Cannes Lions

ON THE DOCKS

OGILVY FRANCE, Paris / JEAN PAUL GAULTIER / 2013

Case Film

Overview

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Credits

Overview

Description

“Sur les quais” ('on the docks') is a timeless film about unrestrained desire between a sailor out at sea and a woman on land. It is a powerfully romantic glimpse at how both worlds meet in a extraordinary way. The attraction between our two characters is so powerful that it shifts the ship's direction, causing it to break through the docks as the sailor finds his way through the city. Our two characters finally meet when the boat comes to a smoothly choreographed stop at the balcony of the woman’s apartment building.

A beautiful alternance of shots shows the two protagonists, each one in their environment, preparing for their

encounter. This is not a simple rendez-vous, but a magnificent story of attraction

Through this film we rediscover the famous ambiguity of Jean-Paul Gaultier’s characters: The woman, strong and seductive, is at all times in control of the situation. And a masculine sailor, who’s hasty to meet the woman.

A beautiful alternance of shots shows the two protagonists, each one in their environment, prepare for their encounter which is not a rendez-vous.

Execution

We’re facing a desire larger than life. A desire so strong that it would push a boat into the city, breaking everything into little pieces, like an ice-breaker opening the way into the North Pole.This is why we had to use so many post-production visual effects. From the boat itself to its deck, from the broken city to the beautiful woman’s balcony; everything here is imagined and designed to tell that desire has no limits. Naturally, the perfume and luxury universe constraints haven't made it easy to produce such effects. Adding effects to the boat itself wasn't simple, as we're talking here of a symbol deeply rooted in the brand territory. With the help of more than 15 visual effects developers and after 3 months of intense work, we've succeeded in allowing our 2 characters to fully live their passions.

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