storytelling

Imagination, rekindled

Author, Kendra Salvatore, Strategy Director BBH NY

A couple of weeks ago I had the privilege of attending The Future of Storytelling summit, and hearing from the passionate community of people from the worlds of media, technology, and communications who are exploring how storytelling is evolving in the digital age.

I will not summarize all of the great thinking thought and feelings felt. Go to the website and watch the videos from the expertly curated speakers, dig into all of their enlightening perspectives, look up their incredible projects – some links are provided below.

What I’d like to delve into is only one particular feeling I picked up across attendees and speakers; the future of storytelling is about feeling like a child.

Here are some powerful ways that the speakers encouraged a sense of pure, childlike emotion, perhaps unbeknownst to them, that we can learn from:

Follow our ideals

Two astronauts (of the 533 who have ever been to space) spoke about their ‘orbital moments’, what it feels like to be in space. When you see the earth from afar, there is first pure awe. Then, there is revelation – that we are fragile, we are one and we are capable of anything. These astronauts see an idyllic version of the world and are re-energized to create it when their feet are back on the ground. We discussed that besides astronauts, the champions of unwavering utopian sense of the world are children. They believe in hope, in peace, that they can be whatever they want to be. We can find opportunity for this positivity and optimism in our storytelling and apply it more often, especially when things feel most dystopian and complex. A documentary in progress, Constellation aims to spread this mentality to the world.

Preserve curiosity

When children ask questions of adults, there is an important exchange that happens – a kid finds courage to explore an original idea and they’re rewarded by a personal answer that is memorable and meaningful.

Pretty soon, some important adults we can ask questions to are going to die. Specifically, Holocaust survivors. Inspired by the need to maintain this childlike curiosity and learning around the Holocaust a few important organizations have used emerging technology to record many hours of footage with survivors. Language processing and display technologies allow a 3D virtual holocaust survivor to process and answer original questions in real time.

Harness the power of live experience

Jeffery Seller, producer of Hamilton, Avenue Q, Rent and In the Heights led an intimate round table about the emotional exchange that happens through live musical performance. A live performance is a real time exchange of creative energy between people. He spoke of being most impacted by this feeling in childhood and following that feeling to where he is now. A sweet moment in the conversation occurred when a YouTube star confessed that she couldn’t draw a live audience in the traditional staged way that Mr. Seller is devoted to, so she turned to Google Hangouts and, voilà, over time millions saw her sing live. Whether traditional or modern in method, they both admitted the emotional exchange created in live performance is needed today more than ever, in a world where a lot of our creativity is mediated instead of spontaneously heard and felt.

Champion physicality

The O.G. puppeteers on Sesame Street are of the most dedicated to their craft of any storyteller today. They connect with millions of children with their hands held high, inside puppets mouths and bodies, where slight movements of the wrist or finger convey entire worlds of emotion and connection with children viewing at home. These incredible artists have been provoking children’s imaginations for about 30 years. We all tried it. It’s hard to bring life to felt and glue (albeit very cute felt and glue). These physical nuances, that rock children’s worlds, should not be underestimated. Sometimes smallest physical gestures can be the most powerful means for communication, even when broadcast to millions.

Embrace uncertainty

Neuroscientist Beau Lotto reminded us that as human beings, we hate uncertainty – we hate to not know. This is because primitively, to not know was to die – and therefore today, uncertainty still creates stress.

He suggests that the solution to uncertainty is play because play is where uncertainty is celebrated. A child is the best example of embracing this way of being, uncertainty is inherent and play is practiced with abandon.

Sometimes in our industry, we do things we already know are going to be great. To this, Lotto would say, ‘who cares’. In this vein, maybe the true creative visionaries will be we who shed our pretense for childlike uncertainty and play. Through this, truly innovative, inspiring storytelling can take place.

Seek newness

One of the most powerful uses of virtual reality is to give people transportative experiences they have never had before. Being in space. Learning dance in Cuba. New experiences in turn can provoke feelings we have never felt before. In correlation with research I’ve done on VR, the closest feeling to being in a VR world is the feeling of being a child: where experiences are new and wonderful, feelings are surprising and pure, and you discover them for yourself (unlike filmic storytelling that leads you where it wants you to go). If we use VR in the right ways to tell stories, we can return to this kind of pure emotion and experience that our modern adult, civilized lives are so good at stomping out.

I left with a renewed commitment to telling stories from the heart and the gut. A dedication to simplicity in our communication. It is our job and responsibility to identify and amplify the aspirational feelings that being a child so perfectly exemplifies. We have the best of the physical and digital world to do this, to champion these feelings more than ever, in a world where we may need them more than ever.

A Very Virtual Bedtime Story

Authors: Jab Borgstrom, Creative Director, Samuel Bowden, Producer and Jeremy Ettinghausen, Innovation Director, BBH London

Doing something for the first time is a great feeling, but doing something so new that you don’t have the set of references, the criteria, to judge the work you’re doing is a wonderful, intimidating and educational experience.

When Samsung offered us the opportunity to try and come up with an innovative new purpose for any of their pieces of technology, VR and specifically the Galaxy Gear VR headset was an obvious candidate. To paraphrase Kevin Kelly, the chance to create a genuine experience ‘as authentic as in real life’ was too interesting to pass up.

‘People remember VR experiences not as a memory of something they saw but as something that happened to them.’ Kevin Kelly – The Untold Story of Magic Leap

VR as a consumer technology is still very new but what we saw when we started looking the growing number of exciting executions was that VR experiences are essentially solitary ones. You put on the goggles and are transported onto a surfboard, a rollercoaster, onto Mars. A recent, deeply affecting piece from The Guardian even puts you in the cell of a prisoner in solitary confinement – a great use of the technology and also a useful metaphor for the majority of VR experiences.

So when we discovered the statistic that a third of parents today are not at home to read bedtime stories for their children, we decided to see whether VR technology could bring a parent and child together, inside a real, virtual bedtime story. Could use Samsung’s technology to elicit real emotion and recreate the sense of closeness that is lost when parent and child are apart?

The use of technology to augment parenting is understandably a contentious issue and at no point in this process did we believe that our VR story should replace either books or parental presence in a child’s bedtime routine. Rather this is an experiment to discover if technology can be used to ease a modern tension and help parent and child stay emotionally connected when physical distance prevents traditional togetherness.

1_SamsungBS_Med

Given that we were embarking on a project without any precedents we knew that we would need both a guiding set of principles and a partner who could help us translate our idea into virtual reality. We found a perfect partner in Unit9 and together agreed that what we were making needed to behave as much like a bedtime storybook as possible. We needed to enable interactions between the parent and child, the reader and the listener, but these needed to be gentle and natural, designed to engage rather than excite a child. So not a game, not a completely passive story, but something in between.

The project was developed at quite a pace and we had several workstreams running in parallel. We had a bunch of fine writers working on and tweaking and revising the story that eventually became The Most Wonderful Place To Be. And we had illustrators and 3D animators creating a look and feel, trying different visual techniques to see what felt right. But it was when the two came together that we knew that a traditional, illustrated storybook world was the one for this project. It would be the animations and the fact that things were happening in 360degrees – up in the sky and behind the viewers’ heads – that would make this feel magical. Anything else – superrealistic 3d renders, papercraft etc – would be sensory overkill.

But as it is also not film – not even an interactive one – we needed to give the parent a child the opportunity to talk and interact ‘off script’ and the ability to control the pace of the storytelling. Incorporating VoIP into the VR experience was definitely a challenge, but one that we knew we had to overcome. Similarly giving the parent the ability to control the pace of the story – to pause and talk with their child between scenes was really important.

Explaining some of the concepts we were contemplating and sharing them internally and with clients also proved a challenge. At different points of the process we had to invent new metaphors for the interactions we were creating. Powerpoint builds and advancing between powerpoint slides was a very useful metaphor and one that both advertising and client teams got behind very swiftly!

This has been such a unique project that it’s hard to know what lessons we’ve learned that can be taken into future VR projects. If we were starting this again with what we know now, perhaps we’d have added a little more personality to the parent and child avatars each viewer sees. But when you are finding solutions to new problems that you have invented for yourself, you have to make choices on what to focus on and thankfully we had the principles we’d agreed on early in the process to guide us.

Most of the time, on most projects, there are canons of craft lore and decades of iconic work to compare what you are doing with. Working on this project was a step into the unknown and because of that liberating and terrifying in equal measures.

 

Creative Credits:

Client name and title: Dan Canham – Manager, Samsung Global Marketing

BBH Creative Team: Martin-Jon Adolfsson and Oksana Valentelis

BBH Creative Director: Joakim Borgstrom

BBH Strategy Director: Damien Le Castrec

BBH Strategist: Tom Patterson

BBH Chief Strategy Officer: Jason Gonsalves

BBH Chief Production Officer: Davud Karbassioun

BBH Producer: Samuel Bowden

BBH Business Lead: Julian Broadhead, Polly McMorrow

BBH Global Business Development Director: Tim Harvey

BBH Account Manager:  Lara Worthington and Katharine Gritten

BBH Copywriter: Nick Kidney

BBH Print Producer: Simon Taylor

Additional Contributors: Amrita Das, Richard Cable,Jeremy Ettinghausen,Vix Jagger, Chris Meachin, Alex Matthews, Sarah Cooper, Patrick Dedman, Kate Frewin-Clarke, Matt Bertocchi, Katie Callaghan

Unit 9 Credits

VR Creative Director: Henry Cowling

Art Director: Fred Aven

Teach Lead: Laurentiu Fenes

Lead Unity developer: Xavier Arias

Unity Developers: Kevin Borrell, David Diaz, Luke Haugh, Mark Vatsel, Riess Phillips Henry Illustration / Environments & Character Design: Christian-Slane

3D Artists: Sophie Langohr, Steve Campbell

Storyboard Artist: Sophie Conchonnet

Technical Artist: Josep Moix

UX Designer: Camille Theveniau

Designer: Mariusz Kucharczyk

Sound Design: Chris Green, Sound Design

Head of QA: Dominic Berzins

QA Lead: Eve Acton, QA Lead

QA Senior Tester: Tom Watson, Ayesha Evans

QA Tester: Andrew Heraty

Executive Producer: Richard Rowe

Senior Producer: Emma Williamson

Film Credits

BBH Producer (Film): David Lynch

BBH Assistant Producer: Sarah Cooper

Production Company: Black Sheep Studios

Editor/Editing House: Black Sheep Studios

Print Credits

BBH Producer:  Simon Taylor, Katie Callaghan

Craft, the Journalist and the Agency Strategist

The Guardian’s Editor, Alan Rusbridger, came into BBH earlier this year and spoke to a group of us about what it takes to deliver open journalism. In particular he described how one of his most awarded journalists, Nick Davies, operates day-to-day. He shared three or four articles Davies had written recently, breaking down the anatomy of each story in meticulous detail. And it properly sank in that “open journalism” doesn’t just mean simply laying the news bare, unfiltered, checked or analysed, nor does it mean opening up a new fire hose of information in the hope someone will make sense of it.

Perhaps the clue is in the phrase “Open Journalism”. As they say at The Guardian, “Comment is free, but facts are sacred”. The Guardian staff are information omnivores, analysts, fact checkers and storytellers. And, as Rusbridger put it to us, there are 3 characteristics that define ‘craft’ in journalism. Very few journalists master all three (Nick Davies is perhaps a rare example), but here they are:

1. A relish or hunger to find out new intelligence
2. The intellectual ability to see patterns in that data; see the big picture and understand the facts
3. An ability to write beautifully

It sounded strikingly similar to what makes a truly great Strategist in an agency. Three things a Strategist usefully might aim for, either way.

Good weekends, all.

In Their Shoes: Experience, Education and Empathy

Author: James Mitchell, Strategist, BBH London & BBH Labs

The girl, Nina , is dressed for a meeting. “I’ve only got two business plans left,” she states matter-of-factly. She places two objects on the table in front of me: a condom, and a pouch of pills. “I would be very grateful if you could decide.”
I hesitate, and the girl’s mask of professionalism falters. “These are my only options, so could you choose…please..?”
In that moment, I realise that my choice is her choice, and her choice is the choice of a hundred young people across London.


At an IPA event on Tuesday, Saatchi’s Head of Planning Richard Huntingdon commented that “beyond all else, what we do is empathy.” It’s true – the comms we create should be an act of empathy towards our audience. When the problem is just right, empathy itself can be the answer. Complicated issues of debate – particularly around things like social justice, where the topic is one we don’t like to discuss – can lose people in the discussion. When the most important measure of success is understanding, the quickest route to the head is through the heart, as empathy. Parents know this. When they try to convince children of the wrongness of a situation, the phrase you’ll most often hear is: “well, how would you like it if…?”

When we feel anger or distrust towards someone we’re often told to walk a mile in their shoes. As humans, we’re actually very good at playing roles and seeing things from another person’s point of view – if we get the right prompts. But executionally, it’s a fine balance. You have to manage the audience’s experience positively enough to draw them into a character, and only then can you subject that character to their (often harrowing) fate. Finally, the immersive experience must offer the ‘immersed’ some sense of redemption, the sense that there’s something to be done to give this character a better future than their present. Only then can the audience leave not just with understanding, but with the desire to act.

One of the most profound cases of alienation that divides “us and them” is shocking because it’s so everyday – homelessness. Centrepoint Parliament know this all too well. They campaign to raise awareness of youth welfare, but it’s easy for the messages to get lost in the debate. We all remember the point and counterpoint that swirled around the London riots last August. Whose responsibility was it – the kids’? The media’s? Blackberry’s? British society was about to give up the youth for lost and no amount of rational discourse would overcome those images in the press of a burning M&S, a looted Tesco, a burnt-out car.

Centrepoint Parliament needed a way to viscerally cut through it all – and over six months, we worked with them to find it. The answer came directly from recordings of the youth hostel itself. No rhetoric, hyperbole or ‘advertising’ could match a simple recreation of the truth – this was Nine Rooms, an experiential theatre piece devised by its own members, with help from BBH. You are placed directly into the worst scenes of a young homeless person’s life – the loneliness, the idleness, and the dilemmas.

[youtube]http://www.youtube.com/watch?v=iKLCI8QA6sE&hd=1[/youtube]

My choice made, I hand the item to Nina. Her expression flickers with pain but all she says is a polite “thank you for your time.” She collects her notes and walks out, leaving me alone with the untaken choice, and a sense of gratitude that I’ll never have to make this kind of decision for myself.

They are scenes that we all have suspected are happening to ‘someone, somewhere’, and internally written off as the facts of life. To be forced to go through them – to wear the shoes – drags them out of the realm of statistics in the head, and into a the form of a nuanced human experience in the heart. To read the impact Nine Rooms had on people is both affecting and uplifting. It’s clear that the power of the performance has made this a brief well answered:

“Powerful and emotive. So well done to get in touch with the reality of homelessness. Portrayed in a way which allows the audience to feel what the characters feel.”
“Moving and very effective – being so close and personal made it a hard journey.”
“Powerful stuff. Is this really going on in London? We all get so tied up in our lives that we don’t know what’s really going on. Thank you for the experience.”

There were tough strategic choices to be made, too – we reasoned that delivering a powerful experience for the few was better than a message that would get tuned out by the many – as long as those few were so impacted that they would pass it on. The sense of shock and outrage we got from our comments book shows that it’s worked. And as we said above, immersive theatre at its best doesn’t just affect people, it moves them to take action – in this case, signing the petition to restore careers advice services so that no young person has to make Nina’s choice.

From ‘events’ like Secret Cinema to political projects (Coney’s Early Days Of A Better Nation) and even new twists on horror, both secular (Hotel Medea) and sanctimonious (see the rise in the US Evangelical concept of the scare-you-straight “Hell House”), immersive theatre has come into its own as a way of heightening reality for a media-skeptic generation. Even traditional media becomes that much more powerful when technology lets us step into the scene (see the experiential touches of our own work for Missing People). Whilst at its most shallow, ‘experience’ is a play for PR-able creativity, at its best, it’s a dose of empathy that’s truly transformative.

Ask the residents of Nine Rooms.

You don’t have to have been through the rooms to take action – sign Centrepoint Parliament’s petition here.

Supplying Monsters, Telling Stories

Hoxton Street Monster Supply Store interior (photo: www.monstersupplies.org)

At Labs we like nothing more that creativity put to good use (reference our love for ichainsawsglovesdesign-led activism and fightwear with a social mission). Chuck in some Mortal Terror and we’re yours.

With the recent launch of their online shop, www.monstersupplies.org, our friends at Hoxton Street Monster Supplies have extended what is essentially an imaginative, immaculately designed fund-raising platform. It’s all in aid of Ministry of Stories, a creative writing non-profit which is supported by all proceeds from the shop. If you need to stock up on Zombie Fresh Mints or my personal favourite, a tin of “A Vague Sense of Unease”, Hoxton Street Monster Supplies is the site for you.

A Vague Sense Of Unease, available at http://www.ministryofstories.org/

And, hey, the holidays are upon us, so satisfy the buying-spree beast within with a little monster-based goodness – just make sure you get your order in by this Friday 1pm (GMT), if you want to make last orders before Christmas.

Behind the shop at 159 Hoxton Street, through a hidden door, the Ministry of Stories exists to help young people in East London learn how to be storytellers. Which, as @jeremyet always likes to say, is where the magic happens.

Ministry of Stories Writer (photo: http://www.ministryofstories.org/)

You can shop online here or volunteer to help at the Ministry of Stories here.

Credits:

The website was created “by a small group of unpaid humans in their spare time”: design by Gavin and Jason Fox, build by Simon Pearson, project management by Chris Meachin, user experience by Mike Towber; and art direction by We Made This.

monstersupplies.org

Tree of Codes and the Web It Left Behind

Author: Jessica Berta (@jeccaberta), Writer, BBH NYC


Certain artists are typecast, sometimes by choice. They capture a style so well that it comes to define them. Author Jonathan Safran Foer falls outside of that camp with a chameleonic thud. He keeps us curious.

In his new book, Tree of Codes, Foer does with a physical book what we often neglect in digital—he turns reading into an experience. In showing how a story’s environment affects its meaning, he gives digital storytellers a slap in the face.

Tree of Codes, breaks from the standard book format in two ways:

  1. It creates a new story by tearing apart and piecing together an old one—Bruno Schulz’s The Street of Crocodiles.
  2. Each page is die-cut to reveal just a handful of words and phrases.

I found the book annoying to read at first, despite its delicate beauty. I couldn’t decipher between the page I was reading and the ones beneath it. It was like a depth perception test following a mug of bourbon.

After sobering up and finding a better technique, I enjoyed the layout. Words hovered in a dream-ridden state. Thought went into each line, each phrase and how it was laid out. Such attention to the UX of reading is tough to find on the web. Foer’s analog approach would be easy enough to toy with in digital. So why aren’t we more playful with narratives online?

Brilliant writing isn’t enough to keep readers happy. Long blocks of copy, no matter how poetic, are begging for attention spans to scamper off elsewhere. In a design dominant field, it’s easy to neglect voice, tone, even punctuation. Or to forget about how each will figure into a broader environment.

Maybe that’s because we get swept up in technology. We use it to tell stories rather than to shape them. The following ideas and executions use technology to influence how stories are read. Bravo! The better ones put UX at the forefront. In doing so, they offer some lessons in communicating creatively.

These concepts and methods fool with language, narrative and technology to entertain. It’s humbling to think that a few pieces of paper and an X-Acto knife can do the same.

When we leave room for interpretation and delight, we can expand the playground for digital fiction. We can turn stories into experiences that are unique to each reader. So let’s stop neglecting the goddamn words. Pretty please?

Powered by Pixels

Aside from the smart, engaged and talented colleagues here at BBH and likeminds the world over, at Labs we are lucky to be in close proximity (in the same office in fact) to the smart, engaged and forward-facing Power to the Pixel team. Their mission is to explore new ways of getting stories in front of increasingly fragmented audiences and support media producers wanting to make the sometimes difficult transition to digital and cross-media distribution.

Audiences no longer think in silos – the recent 2Screen evening demonstrated the power of creating compelling behaviour drivers and experiences across multiple platforms. Power to the Pixel’s recent centrepiece event, the Cross-Media Forum in London, brought together leading thinkers and pioneers from across the media industries who are instrumental in changing the way stories are conceived and are reaching audiences.

Below, PttP’s CEO Liz Rosenthal and COO Tishna Molla picks out some themes that are emerging from their work and, for anyone interested in new tools for storytellers, links to deeper thinking from the Pixel Report.

Story experience

“The best storytelling devices are, and have always been, rooted in human behaviours and desires,” says Mike Monello, Founder of Campfire and Co-Creator of The Blair Witch Project. His keys to creating a successful story experience are;

  • Communal experience
  • Making it tangible
  • Fostering discovery
  • Making it personal
  • Building a world larger than your characters

Story = brand

Whilst marketers have long been used to advertising products across multiple platforms, do they really understand how to keep audiences engaged? How do you begin to find your audience, let alone engage them? How do you decide which platforms to use to tell your story, let alone work out how to use them? Director Jon M Chu, is an expert in how to not only reach, but to sustain an audience. He conceived The Legion of Extraordinary Dancers (The LXD) – “a living, breathing comic book” – first and foremost as a brand, enabling connections with different audiences across multiple platforms.

Power lies with the audience

With the impact of new technologies has come a shift in authorship and access. Audiences have moved from passive viewer to active collaborator, stakeholder, co-creator, marketer, distributor, even financier. There’s a new breed of storyteller emerging, one that understands the new technologies, tools and services that are changing the way that stories are told, how and where audiences can interact with them and, as a result, the whole business of storytelling.

Lance Weiler (@lanceweiler), US filmmaker and story architect, grew his audience for Head Trauma a fusion of feature film, live performance, mobile interaction, online gaming and remix – by allowing the audience to discover and expand elements of the story, moving them from one platform to the next in the process. Audience numbers grew in direct correlation to the number of access points made available to them.

Finnish director, Timo Vuorensola is an expert at collaborating and engaging with his audience throughout the development, production and distribution of his films. Crowd Controls is one great example of a tool that he uses to harness the power of the audience.

With technology advancing so rapidly, the possibilities for storytelling and audience interaction seem limitless or intimidating, depending on your point of view. No-one has all the answers anymore (if they ever did) which makes it essential now, more than ever, to share information and foster new networks, collaborations and partnerships. Which is what we do @powertothepixel.

How to do Propagation Planning

A few years ago I wanted to be a part of the next theory in strategic planning. Connections Planning had been around for about ten years (in 2009) and I wanted to know what comes next? That’s when I discovered the work that Ivan Pollard from Naked Communications had shared around Propagation Planning.

Over the last few years I dedicated my ‘extra’ time to understanding and cultivating the theory, articles and case studies surrounding propagation planning. I shared everything I learned on my Blog. By sharing, others contributed and the ideas got better.

Sharing and generosity are very important in the advertising industry today. They make all of us better. As they say, “a rising tide lifts all boats.”

Edward Boches, who is in the process of formalizing propagation planning at Mullen, wrote a great post this week asking a provocative question, “Do you give content away because you want credit?” For me, I give content away to become a member of the club. A club of strategic planning minds that contribute everyday to a greater collective. This club is made up of so many people that I couldn’t possibly name them all here… but you know who you are.

So I was thrilled when Mark Lewis and the Planning-Ness conference asked if Mike Monello (Co-Founder at Campfire) and I would share our thoughts on propagation planning. I hope that you can take something away from this deck and inspire your creative and social media teams to develop work that gets spread.

(Best viewed by clicking MENU and FULL SCREEN)

What do go-karts, used mannequins, indestructible soccer balls, flame-retardant garments, & a painted toilet stall have in common?

Author: Jeff Johnson, Creative, BBH New York (@fittedsweats)

Late in the spring, British Airways gave us a great brief for North America. Last year they held a contest where they gave out hundreds of free international flights (and shipping) to small business owners in the U.S. so that they could do business face-to-face rather than just via email, iChat, Skype and…fax. They hold the belief that face-to-face contact helps seal more deals rather than just staying put and hoping for the best—which in the current economy, we’re probably more likely to do. Stay the course. Take less risks. Tread water. Shutter the place. Etc.

We immediately told them we would use the entire budget to make a feature length-documentary about the death of the use of the fax machine in Sacramento-area small businesses between ’98-’08, while also weaving in our commentary on the dearth of new ideas in leather belt holsters for mobile devices.

They pushed back. Gently.

Actually, that last paragraph’s not true. BA were giving away more free flights this year, and thought last year’s winners—in telling their own unique success stories—would inspire other small business owners here to enter this year’s contest, and go see their clients and prospective clients face-to-face.

Meeting real people who’ve dreamt up their own business and are ambitious enough to make it a reality was the fun part. Working with a budget that didn’t allow us to send clients, directors, producers, account people and creatives back to far-flung locations to recreate face-to-face meetings was the challenge.

Tireless creatives Jessica Shriftman and Zac Sax teamed with director Chris Bren and Picture Farm out of Brooklyn, as well as photographer Todd Selby, and BBH editors Mark Block and Jonah Oskow to bring stories from a handful of the most compelling businesses to life. Throughout the summer, the group was fueled for the most part by Kombucha tea and it’s startling before-taste.

The films (and the chance to win) can be found at British Airways’ Face of Opportunity site, and, we hope, elsewhere.