[ This is the expanded version of an article originally published in ColoradoBiz ]

Hollywood really knows how to move an audience. As the masters of sight and sound, notice how a great movie trailer elicits emotions which inspire you into action.  Like inspiring you to spend fifty or so dollars on a Sunday afternoon at the movies with your family.  And afterwards, even though you have nothing to show for it, you actually feel good about your decision.

By comparison, consider how your brand is marketed.  How do you speak to your audience?  Like a Hollywood movie trailer, does your brand emotionally engage your audience?  Does it inspire action?

Some Brands Have It, Some Don’t

Everywhere you look, there are well-known brands with which millions of people associate, interact, even advocate.  You probably have your own personal list of favorite brands.  We all do.  Great brands are important to us, they offer simplicity and add meaning to our lives.

But why do some brands inspire action and devotion while others hardly get our attention?  The answer lies in the lesson of Hollywood movie trailers: if what you say about your brand doesn’t feel like an exciting story, it won’t make an exciting brand, either.

What’s Really Behind Human Decisions

Look up the root of the word “emotion” and you’ll discover a curious French word:

Esmovoir: to set in motion, to move the feelings.

I was taught humans are rational beings.  But as I’ve gotten older, I’ve come to learn that humans are emotional, not rational, creatures.  At first, this concept bothered me.  But as I see it demonstrated over and over again,  I’m increasingly comfortable with it.

You see, as humans we encounter the world around us and it makes us feel a certain way.  Depending on how those feelings line up with – or conflict with – our desires, we take action.

For example, imagine yourself test driving a shiny new vehicle.  At some point you think to yourself: This car is fantastic! But you are determined to make a smart, objective decision.  So you carefully confirm the car has all the features you need. Then you negotiate a good price. Then you buy the car.

Surprisingly, you are not making a rational decision to buy the car.  You are making an emotional decision.  Your objective reasons (features, benefits, price, etc.) simply provide you with the justification you need so you can do what you feel like doing, i.e. buy the car.

Esmovoir.  Move the feelings, move the person.

Nobody Cares What You Do

Most companies express their brands in terms of what they do. For example, let’s imagine Company XYZ, which claims to be one of the following:

The reliable airline with the best on-time record…

The luxury hotel with the most luxurious rooms…

The electronics company with the most state-of-the-art technology…

The real estate company with the most exclusive properties…

The service company with the most attentive, personalized service…

These branding statements ignore the lesson from Hollywood.  Because no matter how much you try to differentiate your positioning based on what you do, it will not inspire action.  Certainly not devotion.  And let’s be honest, most of these claims cannot be defended.  There is always someone out there that is more, better, bigger, faster, friendlier, etc.

Here is a positioning statement I recently came across (I’ve changed the name to protect the innocent) that focuses squarely on the what:

Company XYZ is one of the world’s leading manufacturers of industrial products, systems and components with operations in over 40 countries.

This seems respectable enough.  But step back and ask yourself, do you want to know more about this company?  Are you motivated to buy their products?  Are you inspired to get behind their corporate mission?  Me neither.

Why do most brands speak this way?  I believe it’s because they don’t know any better, or they are afraid of a very little word: why.

A Scandalous Little Word: Why

Rather than telling the world what they do, let’s imagine Company XYZ expressing themselves in terms of why they do it:

To rescue businesses from waste and inefficiency…

To help families share quality time together…

To save lives…

To challenge the status quo…

To make the world a better place…

I’m betting one or more of these statements just stirred something in you.  It’s amazing how expressing your brand in terms of why instead of what elicits curiosity, emotion, maybe even passion.  Now you are telling a story like Hollywood!

What you’ve just experienced demonstrates a powerful marketing principle that I’ve learned (the hard way) over the past twenty years:

It’s not about what your customers are buying.  It’s about what they’re buying into.

At my creative agency, Impossible, we see companies and brands as stories.  We love telling those stories to inspire and move audiences.

(Interestingly, this explains why 99% of our work is in the form of moving pictures for television, video and the web.  When it comes to being emotionally engaging, we’ve found no more powerful medium.)

Our television network clients are usually big fans of expressing their why.  A terrific example is this simple branding statement from the parent company of Discovery Channel:

Discovery is more than the name of our company… it is our very calling.

See how that statement stirs something deep within you?  Rather than telling you what Discovery does, it tells you why they do it.  And if you’re like me, now you want to know more.  Maybe even get on board with their “calling.”  You just got inspired!

Tell the Truth

Now think about your brand.  What you say about your brand, is it actually true? Does it inspire? Or is it merely a contrivance, telling people what they want to hear?  Simon Sinek, author of Start With Why, exposes the absurdity of this approach:

“Many companies go into the market to ask their customers what they want… what they believe. Some clever marketers take all that wonderful data and mine it for insights which become the basis upon which they build their brand – how they will [appear] in the market.”

It’s sad but true: many companies are out of touch, or afraid, of their why so they ask focus groups, “What should our brand stand for?”  It’s a crisis of authenticity.  You can’t ask someone else to tell you what you believe.  That’s like a tiger asking you, “Should I have stripes?  Or would you like me better without them…”

Go Why or Go Home

Now it’s your turn.  Does the thought of telling the world your why make you nervous?  For many of us, why is a scandalous little word.  Because it exposes us.  It reveals our motives.

Don’t be afraid.  Every brand and company is a remarkable story just waiting to be told.  People crave meaning in their lives and your brand or company can give it to them.  Get clear about your why and let it begin to inspire your customers, your colleagues and your community in ways you never thought possible.

Joel Pilger is president and founder of Impossible, a creative agency that produces moving images for television networks and corporate clients alike.  His passion is helping his clients’ brands emotionally engage with their audiences.  Sign up for Impossible’s newsletter here or read Joel’s insights here.  For more information about Impossible, visit www.impossible.tv.

The New Denver Ad Club annually celebrates The Denver 50 – the fifty best ideas of the past year.

This year, our work on “Moments” for Gyro HSR / WOW! was honored among the winners. Impossible contributed production, direction, illustration and post-production to the campaign by agency Gyro HSR.

Impossible was also named an “Ad Club Ace” as Best Video Production Company.

A GRIEF OBSERVED

When Steve Jobs died, I wept. Quite unexpectedly, it hit me like a freight train. I talked to my dad about it, he was equally torn up about it.

Why? Why would the death of some corporate CEO far away, whose demanding and often disrespectful style were well known, make such an impact on me and my 77-year old dad, and millions of others, for that matter?

IT WAS (NOT) OUR YEAR
A year ago at Impossible’s Christmas party, I looked ahead to coming year and optimistically proclaimed “This is our year!”

Was I ever wrong. 2011 was the year the recession finally caught up with Impossible. We suffered setbacks. Disappointments. Dangers. Loss. Pain. A string of losses forced us to step back, to reevaluate what we were doing.

Loss makes us appreciate what we have.

Pain makes us appreciate the simple things in life.

(Have you noticed how people who have suffered tragedy in life are much more interesting than those who haven’t been through much?)

The challenges of 2011 were so difficult; they pushed me and my business partner, Steve, to go beyond reevaluating merely what we were doing. We questioned many things. Even some sacred cows. We were challenged to go beyond WHAT and began to question WHY.

WHY
If you remain open, serendipity can work like magic. Later in the year, out of the blue, my iPod played a riveting TEDx session by Simon Sinek that started with WHY:

“People don’t buy WHAT you do, they buy WHY you do it… The goal is not to do business with everybody who needs what you have. The goal is to do business with everybody who believes what you believe.” – Simon Sinek

This rocked my world. I had suddenly stumbled upon the Grand Unifying Theory of Everything. After all I had been through this year, those words so grabbed me that I almost crashed my car. I had to pull off I-25 just to think.

A DANGEROUS LITTLE WORD
Try this: the next time you meet someone new, rather than asking them the usual, “So what do you do?” Try instead asking, “WHY do you do what you do?”

Your new acquaintance will likely be taken aback.

Note how that dangerous little word WHY shifts the question from a polite icebreaker into a provocative, even threatening, inquiry. WHY opens us up. It exposes us.

WHY do you do what you do?
WHY should anyone care?
If you stopped getting paid for what you do, would you still do it? WHY not?

What had I learned this year? That WHY transcends WHAT.

IT WAS OUR YEAR AFTER ALL
At Impossible, 2011 did turn out to be “our year,” after all. It just didn’t look anything like what we thought it would.

Funny how being focused on WHAT can paint you into a corner. When the economy tanks, customers go elsewhere, staff leave, or whatever… WHAT can be a trap. But almost by definition, WHY adapts.

Our focus on WHAT (an animation / effects / editorial studio? a post house? a live action / motion design company?) had never sat well with us. After many years, we finally began to realize we were asking the wrong question.

This simple (almost simplistic) idea of WHY was so electrifying, it soon worked its way into our Impossible manifesto:

• We believe when your audience notices you, they should be rewarded with something special.
• We believe people don’t buy what you do, but why you do it.
• We believe great brands offer simplicity in our increasingly complex world.
• We believe decisions are fueled by emotion.

And not only did Impossible realize WHY is the rocket fuel in our jet packs: it’s also the blood coursing through the hearts of our clients’ businesses as well. That simple discovery is propelling our foolish optimism for the future. We believe we can make an impact in the marketplace.

And in the process of discovering our (and our clients’) WHY, Impossible had become a creative agency. Whodathunk.

Whereas WHAT limits, WHY adapts.

BRINGING IT FULL CIRCLE
Amidst all the Steve Jobs hysteria, I came across this rarely quoted gem:

“When you grow up, you tend to get told that the world is the way it is and your job is just to live your life inside the world, trying not to bash into the walls too much, trying to have a nice family, having fun, and saving a little money. That’s a very limited life. Life can be much broader once you discover one simple fact, and that is that everything around you that you call life was made up by people that were no smarter than you. And you can change it, you can influence it, you can build your own things… Once you learn that, you’ll never be the same again.”

I cried at the death of Steve Jobs because I realized that deep down, he and I were driven by the same WHY. He believed what I believed. And when you find someone that believes like you do, it’s a powerful connection. You will follow them wherever they go, buy whatever they sell, and even evangelize whatever they preach.

WHY is the secret sauce that turns water (or Kool-Aid) into wine.

So what’s your WHY? To “live your life… have a nice family, have fun, save a little money?” If so, have you ever wondered, why would anyone – your friends, clients, staff, boss – sacrifice to get behind your personal, seemingly selfish, mission?

But if your WHY – behind your life, career, family, company, brand, mission – is “to change the world, to influence it, to build something…” Well then, that’s an altogether different matter.

There will be a line of people waiting outside your door to help you push that boulder up the hill. And along the journey, your WHY will inspire the impossible.

Thanks for listening. Blessings to you in 2012.

Art Directors Club and Impossible present:
November 10 | 5pm Cocktails | 6pm Directors Panel & Discussion
Casselman’s | 2620 Walnut St, Denver CO 80205

At the heart of both filmmaking and advertising lies the art of storytelling.
And regardless of the mediums in which we work, we all aspire to be better storytellers.

The ADCD and Impossible invite you to an evening with some great storytellers:
LA directors Theo Van De Sande, John Bonito and Monty Miranda.

In a lively discussion hosted by Impossible director Steve Urbano, this cadre of directors will tackle a variety of topics drawn from their vast experience in feature film, documentary and commercial production.

Come be inspired by the stories of great storytellers, as only they can tell them.

Tickets available here
FREE to all ADCD Members, $15 Student non-members, $20 Non members.

When Discovery decided last year to let the sun set on HD Theater, they envisioned boldly rebranding the channel to shine brightly into a formerly untapped corner of the market: upscale men. As the creative agency tasked with developing the brand, Impossible imagined Velocity as an exclusive club where affluent men watch the best in automotive, travel, leisure, adventure and sports programming. This “exclusive club” concept captured the imagination of Discovery and ultimately became the foundation of the Velocity brand.

To complement the high-octane brand, Velocity is launching with a bevy of fresh character-driven, automotive programming featuring Ryan Friedlinghaus (Inside West Coast Customs), Dana Mecum (Mecum Auto Auctions), Mike Seate (Café Racer), Chip Foose (Overhaulin’) and Wayne Carini (Chasing Classic Cars).

“We designed a brand and on-air identity reminiscent of an exclusive men’s club, where the network’s talent is like the ‘Velocity board of directors.’ Each of those guys represents various aspects of Velocity – being your ‘own man’ and having the means to live life on your own terms. The brand is at once authentic as well as aspirational,” says Brian Eloe, Associate Creative Director at Impossible.

From the brief to brand, and from concept to final delivery, Impossible worked closely with the Discovery team to design and produce the extensive on-air and off-air identity. A metal “V,” harkening great automotive design, was introduced as the network logo while image spots and a teaser campaign offered viewers an exclusive sneak peek prior to the channel’s launch. Once the project was completed, Impossible’s brand package contained more than 100 on-air, off-air, digital and print elements.

“Impossible helped Velocity define our brand beyond a mere graphics package. And in the process, we found defining our brand to our internal team inside Discovery was equally as important as defining it to our viewers and advertisers,” said Douglas Lerner, Director Marketing Strategy at Velocity / Discovery Communications.

Joel Pilger, President and Founder of Impossible, explained, “The opportunity to create an iconic television brand like Velocity, for such a respected family of networks as Discovery, is a rare privilege for any creative agency. From the very start, Impossible had a passion for this brand and the niche it aims to fill. As both creative professionals and as viewers, we really believe in the brand we’ve developed and we’re excited to watch Velocity succeed in the marketplace.”

As a high-profile rebrand assignment, Velocity is part of an increasing trend at Impossible. Already well-known for their national broadcast work in commercials, promos and integrations, an increasing amount of Impossible’s expertise is now focused on network rebrands. Other recent rebrands include Great American Country (GAC), the Mountain West Sports Network (The Mtn) and Military Channel.

About Impossible
Impossible is a leading broadcast agency and production company based in Denver, CO and Burbank, CA. Impossible’s creative and strategic expertise is narrowly focused on commercials as well as network branding, promos and integrations. Among their clients are the television networks of Discovery, Scripps, Sundance and A&E, as well as brands Blockbuster, DISH Network, MoneyGram and MillerCoors. Industry recognition for Impossible’s work includes Clio, Emmy, Promax, BDA, Addy, Art Director and NY Festival awards and more. For more information, visit www.impossible.tv.

Highlighting the Talent and Economic Vitality of the Creative Capital of the Rocky Mountain West

From furniture to housewares to fashion, Denver and the whole of Colorado boasts unique and creative enterprises that foster innovation, support our quality of life, and provide jobs for talented and highly skilled workers.

Now through February 2012, the nearly 52 million visitors that pass through Denver International Airport (DIA) annually can see this work on display at the Design by Colorado exhibit.

“Creative enterprises account for 6.4% of the total businesses in Denver, employing over 19,000 creative workers,” said Mayor Michael Hancock. “This sector is not only vital to our economy, but also contributes to our culture and character as the Creative Capital of the Rocky Mountain West. Where better to showcase Denver’s talented creative sector to millions of tourists, business travelers, and residents than at DIA, the gateway to the region.”

“Colorado’s creative sector is robust and embodies the Western spirit of entrepreneurialism, innovation and collaboration, producing the high-quality works seen in this exhibition and enjoyed locally and nationwide, said Governor John Hickenlooper. “There are tangible and intangible benefits of a strong creative sector, including providing unique cultural experiences for residents and tourists, enhancing Colorado’s brand, promoting neighborhood vibrancy, generating jobs, and attracting a talented workforce.”

Creative Industries in Colorado

Constitutes the state’s 5th largest employment cluster
Includes more than 186,000 jobs
Accounts for $5 billion in employee earnings
Colorado is 5th in the nation in concentration of creatives
Creative enterprises are well-distributed in communities across the state
Creative businesses are growing faster here than in other states
Design, literary and publishing, and film and media represent 73% of all creative industry jobs

Colorado Creative Industries in Denver

$1.46 billion in economic activity is generated by nonprofit arts and culture organizations in Metro Denver*
19,109 creative workers in the City of Denver; between 2008 and 2009, Denver generated 1,000 new jobs linked to the creative economy, representing a 6% increase**
2,878 creative enterprises in the City of Denver, accounting for 6.39% of the total businesses located in Denver***
More than 100 galleries and eight distinct arts districts in the City of Denver
160 performance venues of all sizes
More than 180 film-related businesses

Sources:
*2010 Economic Activity Study of Metro Denver Culture, Colorado Business Committee for the Arts
**2010 Denver Creative Vitality Index, WESTAF
***2011 Creative Industries Report, Americans for the Arts

By Joel Pilger, President + Founder, Impossible and Mitch Monson, Creative Director, KIND

At the PromaxBDA conference in Dubai, Mitch Monson and I began our session by asking the audience of network marketers and creatives a series of rhetorical questions:

“Why do we watch TV?”

Content — our favorite shows, stories, talent, hosts, etc.

“What don’t we like about TV?”

Commercials.

“Why don’t we like commercials?”

Because commercials distract us from the content we care about.

“But what if commercials were more like the content surrounding them?”

Well, then we would never have a reason to stop watching TV or change the channel.

By this point, I had their attention.

You see, in the USA we’ve been watching TV for more than several generations and commercials have always been part of the viewing experience. We think of commercials as a normal byproduct of watching television. But the truth is if we step back and take a fresh, honest look, most of us would gladly eradicate commercials from TV given the opportunity.

By way of “integrations,” the opportunity for a commercial-free future is finally emerging.

The Commercial Conundrum

Commercials are a necessary evil but they are a double-edged sword: they generate much-needed revenue, but they drive viewers away. Time Shifters skip them while Channel Changers go elsewhere. As demonstrated here, viewer-desired content appears in blue while unrelated and distracting commercials are non-blue:

What’s Wrong with the Traditional :30 Spot?

1. Not Targeted: Viewers annoyed by distracting content they don’t care about.

2. Ineffective: Viewers increasingly don’t pay attention to them.

3. Missed Opportunity: Does not feature the shows or talent they care about. Research shows viewers watch promos more than commercials.

4. Content will always trump commercials.

Bringing Together Content and Advertising: Integrations

Integration |ˌintiˈgrā sh ən| : a spot which combines two brands (a network brand and an advertiser brand) into a whole that is greater than the sum of its parts.

A “Commercial-Free” Future

If all commercials were integrated with content, viewers would enjoy a continuous, non-stop content-rich experience. Now the diagram shows a seamless experience of desired content (represented by the long blue bar):

An Example: Integration of Deadliest Catch + Despicable Me

Why Integrate? The Advantages for the Network and the Advertiser

For the network:

1. Incremental revenue.

2. Additional promotion for your programming.

3. Builds stronger relationships between your network and advertisers.

4. Exploits your network’s “niche monopoly.” Your network is the sole outlet for your brand, shows and talent with which advertiser desire to associate.

For the advertiser:

1. Advertiser message is enhanced by association with your network’s identity, programming, talent, etc.

2. Advertiser message connects more effectively with a desired target audience.

What Integration Is Not

A common approach: “brought to you by” or “sponsored by” messaging. It’s not wrong, but it’s not good enough.

The Ingredients of Successful Integrations

C.A.S.E. Theory

• Coincident

• Affinity

• Symbiotic

• Emotional

Recap

• Increasingly, viewers will watch content only, not commercials.

• Integrations offer viewers continuous content.

• Integrations offer distinct advantages to both the network and the advertiser.

• Successful integrations possess C.A.S.E. characteristics.

This content drawn from a session delivered by Impossible president Joel Pilger and KIND creative director Mitch Monson at PromaxBDA Arabia in Dubai, May 2011.

For more information on this topic or to receive a copy of the “Integreatness” white paper, please contact Lauren Campbell of Impossible at (303) 893-0900.

The broadcast can be heard here.

Host Paul Neal Rohrer with Impossible President Joel Pilger

The Denver Egotist (of the iconoclastic Egotist network of websites) invited Denver’s top twenty creative visionaries to address the topic of “What I Learned This Year – Colorado Visionaries Speak.”

Among the twenty luminaries invited by the Egotist was Impossible’s President and Founder Joel Pilger, who made a rather controversial assertion: If you’re good at something, stop doing it:

That’s Impossible

Unless you’ve worked in New York or LA within our industry, it may be difficult to appreciate the anomaly that is Impossible. You see, we do design, spots and promos for television. In Denver. Anyone who knows anything about our industry knows that’s insane. But I’m a guy from Atlanta who grew up skiing here every spring break and when I decided to start my own company, I decided to spurn the conventional wisdom. I was determined to live in Colorado and somehow just figure it out.

“Figuring it out” is not an entirely unfamiliar story to most successful people: it involved tons of hard work, learning, paying your dues, beating the odds, then lots more hard work and still more learning. For 15 years. No magic there, right?

2010 Was Different

But year 16 was different. Very different. Impossible really beat the odds. It felt like for 15 years we’ve been busting our butts to build all the right pieces, then all of a sudden, this was the year they all started to fall into place.

Here are some specifics so you can see what I mean. For starters, this year Impossible tackled a whopping 201 projects that generated over 1,300 spots. We were honored among The Denver 50 and won several Best In Shows. We rebranded several national networks. We directed and produced national advertising campaigns. Our staff doubled in size to 22. We worked hard as hell. We had a blast.

What I Learned This Year

I could write pages and pages of what I learned this year. (Yawn.) Let’s press the skip ahead button on the remote. After all, what we really want to know is, “What was the one thing that you learned that made the biggest difference?”

Answering that is no small feat. There are so many ingredients that go into any successful business recipe, I can think of many. Like work ethic. Dedication to learning. Talent. Experience. Operations. Marketing and sales. Financial management. IT. Espresso.

After a lot of thought, if I had to boil down the most important thing I learned this year that made the biggest difference, it’s something I’ve believed for a long time. But this year it was more relevant than ever. I’ll sum it up this way:

If you’re good at something, stop doing it.

What I mean here is that if you’re a good designer, a good writer, a good project manager, a good anything, stop doing it. You should put it down. Let it go.

The Concept

Lest you think I’m being dramatic, let me illustrate this concept with a personal story.

Ten years ago I signed up for some high-level entrepreneurial coaching. One exercise had me write down all the activities it took to run my business. My list was comprised of (ugh) 32 different things. Yikes. One of them was literally “Keep the office clean / take out the trash.” Sound familiar?

I then divided the list into four categories: those activities at which I was “incompetent,” “competent,” “excellent,” versus those things that tap my “unique abilities.” It was pretty easy to move my “take out the trash” activity into the competent box, and things like “bookkeeping” and “HTML” into the incompetent box.

The point of this exercise was for me to get really clear about what I could be great at versus what I needed to set aside. I’ll assume we all agree that if you want to be satisfied, fulfilled, and making a difference in the world, you have to focus on your unique abilities.

It’s Harder Than It Sounds

So here’s the catch: remember that “excellent” category? Those were the things that I was really good at. My highly-paid expert coaches said I had to let go of those things. And as much as I wanted to resist, I knew they were right. So I started discovering my unique abilities and focusing on doing just those things and somehow, some way, delegating everything else. And no, it wasn’t easy. Hell no.

What I learned in 2010 was that leading and growing a company through crazy times like these, letting go of what you’re good at was more important than ever. What did I let go of this year? Things that I am damn good at but I won’t ever be great at: creative directing, IT (don’t laugh) and operations. These roles are now owned by Impossible pros that are way beyond my abilities.

And letting go of good is not just for me but applies to our entire team. Everyone in the company is being asked, “What can you be great at?” as together we seek opportunities for each and everyone to step up. And step up they have.

Now It’s Your Turn

The moral of the story: the longer you or your staff go on devoting your energy to things you’re just good at, the more you’re fooling yourself and driving your clients and teammates crazy. Is your team bumping up against frustration, confusion, and messes? That’s a sign that someone isn’t operating within their unique ability.

Don’t deprive others of doing what they’re great at simply because you can’t let go of what you’re merely good at. What got you here won’t get you there.

Perhaps you need to wake up and hire that bookkeeper. Or promote yourself out of the art director role you’re good at so you can give your top designer a shot at being great in that position. Or maybe you’re way overdue getting real with someone who is struggling and making messes; make them responsible to discover what they can be great at and then expect them to deliver.

But how will you afford all this new help? Hint: people operating in their unique ability are faster, better and command higher prices.

At Impossible, this unique ability concept means we’ve had to evolve from simply offering jobs to offering serious career paths. Every member of the team is expected to discover what they can be great at and pursue it relentlessly. The company’s job is to find a way to exploit it and make money. You’re doing what you love, and the company loves what you’re doing.

Or at least that’s the dream. And from the look in everyone’s eyes at the Christmas party last Friday night, I’d say we’re getting closer every day.

Thanks for reading.

[ Read the original article at The Denver Egotist ]

Panelists Lori Pate, Joel Pilger and Chris Sloan.

Impossible president Joel Pilger delivered an enthusiastically received session at the Scripps Media Summit, entitled Integreatness.

In the session, Joel presented an overview of recent and notable  integrated campaigns from across the industry, followed by his insights and C.A.S.E. theory (COINCIDENT, AFFINITY, SYMBIOTIC, EMOTIONAL) of what makes for successful integrations. The session elicited quite a lively discussion among the Scripps audience.

For a copy of Joel’s Integreatness white paper, you may download it here or contact Lauren Campbell at lauren@impossible.tv.