Natalia reads "This I Know" by Terry O'Reilly

When you create a message with emotional content, it attracts people. Leadership consultant Edwin H. Friedman puts an even finer point on it, saying, “People can only hear you when they are moving toward you, and they are not likely to when your words are pursuing them.” Emotion pulls, it doesn’t chase.

I’ve always been a fan of humour in advertising, and most of the ten-thousand-plus commercials I’ve directed over the last twenty-five years were humorous. All marketing is an intrusion. It piggybacks on the real reason people have focused their attention—watching television, listening to radio, perusing a newspaper or surfing online. They are there for the content, not the advertising (though the Super Bowl may be the one exception to this rule). So if advertising is an interloper, how do you make that interruption the most polite or, at minimum, the least intrusive message possible? Even more, how do you give something back in return for the loud knocking? Humour is one answer.

It’s important to understand the difference between humour and comedy. Humour is giving, it’s generous. Comedy subtracts and is usually sarcastic or biting. That’s why humour is better suited to marketing. To make someone smile, or laugh, forges an emotional connection. Humour gathers people. Think about people you know. The ones who make you smile are the ones you most want to be around. Humour doesn’t pursue, it pulls.

Not long ago, I attended a talk given by filmmaker Richard Curtis at the Cannes advertising festival. Curtis is a very successful screenwriter and director whose credits include Mr. Bean, Blackadder, Four Weddings and a Funeral, Love Actually, Bridget Jones’s Diary, and Notting Hill, to name but a few. Not a bad resumé. He was in Cannes to unveil a new marketing campaign he was spearheading to tackle extreme poverty and climate change. The campaign was going to begin with a cinema ad that would be shown on the same day in every movie theatre in North America and Europe. It would be the first global cinema ad ever done. When Curtis previewed the ad during his talk, the press was surprised that its treatment of extreme poverty and climate change was humorous. Didn't the subject matter call for a more serious tone?

Here’s what Curtis said: In his early days as a writer on Blackadder, he realized the only way to get the audience to remember an important plot point was to attach it to humour. So if Sir Nigel Ridgley was coming for dinner, few people would remember that beat. But if Sir Nigel Fatbottom was coming, no one forgot. Humour made it stick.

Now, humour isn’t the only answer to effective marketing, but it illustrates the rule. Emotional content makes people care. That said, most learning institutions put much more value on intellectual reasoning than they do on emotion. Yet emotion fuels the world. Even in a math-and-science-driven institution like NASA, the decision to go to the moon wasn’t driven by rational facts. It was propelled by the emotion of John F. Kennedy’s challenge of landing a man on the moon by 1970 to prove American superiority. Throughout the 1960s, NASA continually marketed the moonshot with emotion. It signed an ongoing contract with Life magazine to feature full-colour stories on the astronauts and their families; it framed the new satellite communications technology and even the small RCA cameras the astronauts took onboard as innovations that would have a beneficial impact on the daily lives of Americans. Maybe the most emotional pitch was the one that warned of letting the Russians (read: Communists) control outer space, dropping bombs on America “like kids dropping rocks from a highway bridge.” That pitch alone persuaded the government to keep signing those big cheques.

Full text is here www.penguinrandomhouse.ca/books/258334…0373/excerpt

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