Tourism and territorial marketing: the trends

an in-depth look at global and European strategies regarding territorial promotion campaigns to relaunch the tourism and travel sectors. Last year we experienced, observed (and sometimes suffered) major changes in consumer habits and preferences. In all activities, every single brand had to review its communication and sales strategy. Of these, the most affected were certainly the brands and institutions in the tourism sector. Indeed, no one could have imagined what has happened and is still happening. Just think of the increase in the use of QR code technology for access to events or VR fitting rooms for stores.  What we are asking ourselves as an agency is how has the way of communicating the tourism and territory product changed? What strategies are emerging? How to support the sector by designing campaigns capable of interpreting the public’s feelings? To answer these questions we have selected and analysed some campaigns of brands/institutions that from our point of view have been able to better adapt to the present context dictated by Covid-19. First we wanted to consider the methodological approach: as mentioned, the pandemic has changed the way people do practically everything and obviously also the way they interact with brands. Looking at these campaigns, some very important points emerge that a good designer should always keep in mind. 1. Intercepting consumer trends and where possible anticipating them The tools we have at our disposal for this purpose are many and often based on the Data Driven approach (Hashtags, Google Trends, etc.), but it is still essential to be able to create direct contact with people in order to collect this information, by attending and being present in the physical and digital places where we discuss or meet. The experiential approach can be decisive. 2. Setting up a reactive strategy As is the case in nature for some species, speed in adapting to new situations can make the difference between life and death. Just as a trend can change direction in a matter of hours, we must be able to make the best use of all the channels at our disposal, make unpleasant choices like cancelling an event, or courageous ones like modifying a call to action by transferring it to another channel. 3. Involving media partners The design of the dissemination of a campaign is another very important aspect, not only for the optimisation of budgets but also for the relations and relationships that can be triggered between brands and audiences. Identifying media partners and publishers with common interests can facilitate this process and ensure that the campaign is longer lasting and more effective. 4. Listening to emotions: The concept of escapism Finally, the most important point for us these days. Escapology always wins. Although it is undisputed that streaming services are experiencing a real golden age, it is equally true that the users/consumers of these services, which are in fact a form of escapism, increasingly want to be involved in real experiences. This is where we need to focus on figuring out how (with all the security guarantees) to engage people and ask: “what do they need now?”. Let’s get down to business and look at some of the campaigns that have worked best and that have been activated in Italy, Europe and overseas!   COLORADO STAYCATION CAMPAIGN The first example concerns the Colorado Tourism Office in collaboration with their media agency MMGY. Instead of thinking about what can’t be done, they have tried to focus on the concept of ‘change’ and the need to connect with the local population, thus encouraging proximity tourism. The key word has therefore become ‘staycation’, or holidays close to home (from ‘stay’ stay + ‘holiday’ holiday), rediscovering one’s local area and planning adventures and fun outings within a few kilometres and perhaps being able to experience something out of the ordinary.  This concept, with which we are familiar in Italy (just think of “slow food”) has opened up new narrative possibilities for agencies around the world, offering the possibility of including other values to traditional campaigns such as sustainability, km0, and wellness more generally. SXM Media · Colorado Tourism Ad_2020 LET’S GO THERE All this was already happening in 2020. But in the second Covid-19 summer we are witnessing other interesting dynamics. As we often hear: ‘unity is strength!’, and apparently outside national and European borders there are those who can do it really well! Staying overseas, this year we have a collective campaign that rewrites many rules. More than 70 companies have joined efforts for a common goal, to get people travelling again. ‘Let’s Go There’ is the U.S. Travel Association’s new national campaign created by agency Dentsu Mcgarrybowen.  The message is beyond simple: let’s go there, let’s go anywhere, just go!  Beyond the ‘let’s go there’ rhetoric, the campaign involves the likes of Marriott, Disney, Delta and American Airlines, so imagine the degree of complexity these simple words encapsulate.   Behind the invitation to return to travelling and planning adventures lies another urgency, to save an entire industry sector (12.1 million jobs at risk according to the World Travel & Tourism Council). To counteract the heavy layoffs, while not conveying a sense of danger and anxiety, the aim was to appeal to the sense of belonging, of American patriotism, whereby booking a holiday becomes more important than actually taking it, what is important is to revive the industry’s economy. The commercials were aired on the major broadcast networks NBC, ABC, CBS, ESPN and of course Youtube and Hulu. Again, the element of ‘dissemination’ literally became the focus of the campaign. At several levels, proactive involvement was required, from the audience/recipient as well as from all those involved.  https://youtu.be/a9_BTOyT6uQ Sharing and embedding campaign materials (videos, graphics, etc.) on proprietary channels will spread the message and reach the largest number of potential travellers, a collective force that can be far more powerful than all the paid spaces combined!” However, the summer holidays in the US have brought only a small part of the recovery to the

What have we learnt from 2021?​

Last year, the second of the Post-Covid era, we addressed the topic of ‘hybrid’ event development on several occasions in our blog.  But what has changed since then? Which formats and formats have worked best? Which technologies have facilitated this rapid progress and which are about to establish themselves in the market? How can brands use these tools effectively? We will try to answer these questions. To do so, let’s take a small step back and analyse what happened in 2020.  The first impression we had was that it was a real test-bed, where each protagonist (Agencies, Brands, Technology Companies, Networks) tried to impose its own vision or standard, something worked, something did not. Another observation is the large number of technical innovations that have followed one another in the software sphere, think of the thousands of possibilities for registering for an event, buying a ticket and selecting a slot for a booking. A truly boundless amount of software variants, plug-ins and integrations with all major management platforms. But not everything comes through technology, we are particularly interested in the degree of interaction with the audience and the possibility of bringing a certain event to life in presence. The evolution of digital events has thus fortunately moved towards gratuitousness, as is the case for a traditional event in the square offered by a brand, 80% of these events do not involve a cost for the spectator. Obviously the barrier to entry brought by the cost of a ticket has made organisers demur from pursuing this route. However, the positioning strategy in the sale of an event (and its content) is a more delicate matter, and paid events are not necessarily always cheaper, depending precisely on the model adopted.  The most widespread strategy in this case has been that of free registration (free) with 80% of the content being freely accessible, while 20% has been left with a sort of ‘exclusive’ paid formula.  The average price of purchasing a paid digital event (trade fairs, meetings, masterclasses, etc.) has also risen compared with the previous 6 months (Bizzaboo data: from $378 to $443), as has the average time of consumption of content, which has amply exceeded 60 minutes per session/intervention. However, we should not be fooled by this last figure which only partially describes the general attitude, 58% of digital sessions/content were in fact reduced in duration.  Therefore, more content is consumed but of the shortest duration. This reduction also intervenes in terms of audience volume. In fact, the digital event is perceived as more intimate and warm if the audience is somewhat restricted, it is as if one is inside a small exclusive club. This happens in all fields: in entertainment, art, science, business, etc. In this way, staying within a smaller circle encourages interaction, it is an established fact, just think what happens when someone on stage asks an open question to the audience in a large theatre, how many would feel comfortable having to answer in front of a large audience? From July to December, more than half (58%) of virtual sessions still relied heavily on an interactive environment that allowed participants to go ‘on stage’ and participate.  Looking at the disclosed data on online media consumption (BVA-Doxa, AgCOM, Google), which also reflects the main user behaviour/preferences, one can see an incredible leap forward in terms of data consumption compared to the previous year +34% in downloads and +35.9% in uploads on the fixed network, while +38.2% in downloads and 39.6% in uploads on the mobile network, truly remarkable! But how is all this data used? In Italy, AGCOM, examining the behaviour of unique users of various Internet sites and apps, has summarised that users of apps/sites dedicated to generalist information (+3.8%) and e-commerce (+4%) have increased, while consumption of local information (-13.5%) has dropped slightly, and those related to entertainment have remained constant. The other interesting aspect, which concerns brands more closely, is the index of the conversion rate of participants in digital (or virtual) events. Those who knew how best to integrate their sales strategies with customised activations positioned within the event in fact saw their conversion rate increase to 50%. In short, one in two of the participants is not only willing to buy and has shown interest, but has taken action! In 2021, audience and user behaviour has changed a lot when it comes to networking, sharing and direct engagement. Here there is a decline and fatigue in being proactive and this is probably the aspect that more than any other at this time represents the real challenge for brands. The time for attending events has also declined and people actually prefer events that last only one day or, better still, a single session. The golden rules have therefore not changed, brands need to stay focused on content, finding the content that is most relevant to their audience and making it interesting and engaging, inviting and promoting active participation!    

Experiential Marketing: best of 2019

Be inspired by this collection of the best experiential and unconventional campaigns of 2019, carefully selected by BRODO Studio!  Experience this journey through extraordinary ideas and content capable of making customers experience new ways of enjoying the product and immersing themselves in a brand’s identity and values. Curiosə? Enjoy the show!

Marketing Trends from the sport brand’s world

THE IMPORTANCE OF BRAND ENGAGEMENT AND THE CREATION OF EMOTIONAL CONTENT. The dominant theme regarding the new routes of marketing and communication is confirmed to be that related to the creation of authentic experiential content. It is precisely in the often abused word “authenticity” that lies the key to a correct reading of a brand’s decision-making dynamics. To corroborate and support this thesis we find Prof. Patrick Rishe director of the Sports Business Program at Washington University in St. Louis, who in a recent article in Forbes extensively illustrates the latest trends regarding brand engagement and content creation. Another confirmation comes from the InterSport2019 summit hosted by the Sport Business Journal where as many distinguished speakers confirmed, without a doubt, the importance of this topic for all professionals in the field. In summary, it emerged from the conference that marketers must create content (conventional and unconventional) that touches people emotionally. The goal is to forge a closer relationship between brands and consumers, thereby increasing their purchase intent. A brand’s (and a good brand manager’s) efforts should focus on content creation, always boldly, using for example an aspirational and purposeful tone in a commercial can be perceived more positively by consumers, also, on-site activations such as those in an experiential campaign should always be present in a campaign. Of course, metrics and analysis were also discussed and how some of these, (e.g. Impressions) should be less considered. It is not important how many times a message has appeared, but how well it is able to stick in the memory of the audience, in other words how much it has been heard. FIRST SMILE, THEN COUNT. WE ARE IN THE BUSINESS OF JOY. Jonnie Cahill Chief Marketing Officer, Heineken USA Cahill reaffirmed that we need to place the importance of emotional connection above strict analytical rigor. Of the campaigns shown at the summit, we chose two that we thought stood out most in the context of Sports Marketing because of their ability to tell stories in an organic and authentic way, an important key to a brand’s success and credibility, we report:  THE VERIZON: “ALL OUR THANKS” CAMPAIGN, among the most moving commercials of this year’s Super Bowl The use of BIOFREEZE’s NBA Testimonials in the “My Secret Weapon” campaign, the concept of pain is turned on its head in an aspirational way and the public is shown the great physical results that can be achieved with good medication. THE VERIZON: “ALL OUR THANKS” CAMPAIGN BIOFREEZE “My Secret Weapon” Campaign

brodo studio’s playlist​

What music blows the minds of BRODERS?  The selection of the most popular new music and the most listened to hits here at Brodo Studio. BRODO SOUND is a playlist for you to discover! To look inside our heads (and ears) a bit, get to know and recognize each other, understand…that deep down, but really deep down, everything is brodo, from mainstream to doom-noise-electro-something!  We like it that way, even with some “romance” pieces that you never know. In this Mix Tape, among the many sound offerings: a Son Lux fresh from Oscar, Mac DeMarco on strings only, the Algiers on double drums and the healthy madness of Fever Ray! #Electronic #Rock #R&B #Folk #Rap #Original Soundtrack #Experimental

Best from the Experiential Marketing – May 2023

he best experiential campaigns of May 2023 Hey broders! Ready for the start of summer? This May has been a blast for us! After the presentation of Nudge Theory in Milan, the tour of our latest product hasn’t stopped yet. In fact, we are preparing for a June full of special effects…are you ready? We will bring you very fresh and juicy news shortly. But now, let’s take a look at what’s happening in the world of experiential marketing around us. Here’s a look at the experiential campaigns that have most inspired and impressed us with their ability to integrate digital activations in creative ways, even and especially through music! 1. American Express opens a record pop-upfor Burna Boy concert. American Express in collaboration with Momentum Worldwide created a pop-up campaign on the occasion of Burna Boy’s concert at London Stadium. The “America Express Records” pop-up appeared in a secret Hackney location revealed on instagram shortly before the event. The experience recreated the interior of a record store and offered fans 60 seconds to search through the boxes of vinyl on display and find one of 200 pairs of tickets to the show, as well as a selection of other prizes including American Express member benefits, discounts on merchandise, food, and drinks, all accompanied by live music selection from some of the Afrobeat scene’s DJs such as: DJ Era, DJ Bayo and Spaceship Billy the official DJ of Burna Boy shows. An original and engaging way for fans to experience the benefits of being an American Express Card member. Italian online payment services how about it? Shall we design an experiential campaign together Our UK team kicked off the bank holiday weekend with a bang, creating the ultimate pop-up experience with @AmexUK, giving #Afrobeats fans the chance to win tickets to #BurnaBoy's sold out London Stadium show 🎶💥#ICYMI, read more in @Campaignmag 👇https://t.co/BY7Nde625i pic.twitter.com/VcMrwBvvB0 — Momentum UK (@Momentum__UK) May 30, 2023 2. Netflix – Stranger Things Pop Up Store It seems that lately Netflix is not exactly having its most golden moment. But it is in times of trouble that one is wont to appeal to certainties…say one of them is called Stranger Things and then bye-bye! The fetish series of every 80s lover comes to life in the new pop-up store, opened in Milan’s Piazza Cesare Beccaria, the largest in Europe. But what happens inside? Fans will have the chance to experience the stranger things universe in more than 800 square meters, developed over three floors, including interactive and immersive experiences, hidden clues to discover and exclusive merchandise to buy. And are you ready to hunt down the Demogorgon? https://strangerthingspopup.com/it/ 3. Select inaugurates Ca’ Select: Experiential Brand Museum After years spent somewhat on the back burner, the quintessential Venetian bitter is determined to take its revenge by inaugurating Ca’ Select: an experiential museum where all its identity can be brought out, between storytelling and exclusive parties, in the city that has always been its home, Venice. The chance to authentically discover true Venetian living and all the facets of a product that boasts more than a century of history so interwoven among the calli of its mother-city. The inaugural event also featured the participation of Francesca Michielin. The Venetian performer put on an exclusive show for guests with a live performance of some of her biggest hits. As we have been arguing for a while, music is confirmed as an indispensable media for brands! We Broders are definitely ready to gladly support her and help you build your sound identity! 4. Levi’s presents “The 501 experience”, a series of immersive installations and performances Levi’s pays tribute to 150 years of 501s by bringing to the stage an experiential campaign that associates its brand with soundsystem culture and BASS vibes. The experience, designed by XYZ, includes a program of immersive installations and performances in London. Levi’s thus explores the legacy of soundsystem culture and its influence on musical genres, fashion and creativity over the decades, from dub to reggae to jungle, drum and bass, garage and grime. https://brodostudio.com/wp-content/uploads/2023/06/ALL_DAYS_LEVI_WRAP_3.mov Dal sito XYZ – https://thisisxyz.com/case-study/levis-150th-anniversary/ Visitors through waves of dub vibes are also ferried through the history of the British soundsystem by visual works by artist Cedar Lewisohn and photographer Yushy. But to better immerse oneself in the you also need a suitable pool! Said and done and here appears a “vibroacoustic” therapy pool called Bass Bath, which replaces water with deep bass frequency vibrations between 30hz and 120hz. Closing out the event program was a panel discussion led by DJ David Rodigan, a performance by multidisciplinary street artist Navinder Nangla, and performances by soundsystem pioneers Channel One and Congo Natty. Who knows how many anecdotes and stories we all have to relate to the legendary 501s. All that remains is for us to wish you many good vibes! #WEPLAYBRANDS Do you want to create an experiential campaign? contact us!

about udinì: what the brands think about it

What do the Brands think of udinì?  On the occasion of the first season of Udinì Live Experience, we collected the testimonies of some of the brand managers involved in our series. What do they think about content marketing strategies? What is their relationship with art and music in particular? How can a brand tie in with an entertainment show? This and more at the microphones of Udinì! Enjoy the show! https://youtu.be/ST4SEuZPIh4 full interviews 1 – interview with Matteo TOTO founder of Flower Burger on the occasion of the Vanarin episode ii – CR/AK Brewery and Gregorio Sanchez live III – Bevande Futuriste on the occasion of CECILIA’s concert IV – Bevande Futuriste on the occasion of bruuno’s concert V – MARA NEMELA from FONDAZIONE DOLOMITI UNESCO on the occasion of NEW CANDYS and MONTOYA’s concerts VI – MICHELE NOVAK from DISCHI SOTTERRANEI on the occasion of POST NEBBIA’s concert

Dolomeyes press conference

The new campaign for the Fondazione Dolomiti UNESCO signed by Brodo Studio. The campaign of the UNESCO Dolomites Foundation, realised in collaboration with the Associations of Refuges and Mountaineers of the Dolomites Region, has been launched. At the beginning of a summer that will be marked by important tourist flows in the Dolomites World Heritage Site, the UNESCO Dolomites Foundation has developed a communication campaign on the conscious use of water in high altitude refuges and on the conscious frequentation of the mountains, together with the refuge managers, represented by the various associations that bring them together, and the mountaineering associations of the Dolomite region. The aim is to raise awareness of respect for the fragile environment of the Dolomites and an understanding of the role of refuge managers. The presentation took place in Belluno, at the headquarters of the provincial administration, on 18 June, in the presence of the president of the Province of Belluno Roberto Padrin, the director of the UNESCO Dolomites Foundation Mara Nemela, the president of the Association of Alpine Hut Managers of the Veneto Region Mario Fiorentini the vice-president of the Trentino Mountain Shelters Association Roberta Silva, the president of the Friuli Venezia Giulia CAI Silverio Giurgevich, the president of the Veneto CAI Renato Frigo and the director Cristiano Perricone for BrodoStudio, the Udine agency that devised the campaign. “The summer of 2021 in some ways marks the restart after Covid, and we all hope that it will be a fruitful season for tourism and accommodation, huts in the lead. The mountains, which were already seen as safe and healthy last summer, will be a popular destination again this year. High-mountain tourism, however, is not the same as tourism in other locations: it requires care, caution and above all respect for the surrounding environment, which in our Dolomites is pure magic. I would like to thank the Dolomiti UNESCO Foundation for this project, which reminds us how respectful we must be of our mountains and how important it is to raise awareness, even in a sympathetic manner, among those who frequent trails and refuges,’ said Roberto Padrin, President of the Province of Belluno, speaking in his capacity as a member of the Board of Directors of the Dolomiti UNESCO Foundation. https://www.youtube.com/watch?v=EPvrypOu_1Y the aims of the campaign It will be difficult not to be reached by the messages of the campaign: videos, social media, web, tutorials, and actions in the area that will feature the monstrous ‘Dolomeyes’ (the eyes of the Dolomites), a character borrowed from the Dolomite narrative and representing the fear that habits and attitudes that do not respect the mountains can ruin the delicate ecosystem of the Dolomites; hence the campaign slogan: ‘Fear at first sight’, that fear that risks replacing the ‘love at first sight’ that the Dolomites always generate.  “The ‘Dolomeyes’ monster recalls the figure of the wild man (salvan). This figure has been present since time immemorial in the imagination of Alpine peoples and marks the symbolic boundary between wild and domesticated space, between nature and man. He frightens civilised man on an unconscious level. With his perturbing appearance, he guards the insurmountable border between the natural environment and disrespectful human behaviour,’ is how Annibale Salsa, a member of the Scientific Committee of the UNESCO Dolomites Foundation, illustrates the link between the protagonist of the campaign and the figure of the Wild Man, who we find present in the cultural heritage of all the Alpine valleys. The campaign “Dolomeyes: Fear at first sight!”, was developed by BrodoStudio of Udine and was born from the bottom up, as is the style of the UNESCO Dolomites Foundation: a working group made up of refuge managers and representatives of mountaineering associations worked for a long time to identify the messages to be conveyed to hikers. “Dolomeyes is the first project I had the opportunity to deal with as a new director, and it is a perfect example of the working method with which the Foundation interacts with the territory and the communities. The involvement of stakeholders – in this case mountain hut owners and representatives of mountaineering associations – is already synonymous with success. Dolomeyes is a container, a cultural laboratory within which we are today taking our first steps, the contents of which we will continue to write together with mountain professionals,” commented Mara Nemela, Director of the UNESCO Dolomites Foundation, today at her first public appearance after her recent appointment. This was confirmed by Silverio Giurgevich, president of CAI Friuli Venezia Giulia: ‘Around the UNESCO Dolomites, we are forging more and more alliances for more sustainable mountain use. This prestigious recognition has allowed us to dialogue between apparently distant and different territories, creating transversal projects across administrative borders’. A frequentation that changes and grows, an increasingly international tourism, the refuge as a destination and no longer as a starting point, a lack of awareness of the limits and characteristics of the mountain environment, and finally water: a resource as precious as it is scarce. The Dolomeyes project takes its steps from here. “Often, in fact, those who go to the mountains do not know the reality and unconsciously seek the fulfilment of demands that cannot be fulfilled, because high altitudes obviously cannot offer all the comforts and rhythms characteristic of city life. This is why it is important to trigger a path of awareness on the part of those who frequent the mountains. Only an aware visitor does not run the risk of seeing his or her expectations unfulfilled, but seeks out and lives the ‘limits’ imposed by the mountain environment as an opportunity for an authentic and unique experience,’ says Mario Fiorentini, president of the Association of Alpine Shelter Managers of the Veneto Region and manager of the Rifugio Città di Fiume. A SPECIAL FOCUS ON WATER SAVING Among all, special attention will be paid to the issue of responsible use of water resources, as requested by refuge managers. Water is a precious commodity and its supply is a

Insight branded content (eng)

CONTENT MARKETING for brands: road to brodoway The advertising scenario is constantly evolving. How can we best interpret audience behaviour? What kind of demands and needs are we called upon to satisfy? We at BrodoStudio take spectacle and seriality very seriously, so much so that we have given a name to our direction, ‘THISISBRODOWAY’. We believe that for any brand seriality and spectacle is the right path to success, we imagine a place where fiction becomes a real experience that can engage people. This is our way of conceiving content marketing: creating the entertainment experience through serial content strongly inspired by a brand’s values. In this insight we will analyse what is happening in Italy and worldwide, the new trends and the next scenarios related to the production and fruition of audiovisual contents for new media.     Contents: What is content marketing Planning and other kind of contents Fiction and Non-Fiction  The formats I genres Conclusion download our free report FILL IN THE FORM AND SUBSCRIBE TO OUR NEWSLETTER TO DOWNLOAD THE PDF, YOU WILL RECEIVE THE DOWNLOAD LINK BY EMAIL.

Nudge Theory: interview to the broders

the authors tell the genesis of the FIRST INTERACTIVE MUSICAL SHOW!   After the premiere last 11 May at the Circolo ARCI Bellezza in Milan, Brodo Studio authors Cristiano Perricone and Corrado Roccazzella talk about the new format ‘Nudge Theory: Interactive Music Video’, with all its features, potential and background. Read the interview now! You will all remember when, a few years ago, a very peculiar episode of the Netflix series Black Mirror was released, entitled Bandersnatch, which immediately went viral. What was the special feature? Basically, it was an interactive film in which viewers were asked to make choices instead of the protagonist Stefan Butler, a young programmer. Bandersnatch, as well as Nudge Theory, were written following the branching narrative technique, which does not foresee a traditional unfolding of the plot, but rather foresees several possible developments depending on the choices the player makes. But we don’t want to anticipate too much! We now give the floor to the creators of the format: Cristiano Perricone, creative director, director and co-author of the format, and Corrado Roccazzella, account and producer. Buongiorno broders! Non vediamo davvero l’ora di scoprire tutti i segreti di Nudge Theory! Partiamo subito dalle basi: perché il nome Nudge Theory? Cristiano: I’ll break the ice! The title Nudge Theory refers to the essay “Nudge – The Gentle Push” written by Richard H. Thaler and Cass R. Sunstein, which deals with new behavioural theories based on an active approach to the architecture of choices, which occurs through a ‘nudge’, in other words, a suggestion.  Interesting! However, I now issue you a challenge: explain to us in a few points what Nudge Theory consists of. Corrado: We can explain Nudge Theory by touching on four essential points, the ‘fantastic four’, which are: RE-PLAY: Nudge Theory is an interactive video that we can ‘play’ and ‘re-play’ over and over again, constructing ever-changing experiences. SEAMLESS: In Nudge Theory, there is no interruption, the requests, the invitations to intervene do not lose the taste for enjoyment and do not interrupt the flow of artistic performance. CRE-ACTIVITY: each element of Nudge Theory is creatively constructed and interaction-driven. DIGITAL: Last but not least. Nudge Theory is a digital object that connects to all possible platforms and tools: Social, VOD platforms, Smart TV, E-commerce, CRM, Sites, Analytics, etc. This obviously also makes it a valuable ally of any web marketing strategy. I would say that now we are all curious to know how the idea of the format was born: can you explain it to us Cristiano? Cristiano: With pleasure. Well, certainly in part it stems from personal experience both educational and professional related to the world of show business and directing. Over the years, I have had the good fortune to train and work with illustrious personalities from the world of show business, who have been great sources of inspiration for me: from the master set designer Gaetano Castelli (Studio ’80, Fantastico, Sanremo), to the director Ruggero Montingelli (co-creator of Videomusic) and Mario Maffucci, who knows a thing or two about TV shows! Music has always been a part of my work as an author and director, from my first show Romusik for the local broadcaster RomaUno to my experiences with MTV (I remember the experimentation with FLUX-TV that led me to direct the Casino Royale videoclip) via the editing of BowLand’s performance (shot by Uolli) for the X-Factor final. More recently, then, with Brodo Studio we created the Udinì video-concert format, which brings the live performance into ‘other’ contexts, alien to music, such as factories, craft workshops, museums. I must say, however, that the real push that gave birth to Nudge Theory was certainly the desire to experiment and deepen the technique of narrative branching, and the ambition to push the concept of the music show (and not only) to another level. We can therefore say that Nudge Theory was born out of a Nudge! But now let’s talk about the pilot episode! Cristiano, about this first episode, can you tell us about the conception and the work behind the transposition of music and song lyrics into images? Cristiano: It is a complex work, which began immediately with a discussion with the artist Ulisse Schiavo, and then continued through a careful collection of materials, listening to the pieces and transposition.  The creative process is reminiscent of contemporary opera, where the visual aspect is transposed by elaborating the text in all its variations, score and libretto, and where more often than not it is the emotion conveyed by the music that guides the pencil of a set designer or visual designer. In our format, we want to recover this process by using certain languages of contemporary art, such as video art or installation art.  In this first episode, some of the interpretations you can see are true homages to some contemporary visual artists, as in the case of Pipilotti in Have you ever shout loud? and Marinella Pirelli for Valido and Alone. While for other situations we created the sets from a blank sheet of paper, as for Precious Silver Grace or Sale. In fact, each episode is designed to become a ‘musical concept-film’ as close as possible to the imagery expressed by the artist, our task being to visually enhance his music. Watching the show, one of the things that stands out the most is the uniqueness of the space, the Emotion Hall at the Tiare in Gorizia, with huge projections and video walls. How did this choice come about? Corrado: I would like to take this opportunity to thank TIARE for making the Emotion Hall space available to us. When we started writing the concept, which later became the paper format of the show, we realised that we needed a very large space, which was visually powerful and which allowed us to play creatively with the sets. Of course, these are all circumstances that would scare anyone involved in the production (sets, huge spaces, technology). So we started looking for a location with certain characteristics that would allow