured speaker on June 6 at Beet Retreat in the City. Titled Television Advances as Consumers Choose: The Beet.TV Town Hall, the event will bring together leaders in the advertising and media industry for a full day of conversation and interaction.”

This video is part of The Road to Cannes, a preview of topics to be addressed at Cannes Lions. The series is presented by the FreeWheel Council for Premium Video. For more videos from the series, please visit this page. FreeWheel is a Comcast company.

“We do talk as an industry a lot about what it means to have diverse kinds of thinking in our organizations. But the actual action of bringing people with diverse thought to the table is really what I’m hoping comes to light,” Rossi says in this interview with Beet.TV.

On Thursday June 21, Rossi will take to the Palais 1 dais along with two beneficiaries of Creative Spirit so they can explain how they were recruited and hired into positions that leverage their oft-hidden talents, and how they approach briefs and challenges in a different way. The session is titled How Different Can Change The World.

“There are about 10 million people in the States alone who have an intellectual and developmental disability who are in the hiring age frame. And those people by and large are not employed,” says Rossi, placing the jobless rate at 85%. “We know that neuro-diverse thinkers have the opportunity to help companies grow their return three and four fold.”

Even though progress has been made in diversifying the makeup of the advertising and marketing world, the major exception has been people with intellectual or developmental disabilities, according to Rossi.

“So it’s been a passion point for me to reality think about neuro diversity, not just diversity as a topic, because we’re in the thinking business. When I look at folks with intellectual and developmental disabilities, they really do bring a different strain of creativity to our business.”

On the heels of a pilot program in Australia, Creative Spirit was unveiled in the U.S. at Advertising Week 2017. On stage were young adults in a number of disciplines—from coders to art directors, writers to receptionists—who had not had the opportunity interview for advertising or marketing jobs.

“From that moment, we received a groundswell from both clients and agencies around how I can bring that creative thinking to my organization,” Rossi says. “I set out with some partners on a mission to really bring that kind of neuro diversity to the marketing and advertising business, which is now expanding beyond to technology and other organizations.”

She’s hoping the conversation in Cannes is eclipsed by action.

“We see more sponsors and more organizations signing on and I also hope that our candidates have an opportunity to have the main stage for once.”

This video is part of The Road to Cannes, a preview of topics to be addressed at Cannes Lions. The series is presented by the FreeWheel Council for Premium Video. For more videos from the series, please visit this page. FreeWheel is a Comcast company.

This year at Cannes, the Palais is exactly where Warren will be. “Like, I literally willed it into existence. It is not a beachside conversation. It needs to be the big stage,” Omnicom’s SVP, Chief Diversity Officer says in this interview with Beet.TV. “I’m super excited.”

Warren will join Edward Enninful, Editor-in-Chief of British Vogue, HP Chief Marketing Officer Antonio Lucio and British actress Thandie Newton in a 45-minute session titled Diversity—a Values Issue and Business Imperative—Requires Bold Action, hosted by Omnicom and HP.

A description of the session reads: “In order for the creative industry to remain shapers of culture and society, it’s critical that we move beyond theory and talk by taking bold action. Research proves diversity initiatives are more effective if they have support at the top. It also requires measurement to hold ourselves accountable.”

Beyond the metrics and statistics to be featured at Cannes, Warren has a fairly simple rationale for determining the value of hiring diversity. “What I say is, ‘What’s the value of sameness?’ That’s how I respond back. Because no one can answer that. No one wants to and has an answer for what sameness has done for your business.”

In a “constricting industry” such as advertising, “there’s other companies that are providing more creative solutions because they’re infusing equity and diversity in the hiring process and bringing in great minds and doing it in a way that’s equitable. That’s how you answer that.”

She has company in her viewpoint in the person of Merck CEO Ken Frazier, who is often asked about the business case for diversity. “His response is, make the business case of sameness for me. It always gets people because you really find it hard and you struggle to think of the things that come out of being the same.

“If you have the same ideas, the same people, the same thought process, your company can do well but it won’t evolve,” Warren says.

While mentoring has always been important to Warren, she considers herself a coach. And she expects those who she is coaching to be coaching her. “So I stay on top of things because I’m not just providing responsibilities and answers to things that I’ve overcome so they can jump over the land mines that maybe I stepped on in my career.”

This video is part of The Road to Cannes, a preview of topics to be addressed at Cannes Lions. The series is presented by the FreeWheel Council for Premium Video. For more videos from the series, please visit this page. FreeWheel is a Comcast company.

“I think we’re going to ultimately end up negotiating live TV, because those are the moments that have the greatest attention. They’re wrapped around cultural moments that we want to associate brands with,” Ray explains in this interview with Beet.TV.

He bases his “hypothesis” on the nature of non-live programming “Most of that content is very low rated, it’s time shifted in terms of how people are viewing it, and therefore our ability to manage reach, frequency, audience delivery in a programmatic or audience targeted way is absolutely the future.”

Ray will be a featured speaker on June 6 at Beet Retreat in the City. Titled Television Advances as Consumers Choose: The Beet.TV Town Hall, the event will bring together leaders in the advertising and media industry for a full day of conversation and interaction.

Another trend he sees continuing unabated is the desire for marketers to “own the ID” of their customers using personally identifiable information, not data proxies. He cites Amazon as an example, noting that every single user has a registered ID, “you have your address that you’ve given, there’s a credit card number, there’s no way that you can transact without them having some level of personally identifiable information.

“And so I think every single client is trying to move towards owning and identifying to the best that they can their customers.”

Dentsu is one of the youngest of the major agency networks and its initial holding, media agency Carat, was known for its strength in consumer-related analytics when it came to the U.S. from Europe in the late 1990’s and began to acquire media-buying services. Dentsu’s 2016 acquisition of a majority stake in marketing agency Merkle had the effect of “transforming the organization around people,” says Ray. “What Merkle brings is 30 years of dealing with consumer and understanding consumers through that data.”

Combined with Dentsu’s existing data and analytics assets, Merkle has helped to create “an incredibly robust data cloud that allows us to truly understand people. And critically, doing that based on PII data, name address email address. Not a projection of someone or a proxy of someone based on a cookie ID or device ID or panel ID but actually an authenticated deterministic ID.”

A couple of years ago, Dentsu agencies recommended to clients that a small percentage of cable upfront dollars should be put aside for programmatic linear television. “For those clients that did that, they actually learned about what networks were working or weren’t working, and that was leveraged for the next TV Upfronts,” Ray recalls.

“For other clients, they saw such success with that they doubled their investment. Maybe ten percent to twenty percent programmatic. And this year, we’ve got a handful of clients that have almost a third of their cable dollars that are being spent in some form of addressable or audience targeted television. I think that’s going to continue.”

This video is part of The Road to Cannes, a preview of topics to be addressed at Cannes Lions. The series is presented by the FreeWheel Council for Premium Video. For more videos from the series, please visit this page. FreeWheel is a Comcast company.

A year ago, Marriott itself comprised 19 different brands. Then came its acquisition of Starwood Hotels and the combined brand tally now exceeds 30.

“Bringing those brand perception levels higher to actually drive the right consumers into the purchase journey is key,” Desai says in this interview with Beet.TV. “So we’re helping them sort of reinvent that purchase journey to make sure it’s connected from the top to the bottom.”

Among other results for these efforts, Marriott and MEC picked up Gold and Silver Creative Data Lions at this year’s Cannes International Festival of Creativity. The awards, given to M Live—Marriott International’s global marketing real-time center—were in the categories of Social Data and Use of Real-time Data.

M Live is the touch point across all 30 Marriott brands used to identify pop culture trends and create real-time content directly with on-property guests on social channels based on geo-fencing technology.

One benefit of working in the hotel category is that unlike insurance or packaged goods, which are often pitched as necessities, “it’s something you want to do. It’s aspirational. You want to go on vacation,” says Desai. “We have that to our advantage.”

As a part of GroupM, MEC shares its digital brand safety standards and works with Marriott and other clients to build brand safety guidelines for global implementation “to make sure that our ads aren’t being seen where they shouldn’t be seen.”

While he acknowledges that working with walled gardens like Facebook and Google “is tough because they see a lot of our media spend,” Desai says maintaining close partnerships with digital and traditional media providers produces learnings that can be applied “across the board.”

This video is part of a Beet.TV leadership series produced at the ANA Masters of Marketing Conference, 2017. The series is presented by FreeWheel. Please find more videos from Orlando, visit this page.