When I put the camera on my shoulder and the brief is in my head, I’m looking for the truth. The deeper story, the stuff beyond mere words and pictures, the stuff that reaches the heart. Truth in performance; the essence of the idea to be communicated. The process starts again in editing, to polish the delivery of the idea, the emotion.
The brief is the framework, it establishes the context of creation. It impacts everything downstream; concept development, script, directing, photography, casting, location, tonality, mood, lighting, the entire production design…the works.
The brief is the springboard for ideas to take flight. A great brief is also anchored in the truth of the brand. The brief is a contract with the creative. The brief is also a contract with the truth. Not “truthiness.” The truth.
Occasionally, attempts are made to exploit “truthiness.” Savvy marketers know that great ideas communicate beyond the execution. They know the right ideas generate emotions that cannot be measured through any single ingredient that goes into execution. Truthiness can be tempting.
You can imagine the dismay when the client says, “The idea will not work because we cannot actually communicate that.” Discussion ensues.
It’s a mistake for anyone to use the brief as an opportunity to manipulate the creative work to communicate something that’s not entirely true. Creativity is a powerful tool and can certainly be made to imply things that are not the truth. Clever creative work, not anchored in truth, may achieve a temporary spike in sales but it’s a short money game. Disappointed customers, misled by “truthiness” will flee. Nothing sticks to a brand like the voices of unhappy customers. Truthiness does not build better brands.
Try making a better product.
Constraint was a formidable ingredient in the creation of a film I made in college. The film was a visually driven story of my childhood haunts on Long Island including the beaches, boats, foggy harbors, and associated sounds. From rushing winds and crashing waves, to the song of the gulls and the rocking and creaking of boats, it was poetic expression. The musical sound track I chose was an open hole flute orchestration by the legendary Sir James Galway. The breathy sound of the flute seemed the perfect voice to tell the story.
There were no actors, but I’ll suggest the camera was the character. My work with the camera exploring and observing these locations at all times of day helped me craft the story. I used an 8MM Kodak camera with a wind-up mechanical drive and no audio. It was a family camera, and all I could afford. I had enough cash for 4 rolls of color film and processing. My audio recording device was a portable cassette machine.
Hitting various locations at the best light and multiple days, I had to carefully apportion my film stock. I limited myself to 3 rolls, saving the 4th for additional shooting that might be needed.
Editing involved working at an edit table jammed under a staircase in a school hallway. I made the set-up work to my advantage. The bottom of the stairs over my head were a perfect place to hang the various pieces of film as I cut and arranged the edit. I worked out a system using the lower stairs, right over my head, for the beginning scenes and worked my way up for the final scenes on the higher stairs. In this way, I could work out the cut and remain organized.
Once I had a cut I liked, I got to work on the audio; this was particularly challenging. I worked out a system with my limited gear using multiple tape players to build the audio. It was a nightmare. For distant sounds, the player volume was lowered, and I even moved the machine doing the recording further away. In this way, I built a recording of all the atmospheric sounds in time to the cut and the music. This involved countless attempts before it all fell together. It wasn’t perfect but it worked well enough.
In the final screening, I had to hit play on the projector and the tape deck at precisely different times for the cues to hit as planned. I worked out a syncopated countdown in my head and practiced it over and over until it was second nature.
The day of the screening, miraculously, it all came together. The visuals and audio in perfect sync; more or less. In a moment of failed judgement, I left a corny end scene in place. The words “The End” written in the sand being washed away by a succession of waves. I still cringe.
Constraint is a powerful motivation in creativity and innovation. One of the purposes of a brand brief or project brief is to outline the challenge, the constraint…the problem to be solved. Constraint is our partner in creativity, not something to be bemoaned but embraced.
To quote Bob Dylan, “No one is free, even the birds are chained to the sky.”
The author generated the image for this post utilizing OpenAI’s large scale image generation model Dall-e 2. The words used by the author to generate the image; flying bird in a sky made of chains. The author reviewed the image before posting and agrees it reflects the input and accepts responsibility of its publication.