Restricted Intelligence:
The Approach
Web: www.restrictedintelligence.co.uk • Email: [email protected]
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.
Campaign Structure
Sharing the Love The episodes themselves should function independently of any other episode.
Put another way, you don’t need to have seen any of the other episodes to fully
he Onion Effect understand the one that you’re watching.
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ternational media companies face when they launch a movie, or a TV series, Each video will revolve around a single issue. This focus helps to keep the videos
short and engaging, typically running at around 3 minutes. That may sound short,
r a handbag. Like creating a movie that appeals to both children and adults. It but a tightly scripted 3 minutes can impart all the information needed for this kind of
elies on layers. The success of the multi-­‐level storylines of so called attention-grabbing awareness video. We have found that as the length increases over
3 minutes, your audience’s interest wanes and the videos become less effective.
#$%"#"
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heir success for many years. In each case the effect is rather like the layers of In each video, one primary issue will be at play. This issue is the basis for everything
that happens in the story, with the comedy and drama emanating from it. We have
n onion -­‐ you can peel back the layers to discover more meaning to the story. found that when the characters are funny independently of the issues, the audience
n 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
#
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issue are interlinked, the audience remembers both.
eatments, the communication will work on several levels -­‐ this will encourage The videos should set up a problem and resolve it, with consequences for our
ot 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
exibility than if a consequence was absorbed by a third party.
#
The videos are supplemented by the posters, web kit and other media such as a
ontrol just how strong a flavour they will be. It goes without saying that the Powerpoint template. By featuring the cast within these assets, you can trigger
ontent and the messaging will be consistently weaved throughout the interest before the release of the films, promoting them in the same way as a movie
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
nternational the Gold package.
he ideas and rationale must support an International audience. The films and media should be easily translatable and not be too focused on regional umour or concepts that will not spread. However, we should not become too ocused 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.
employees and help to influence real change, through 3.
Comedy can travel well as long as it is clear scenario, and uses vivid characters whose
social and intellectual roles are pretty obvious.
improved communications. We believe that entertainment is 4.
Quality is paramount – we are competing with other online content which blows
the perfect vehicle for communicating this message to your most corporate communications out of the water. To have a chance of success,
audience and setting Michelin up as true thought leaders. production values must be maintained.
5. Videos are not enough – you need as many channels as possible to promote the
We would be proud to work with you and to be a part of your content. Online, ambient “in-office” communications, direct mail – it all draws traffic
to your portal, where the content lives.
Ifwill be very short indeed. you have any questions about this presentation, or the website to which it relates
(www.restrictedintelligence.co.uk) contact us on the details below.
We look forward to your feedback. We’re
ALWAYS happy to carry on 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: [email protected] • Blog: restricted-intelligence.blogspot.co.uk • Tel: 0844 8000 662
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