Face to Face with... Guga Ketzer

Guga Ketzer, chief creative officer at Sao Paulo agency Loducca, is a juror on the Film category at this year's festival. Here he shares his thoughts on Brazilian creativity, the evolution of Film and the importance of seeing the bad as well as the good.

What do you most look forward to about the Cannes International Festival of Creativity?

Getting to see the world's best output over the last year. And the worst, too. Getting to check what went right is always a good thing. But so is checking where others went wrong. You can learn a lot from those. And of course being positively surprised by new ideas.

Do you feel that it’s been a good year in terms of creative output from the industry?

Every year we have a feeling that it hasn't been a good year. But then the festival comes around and we see that the industry has actually put out a lot of good stuff. The good stuff is in fact a smaller portion, but it's always been that way. The results are always good. There will be always awesome Lions.

How has Brazil performed creatively in the last 12 months?

Brazil has always been and will always be a world power when it comes to creativity. But the latest trend I have seen is a move towards several types of categories. Today we have a greater number of good productions in different disciplines. Not only print and posters, the categories we have dominated.

You’re judging the Film section; is it a good year in that category?

I believe so. I think in the past we'd look at Film as the great category that commanded innovation and creativity. Today this has been shared with other categories. But Film will always be Film. I'm sure we'll have a great award over the weekend.

Do you think that Film has benefited from the multitude of platforms on which it can now be watched?

Yes, Film more and more will be a multi-screen category. The interactive category has also shown innovation.  Today Film means images that move, and this matters more than where they are displayed.

Have you been a Cannes judge before and if so, how different is the festival when you’re part of the judging process?  

I've been a jury member at virtually all the festivals but there's something special about Cannes; the fact that it takes place alongside the judging process; the expectation from thousands of delegates in attendance; the importance of a Lion, of course. But I believe it will be a very interesting experience. With some fierce competition, I guess.

What’s the hardest part about being a judge at any festival?

When the debate goes from the realm of creative to the realm of ego and interests at stake.

How important do you think the festival is in inspiring and motivating the industry?

I think that inspiration and motivation are key to an industry driven by ideas and subjectivity. What makes one idea better than the other, how one person found a better solution for the same problem. How far creativity can take us. But I think these are all side effects, rather than the yardsticks telling us what we should or should not do. They should be looked at as the result of some good work, rather than the goal of our industry.

What themes or topics do you think will be/should be the main talking points inside the Palais this year?

Creativity vs. production vs. economic crisis vs. the future vs. digital reality …

What’s the strangest thing you’ve ever seen in Cannes?

I can’t tell…

What’s your one tip for surviving the Cannes week?

Don't spend your whole week in Cannes

It’s 2am, the party’s over, where to; Martinez, Carlton Terrace or Gutter Bar?

It depends on who you're with…