Restricted Intelligence: The Approach Web: www.restrictedintelligence.co.uk Email: jess@twistandshout.co.uk Blog: restricted-intelligence.blogspot.co.uk Tel: +44 (0)844 335 6715 All images and content Copyright Twist & Shout Commuications Ltd. 2013
Introduction Twist and Shout have been making corporate video for twenty years, creating over 60 films in this sit-com style. We ve learned a lot through making each of those films and this document is designed to address any questions you might have relating to the creative treatment of the issues that the films cover. Every creative decision that we made in the course of production emanated from a core principal; what is the problem and how are we solving it? Although this document relates specifically to the video assets, that principal doesn t just apply to their production. It applies to all of the campaign collateral, from the posters and web assets to other ambient media, such as the roll-out plan and survey. Familiarity The videos need first and foremost to be relatable to employees. It s vital that the viewers of the videos feel connected to the characters on screen, otherwise they will dismiss the videos and situations as nothing to do with their world, and effectively tune out and not pay attention. This informs several aspects of the production. An office environment is where the vast majority of the viewers will be working, so it is entirely logical that we set the videos in that environment. This immediately makes the viewer relate to the characters, because the scenarios exist in the same space that they do.
Characters Speaking of the characters, over the years we ve been doing this, we ve tried several variations in number of characters, age, ethnicity and gender. Each series covers six episodes. In most of the episodes, we can divide the characters into two catagories, to demonstrate contrast, between those who get it (a mentor, the voice of reason) and those who do not (the student). The student will often be well intentioned but uninformed, lacking the skills to deal with the situation that they are presented with in the videos. This type of character is the audience s avatar within the videos, however exaggerated for effect. The audience must relate to these characters and put themselves in their position to understand where the characters went wrong, and thus not do the same thing in their daily lives. The mentor role is designed to be a shining example to the audience, who they look up to and aspire to be like. They should be likable, and avoid the appearance of preaching to the audience because as soon as it becomes a lecture, people fall asleep. It s understandable, given that years of university life has taught them to do just that. A quality cast is vitally important to the videos. Having made many connections with actors and agencies over the years, we assembled our dream-team for this project, actors with whom we have worked with before and are reliably funny and relatable. These actors created vividly realized characters that engage the audience. They tend to be attractive (because that s what an audience will expect in a video - just as in TV or movies) but not unrealistically gorgeous, which would equally put some people off. We have featured as wide a range of ages, genders and ethnicities as possible though their roles are featured to a greater or lesser extent within each of the videos. Through the series a certain character will be the mentor type in one episode and maybe the student type in the next - everyone can be right and everyone can be wrong.
Quality In order to engage the audience on the level that a TV series might, we have tried to match the same level of production value. The office should look real, lived in, a vibrant place populated not just by our characters but extras as well. If it looks fake, the audience s attention will be drawn to the false-ness of it, and distract them from the story. The style we employ tends towards the kind of look and feel of a scripted TV show or movie, rather than a documentary. Whilst in the past we have used an aesthetic that is similar to The Office with interviews with the characters, we believe that a well-told story accomplishes a greater connection with the audience and have therefore scripted and shot the videos as such.
haring Campaign the Love Structure The episodes themselves should function independently of any other episode. e Onion Put Effect another way, you don t need to have seen any of the other episodes to fully understand the one that you re watching. ernational Each video media will revolve companies around a face single when issue. This they focus launch helps to a keep movie, the videos or a TV series, a handbag. short and Like engaging, creating typically a movie running that around appeals 3 minutes. to both That may children sound short, and adults. It but a tightly scripted 3 minutes can impart all the information needed for this kind of lies on attention-grabbing layers. The success awareness of the video. multi- level We have found storylines that as the length of so increases called over 3 minutes, your audience s interest wanes and the videos become less effective. eir success In each for video, many one primary years. issue In each will be case at play. the This effect issue is is the rather basis for like everything the layers of onion that - you happens can in peel the story, back with the the layers comedy to and discover drama emanating more meaning from it. We to have the story. found that when the characters are funny independently of the issues, audience the case of the above, parents as well as children can therefore enjoy enjoys the video, but the messaging doesn t sink in. When the comedy/drama and the issue are interlinked, the audience remembers both. atments, the communication will work on several levels - this will encourage The videos should set up a problem and resolve it, with consequences for our t only repeated viewing, but also their global effectiveness. characters personally, rather than the company that they work for. This may sound a bit like shaming the audience into correct behavior but we prefer to think of it as making the consequences personal to the individuals, which will motivate them more xibility than if a consequence was absorbed by a third party. ntrol just The videos how are strong supplemented a flavour by they posters, will be. web kit It goes and other without media such saying as a that the Powerpoint template. By featuring the cast within these assets, you can trigger ntent interest and the before messaging the release will of the be films, consistently promoting them weaved in the same throughout way as a movie the would. After the films, the characters will be recognisable and therefore provide an instant context to further IS communications. More information on the way these assets might be put to use can be found in the campaign roll-out plan which is part of ternational the Gold package. e ideas and rationale must support an International audience. The films and edia should be easily translatable and not be too focused on regional mour or concepts that will not spread. However, we should not become too cused on regionalising the content for all, lest we water down the
Conclusion So to summarise what we ve learnt from years of making entertainment for employees out of unfortunate information security scenarios, it would be these things: Conclusion 1. You can get an employee s attention if you offer them something in return. Three minutes of entertainment is a very fair and effective offering. 2. Comedy is the only viral flavour most corporate cultures will allow having avoided violence and sex. 3. employees Comedy can and travel help well to influence as long as it real is clear change, scenario, through and uses vivid characters whose improved social and communications. intellectual roles are We pretty believe obvious. that entertainment is 4. the Quality perfect is paramount vehicle for communicating we are competing this with message other online to your content which blows audience most corporate and setting communications Michelin up out as of true the water. thought To have leaders. a chance of success, production values must be maintained. 5. Videos are not enough you need as many channels as possible to promote the We content. would be Online, proud ambient to work in-office with you communications, and to be a part direct of mail your it all draws traffic to your portal, where the content lives. If will you be have very any short questions indeed. about this presentation, or the website to which it relates (www.restrictedintelligence.co.uk) contact us on the details below. We re look ALWAYS forward happy to your carry on feedback. these conversations that way we improve our chances of making a real difference. Jim Shields Creative Director of Restricted Intelligence Twist & Shout Communications tel: +44 (0)844 335 6715
Web: www.restrictedintelligence.co.uk Email: jess@twistandshout.co.uk Blog: restricted-intelligence.blogspot.co.uk Tel: 0844 8000 662 Twist & Shout Media Ltd, LCB Depot, 31 Rutland Street, Leicester, LE1 1RE Company Number - 7865042 VAT Number - GB144 3341 042 Copyright Twist & Shout Communications 2013