Amongst those who watch the awards season closely (and let's face it, that amounts to most of us), it's been noted that of all the potential contenders for the top prizes, two figures dominate the landscape. Indeed, the battle between Halo 3's hero Master Chief and the stoic yet rhythmically-enabled Cadbury Gorilla is the sort of contest that could play out within an epic Hollywood movie... Planet of the Apes, most likely.

Of course, there's far more to this year's Cannes candidates than the drumming ape and John-117. As we've seen in other awards shows thus far, BBDO's HBOVoyeur project, Projector Inc.'s Uniqlock for Uniqlo, and Crispin, Porter + Bogusky's "Whopper Freakout" have all made considerable waves. Sony Bravia "Play-Doh" is also upholding the award-nabbing tradition of its predecessors quite nicely, thank you very much. But what about the dark horses, the left-field surprises that grab us by the scruff of the neck and knock us flat on our asses? Well, we asked a fine assortment of international creative directors to think of the work that sent them reeling, hoping for the odd surprising nugget. Here's what we heard...

Paul Silburn>
Creative Partner, Saatchi & Saatchi, London
All the groundswell seems to be for Xbox's Halo 3 by McCann SF, T.A.G. and AKQA, which has cleaned up at US award shows lately. None of which will be pleasing for Fallon, London who, having been robbed of the Grand Prix two years ago with Sony "Balls", may miss out again with Cadbury's "Gorilla". Hmm. War vs. a bit of joy in our lives? I know which I'd rather see.

I expect BBDO, New York to do well with their work for HBOVoyeur and BBC "Cables". Gerry Graf should also expect Skittles "Touch" to provide a fitting swansong for his contribution to that campaign.

It doesn't take a genius to predict that Crispin Porter + Bogusky will win for Burger King. "Whopper Freakout" is great and I'm envious that they also managed to get the King into Madame Tussaud's as an exhibit. That's product placement of the highest order.

Poke's "Everlasting" site for Orange Mobile, which combines a cool idea with equally cool art direction, is one of my favorite digital projects along with the Nokia N-Gage "Get Out and Play" work from Farfar, Sweden.

I'll also be secretly keeping my fingers crossed for a couple of things closer to my heart, namely the Carlsberg "Announcement" live ad from my new home and BBC I-Player "Penguins" from RKCR/Y&R, but by the end of the week I think it will be those damned Yanks who go home with the lion's share of Lions.

Jim Elliott>
Group Creative Director, Goodby, Silverstein & Partners, San Francisco
As I sit here pondering what the outcome will be for all those 2008 Cannes Lions hopefuls come June 15, I can't help but feel a tug-of-war going on between my two diametrically opposed internal soothsayers: My Inner Good-time Charlie (the pleasure-seeker), and my Inner Mother Teresa (the humanitarian).

My Inner Charlie senses the following: The HBOVoyeur campaign and Xbox's "Believe" campaign for Halo 3 will score big on the Integrated/Cyber front. Within the realm of film, Chuck is liking "Play Doh" for Sony Bravia and "Cake" for Skoda - alongside Skittles' "Stable" and/or "Touch." And, of course, there's "Whopper Freakout" for Burger King, the "Tipping Point" extravaganza for Guinness and the "Key to Reserva" faux-mini-doc for Freixenet. (Apparently, Chuck is a sucker for toys, cake, candy, fast food and booze. So, it's no surprise he also has a soft spot for that disgustingly blunt "Taste Test" campaign for Buckley's Cough Syrup.)

Then there's my Inner Mother Teresa who secretly, yet wholeheartedly, hopes this will be the year that Cannes scores major benevolence points with the universe, thanks to the disarming innocence of the "Race" campaign for Petronas, the "Let Us Do It" project for PRODIS Down Syndrome Foundation, and the "15 Below Jacket" project for the homeless.

But in the end, both Chuck and Tessie's money is on Halo 3. On the one hand, it somehow manages to diminish the glamorization of war and is in fact, one could argue, a powerful allegory (given this war-torn world in which we live) for how fallen soldiers should be honored. And on the other hand, it's a thoroughly integrated, captivating and convincing piece of fiction that makes war look cool as shit. A win-win for my schizophrenic sub-conscience.

Richard Bullock>
Executive Creative Director, 180 Amsterdam
My pick for the big prize seems to have been winning everywhere already, so it's not terribly new to anyone. The Halo 3 campaign and, in particular, "Diorama" is simply the best thing I have seen in our business for years. It's a completely original presentation of the story, in a category seemingly handcuffed by convention. I so badly wished I had made that film it hurts.

This is not a particularly original pick, but I am also a fan of the Cadbury's work ["Gorilla"]. It seems to go off like an ambulance siren when it comes on air. I notice there's a lot of debate about the point of this work, which is disappointing. It holds back the business to stick to strategic or 'idea' conventions. You notice it, you like it and chocolate bars get sold. Job done.

I'm slightly biased, but I thought the "Brotherhood" digital campaign of films from our LA office deserves a mention. It doesn't really fit into any of the normal categories, which should be a good thing but tends to hold you back in the shows these days.

I also absolutely love the Carlton halftime show spot from Australia ["Skytroop"]. I cried with laughter from beginning to end. Maybe it's an Australian thing, I don't know, but it was genuinely refreshing to see a really funny film without an American accent.

I'll be glad to applaud and be amazed by the cyber/digital work as long as there isn't another, "Oh my god, did that guy really explode/jump a truck" series of viral YouTube films. We must get past this. Although somehow I doubt we will.

Gaston Bigio>
Executive Creative Director, Ogilvy, Argentina
The Halo 3 campaign is really new, especially the amazing "Diorama" spot from MJZ's Rupert Sanders. I truly "believe" in it. Juan Cabral's big "Gorilla" for Cadbury, which has made so much noise this year, represents for me new ways of doing work.

Freixenet and its Scorsese movie "The Key to Reserva", is absolutely unexpected and very well done. Tom Kuntz's "Touch" for Skittles is the funniest spot of the year for me, and demonstrates that you can always do better than last year.

The beautiful "Legs" spot for Monster.com and BBDO, New York is a really nice story, while the new Axe spot "Quake" is brand new for that category. Sony "Play-Doh" and also Sony Walkman "Music Pieces" are great examples of how entertainment is getting inside advertising.

In Best Use of Music, I think Chris Palmer's Skoda spot "Cake" with the Julie Andrews soundtrack is amazing. If I had to choose one piece of work from my agency, Sprite "Fashion Show" is really fresh.

Remembering all these great films that I saw over the last year plus all the ones I didn't, I'm sure we will see an amazing body of work all together in Cannes, even better than last year's.

Tay Guan Hin>
Executive Creative Director, JWT SE Asia
Besides the usual suspects, like Halo 3's "Believe" campaign, BK's "Whopper Freakout" and Sony Bravia's "Play-Doh," I thought I'd share what Asia has to offer, hidden gems that might score the big one.

From the biggest, richest petroleum company in Malaysia, Petronas, comes the smallest, cheapest TV spot from Leo Burnett, about a Chinese boy named Tan Hong Ming who is in love with a Malay girl and doesn't know that she has the same feelings. It's an unusual way to promote racial harmony. Hard to do a touching spot these days, but this one pulled my heartstrings. Brilliant performances from both talents make this a clear winner in film.

From Dentsu comes a TV spot ["Non-Blinking Woman"] about a Japanese woman who sets out to beat a record for time without blinking. Instant TV replays show how close she gets to closing her eyes when responding to shocks or sneezing; eventually she closes her eyes to savor addictive chocolates. It's sure to get audiences and judges clapping instead of whistling.

What if you could control a palette of 16 million colors in a Web site and change the colors on a building? That's what Sony Bravia did in Japan. "Color Tokyo!" is an interactive indoor/outdoor media experience that is a huge technological breakthrough. It's the first time I've seen both worlds intersect so seamlessly. I will not be surprised if it is equally awarded between the Cyber and Titanium categories.

Leo Premutico>
Executive Creative Director, Johannes Leonardo, New York
There's the Cadbury Gorilla, the "We tell stories" from Penguin, Burger King's "Whopper Freakout", Modernista's open-sourced website, the Uniqlock site, the Million Project [from droga5], the "Moonwalking Bear" spot for Transport for London, the HBOVoyeur projection...

And then there's the piece of work that makes the great work above, feel...really good instead.

It's Halo3 for me.

Judy John>
Managing Partner/Chief Creative Officer, Leo Burnett, Toronto
Sure, there have been some nice films this year, but let's cut to the chase and get to the year's most talked about and the most viral piece of film: Cadbury's "Gorilla". On YouTube alone there were six to seven million views and it inspired countless remixes and parodies.

What wins the Grand Prix at Cannes is often something that transcends language, which is why my money is on Cadbury's "Gorilla" picking up at least one of the big ones.

Kevin Roddy>
Executive Creative Director, BBH, New York
I'm going to stay away from categories and just go with what I think is some of the most amazing work done this past year. I know I'll miss a lot, and I'm sure I'll offend a few, but on goes the blindfold and here go some darts at the list.

Halo 3's "Believe" from McCann/T.A.G. San Francisco is truly amazing (sorry to understate it like that). It's an inspirational and spectacular piece of work that transcends the traditions of advertising and shows us all what's possible when we expand our minds beyond the expected media. I just hope more of us pay attention.

The HBOVoyeur work from BBDO, New York deserves to have truckloads of heavy metal objects in the shape of Lions poured down upon it. I hope that's a "beep beep beep" I hear.

Then there's Burger King's "Whopper Freakout" from Crispin. When I saw it for the first time I literally yelled out, "Damn, they did it again!" Not because I was angry, but because I was insanely jealous. And I still am today.

And finally, there's the fantastic Uniqlock campaign for Uniqlo from Projector in Tokyo. Amazing in every sense of the word, it deserves to be put on every pedestal Cannes has to put it on.

You may have noticed that I didn't mention any TV spots directly in my attempt at reading the judge's minds. That isn't to imply that I don't think there was some fantastic television done this past year... there absolutely was. But I just wanted to acknowledge those who have gone beyond our industry's traditions.

Harvey Marco>
Executive Creative Director, Saatchi & Saatchi, LA
I'm superstitious. I believe that one can jinx an idea by predicting it will win, especially in an award show. More so, at a big show like Cannes. So I pray that the following opinions don't backfire and send anyone home from France with a merit certificate and non-billable tab from the Gutter Bar.

I also refuse to wax poetic and tell you why any of the work mentioned should win. I'll just say I like it and leave it in the hands of God and the judges who get to play God.

And so it was written: I like the Halo 3 "Diorama" spot. I think the Sony Bravia "Play-Doh" spot is brilliant.

The Skittles work (all of it) is laugh-out-loud funny as hell. And the monkey playing the drums? Not so funny but just random enough that it works. Finally, I really like the HBOVoyeur project.

Whether any of this medals or not, it fuels optimism and inspiration which is almost as good as the shiny prize itself. Almost.

Andrew Clarke>
Executive Creative Director, JWT, New York
I'd like to see humor win the day at Cannes. Advertising doesn't have the right to take itself seriously. It has the ability to make people smile and my picks do exactly that.

In Integrated I'd vote for the Coke vs. Coke Zero campaign for its originality and simplicity. If anyone has seen another brand have a go at itself then please let me know because I haven't. It takes balls to do it.

For a viral film alone I'm going to pick Cutwater's "Sunglasses Catch" for Ray-Ban. It's cool, witty and original.

And finally, TV. Given my earlier wish that humor would win the day, we have two dead certs: Cadbury "Gorilla" and Skittles "Touch". It's worth pointing out that these are two massive ideas. Skittles is an established one that keeps getting better and is just plain funny, well-written and brilliantly executed. I'd give it gold. The Cadbury Dairy Milk campaign is in its infancy but has a tagline, "A glass and a half full" that's been around since I was knee-high to a grasshopper. For someone to bring such an old line to life, while at the same time making it funny and relevant, well, that deserves a Grand Prix in itself. There is no doubt that this is a breakthrough piece of film. It's revolutionary and belongs in the category of work that's decided to break and rewrite the rules. Sure, it has a gorilla playing the drums to a Phil Collins classic, but it's much more than that: it's a glass and a half more.

Alan Russell>
Chief Creative Officer, DDB Canada, Vancouver
I'm not really a betting man, but if I was to have a flutter, this is where my money would go. Starting with Canada: Zig's funny parodies for Scream TV, odds 5/1. Taxi's Bombardier "Train" spot, 6/1. DDB Canada's Blue Cross, 7/1. And BBDO's "Small Talk Tony" for Diet 7-Up, 4/1.

I think it'll be a very strong year in film, especially with the addition of Internet. Some safe bets are Fallon London's Cadbury "Gorilla", 5/2; Sony Bravia "Play-Doh" for the same agency, 7/4; and TBWA's hilarious Skittles spot "Touch", 3/1. I love DDB, London's VW "Night Drive", though I'm not sure the Dylan Thomas track will translate that well, so, 4/1. In Public Service, I'd wager 2/1 on Leo Burnett's "You Don't Have to Join Us" campaign for Greenpeace, a simple, humorous idea shot on a shoestring. From john st., Toronto, the powerful "Camp Okutta" for World Child Canada, 3/1.

It's hard to know everything that's out there on the 'net, but as a football (aka soccer) fan, I really admire 180 Amsterdam's new films for Adidas, featuring famous players coaching kids on the sparsely-populated Scilly Isles... 50/50.

Finally, the Grand Prix, and for my money, it will be McCann San Francisco's riveting Xbox Halo 3 campaign which stopped me in my tracks. 1/2 on. Those are my bets, but again, I'm not a big gambler.

And speaking of gambling...
Jeff Kling>
Executive Creative Director, Wieden + Kennedy, Amsterdam
Some call making predictions of Cannes outcomes a fool's errand. I don't share that view.

Everyone knows that, as with investing, past events reliably guarantee repeat performance, so I can expect good things again this year at the roulette wheel.

I don't like to brag (which is an outright lie) but betting on Black 37 last year pretty much buried me under an avalanche of euros. And for those of you unfamiliar with foreign currencies, take note: the euro, while relatively new on the scene, has already impressed consumers with its spending power, with some saying it may one day even overtake the US dollar in value. So, like, don't even front on my roulette wins, and back up offa my europile. They totally add up.

Good luck with your own Black 37s.