By Paul Nero, Neeta Patel
What do Elvis Presley, Dungeons and Dragons, Agatha Christie, Coronation highway and celebrity Wars have in universal? they're enduring and profitable enterprise homes - shifting via time, throughout media. even if it is a booklet, television convey, computing device video game, movie or tune, and even if it is 50 years previous or used to be created final week, a few tales, characters and phenomena are fleeting in our collective moral sense and a few move the attempt of time. simply how have those tales tailored because the years pass by way of? What works? What does not? And why? And simply what is in shop for brand spanking new content material because it competes to construct a devoted viewers? inventive company takes a extensive view of a few profitable media content material, digging underneath the skin to discover the topics of the iconic and the serially profitable. those are the inventive, addictive tales introduced jointly in a must-read ebook for anyone attempting to create a winning inventive estate.
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Additional info for Creative Business: The Making of Addictive Stories
In Britain, Labradors are almost synonymous with toilet paper (although Guide Dogs for the Blind could also stake a reasonable claim to the breed). See the dog – the character – and the story is half told. Advertising for Yellow Pages, in which fictional character JR Hartley trudged round bookshops trying to find a copy of his own Fly Fishing, led to such demand for the book, which of course didn’t exist, that someone had to write it. The advertisement transferred to the book, which sold the phone directory.
Only addicted audiences need to come back. In the UK, television commercials have traditionally been produced in units of 30 seconds and flung together in batches, lasting about three minutes – the advertising equivalent of a collection of short stories brought together in a slim volume. To save confusion with the real story 26 Creative Business for which viewers have turned on, television commercial breaks have health warnings – a slide announcing ‘End of Part One’ or the title of the show, forewarning audiences to brace themselves for a barrage of salespeople masquerading as storytellers.
When his employers, the Hollywood studios, fussed about bankrolling his overbudget productions, Chaplin felt creatively constrained – even though overbudget and beyond-deadline films hardly show the most prescient business forethought. With the support of other performers and producers, Chaplin formed United Artists, a studio in which talent would be respected and in ultimate control. Creativity would no longer be inhibited by the constraints of accountants who had little understanding of the creative process.