Opinion: Perspective - Why Saatchis has won more than gold at Cannes

So we did OK at Cannes, in the end. A quite respectable result for the Brits after all the self-flagellation post-D&AD.

A Grand Prix, in Cyber for AKQA's Fiat eco:Drive, put us on the digital map and a handsome clutch of golds. Triumphs for Mother, Bartle Bogle Hegarty, Saatchi & Saatchi, Golley Slater, DDB, the Viral Factory and ZenithOptimedia were all right, proper and well-deserved. I wonder why Fallon's "eyebrows" for Cadbury's didn't score anything, because it's undoubtedly one of the better UK ads this year. But otherwise, I think we were pretty well served by the Cannes juries.

Two interesting things to note from our pride of golds: First, Golley Slater. I mean ... although an agency with an interesting business model and a solid reputation, Golley Slater seems utterly out of place among the list of Cannes gold winners.

It's the sort of surprising result that deserves to force a real reappraisal of an agency which, to be frank, has struggled to get on to the radar. On the basis that there's no better way to get noticed than to do some bloody great creative work, we may be forced to rethink our view of the agency, but it quickly needs to follow it up with further proof of its strong creative credentials. It would suit our prejudices to assume that this is just a one-off fluke.

Now, Saatchi & Saatchi. Not the biggest British winner at Cannes, but in some ways the most significant. Because it's beginning to look like Saatchis is back. This agency is starting to rock. See how T-Mobile and, to a lesser extent, Visa have rejuvenated a shop that was all artifice and no art. Or perhaps, more accurately, work like this is the result of something more fundamental changing in the agency DNA. Whatever, there's no doubt that there's a virtuous circle spinning at Saatchis and it is giving it a real buzz and licence to do better and better work.

The soul seems to have been restored and for the first time in a long time, Saatchis feels like a group of people with a single-mindedness and a confidence that are tangibly persuasive. And for the first time in a very, very long time, Saatchis seems like a fun place to work.

This rebirth vindicates the creation of the Saatchi Saatchi Fallon structure. There's no doubt Fallon misses the full force of Robert Senior's attention but his arrival at Saatchis and his rebuilding of the management team there has transformed an agency that seemed to have firmly put its best days behind it.

So we were having a very special dinner at La Colombe d'Or in Saint-Paul de Vence when someone got a call to say Michael Jackson had died. Up in the hills, no TV in sight but all armed with our BlackBerries and iPhones we went straight to the web for verification. Although the news broke on a website, TMZ, and spread like a virus across social media, we wanted proof from a familiar, reliable source.

So, to the BBC's website then, because we needed the sort of authoritative and definitive journalism that's almost non-existent outside those websites fuelled by established offline media brands.

Except that bbc.co.uk wasn't updated for an awfully long time and then, like TMZ, Perez Hilton and Twitter, crumpled under the volume of traffic.

In the end, it was traditional media, particularly television, that was reporting on the death ahead of many UK news websites.

And of course it was the national newspapers and magazine publishers that have provided the professional editing of all the information surrounding the story and have moved quickly to publish the "souvenir", in-depth reads.

The interesting thing really was how surprised all we digital converts were that, when it came to this sort of global news event, our instincts were so firmly of the old-media variety.