Kpmg rfp sch 2

High End Film Production
Creative Response
24/05/13

KPMG
have
reviewed
their
recruitment
strategy
to
be8er
address
the
challenges
brought
by
the
current

economic
climate.
They
are
looking
to
recruit
capable,
ambi?ous
people
at
different
stages
in
their
careers/
career
planning,
to
fill
posi?ons
across
the
diverse
range
of
professional
services
KPMG
offers.
This
is
a

par?cular
challenge
with
technology
consul?ng,
which
is
a
real
growth
area
for
the
company.
To
this
end
KPMG
would
like
to
look
at
commissioning
a
film
that
can
sit
alongside
their
other
recruitment

ac?vity
to
communicate
the
benefits
and
standout
differences
of
a
career
in
technology
consul?ng
at
KPMG
to

the
en?re
range
of
suitable
poten?al
candidates.
This
means
an
audience
that
consists
of
school
leavers,

graduates
and
experienced
hires.
We
must
also
consider
the
secondary
audience
of
key
influencers,
which
for

school
leavers
is
their
parents
and
teachers,
and
for
students
means
both
careers
service
staff
and
KPMG

employees.
Introduc?on

To
create
a
single
film
that
gives
an
overview
of
the
benefits
and
a8rac?ons
of
working
at
KPMG
that
appeals

to
all
poten?al
candidates,
whatever
stage
of
their
careers/educa?on
they
are
at.
One
that
reaches
a
diverse

audience
and
encourages
them
to
think
of
a
career
at
KPMG
regardless
of
gender,
ethnicity
or
background;

both
those
who
are
trying
to
choose
from
amongst
the
‘big
4’
as
well
as
those
who
have
either
not
considered

a
career
in
this
field,
or
for
whom
it
is
only
one
op?on.
So
how
do
we
engage
this
hugely
diverse
audience?
They
will
all
have
different
mo?va?ons,
different
barriers,

different
cultural
influences,
even
different
tastes
in
music
and
visual
entertainment.
How
do
we
make
the

prospect
of
working
for
KPMG
a8rac?ve
and
show
how
different
it
is
from
a
job
with
the
others
in
the
big
4?

Importantly
how
do
we
not
only
a8ract
the
right
candidates,
but
also
encourage
those
who
aren’t
suitable
to

self-‐select
out?
And
how
do
we
do
this
in
a
way
that
is
not
only
true
to
the
brand,
but
reinforces
it?
That
sits
well,
both

visually
and
tonally
with
KPMG’s
exis?ng
campaigning
and
digital
estate?
How
do
we
do
it
in
a
way
that
isn’t

self-‐consciously
‘cool’
or
alterna?ve,
but
that
is
instead
straighSorward,
that
tells
it
like
it
is?
We
need
an

approach
that
is
at
the
same
?me
engaging,
crea?ve,
enjoyable
and
even
fun
in
a
way
that
not
only
tells
the

story
in
a
persuasive
way,
but
that
reflects
well
on
KPMG
by
associa?on.
The
Challenge

When
faced
with
an
audience
as
broad
as
this,
with
a
strong
diversity
agenda,
one
prac?cal
approach
would

be
to
adopt
a
technique
where
we
essen?ally
avoid
seeing
real
people
altogether.
One
way
we
can
do
this
is

by
using
anima?on
which
has
a
number
of
other
very
real
benefits:
−
It
appeals
to
a
wide
range
of
audiences
and
is
devoid
of
issues
of
representa?on.
−
By
crea?ng
a
virtual
world,
we
can
have
complete
control
of
the
messages
and
also
include
a
broad
range

of
informa?on
without
struggling
to
contextualise
it
or
link
one
element
with
another.
−
It
lets
us
bring
factual,
serious
informa?on
to
life
and
illustrate
abstract
concepts
by
using
memorable,

eye-‐catching
and
engaging
visual
metaphors.
−
It
enables
us
both
to
reinforce
the
brand
and
to
make
the
communica?on
fit
well
within
KPMG’s
digital

estate.

−
It
gives
a
real
opportunity
for
flexibility
and
adaptability
around
changing
needs
or
more
focussed

communica?on
–
cost
effec?vely
and
without
too
much
upheaval
(see
below).
Crea?ve
Approach
One

With
anima?on,
the
crea?ve
process
allows
for
a
great
deal
of
collabora?on
between

produc?on
company
and
client.
Key
milestones
are
easily
factored
into
the
schedule,
allowing

input
from
all
stakeholders.
This
offers
the
opportunity
for
elements,
such
as
the
script
and
the

look
and
feel,
to
be
finessed,
finalised
and
then
signed
off
at
each
stage,
ensuring
that

messaging,
style
and
tone
are
exactly
right.
The
produc?on
process
is,
typically:
1.
agreement
of
concept
2.
ini?al
scrip?ng
3.
genera?on
of
visuals
–
key
frames
that
show
principals
of
design
4.
revised
scrip?ng
and
sign
off
5.
sample
anima?on
and
sign
off
6.
music
and
voice
selec?on
7.
complete
anima?on
8.
record
narra?on
and
sound
design
9.
final
anima?on
adjustment,
lay
back
soundtrack.
10.
delivery
A
Collabora?ve
Process

We
will
take
as
inspira?on
for
our
visual
approach
three
things:
−
cu%ng
through
complexity
−
telling
it
like
it
is
−
high
performance
people
These
will
be
encapsulated
in
a
visual
style
that
also
serves
to
reinforce
KPMG’s
brand;
one
that
embodies
the
idea
of
a

simple
crea?ve
idea,
executed
really
well.
One
that
looks
technological,
professional,
clean,
analy?cal,
but
at
the
same
?me

is
eye-‐catching,
amusing,
quirky
and
imagina?ve
(though
not
childish);
one
that
is
not
however
overwrought
or
trying
to
be

too
‘cool’.
This
approach
will
also
echo
the
sort
of
aesthe?c
and
tone
of
voice
used
in
the
communica?ons
of
those
tech

companies
who
are
key
sector
compe?tors
for
technology
consultancy
talent.

We
will
take
the
blue
of
the
KPMG
brand
and
logo
and
use
it
as
our
background,
the
colour
of
our
virtual
world.
It
won’t
be
a

ﬂat
blue;
it
might
be
textured
to
give
it
more
depth,
but
also
elements
of
the
trapezium
mo?f
will
feature.
These
could
just

be
a
sta?c
element
of
the
background,
or
we
could
otherwise
use
them
as
part
of
the
anima?on
–
perhaps
deno?ng
a

change
of
scene,
or
even
as
part
of
transi?ons
between
them.
Crea?ng
An
Engaging
Visual
Style

We
will
then
use
a
simple
white
line
as
a
constant
thread
running
through
the
film.
It
will
not
be
hand-‐
drawn,
rather
it
will
be
precise
and
constant,
almost
like
that
of
a
technical
drawing,
but
soher,
more

human,
less
formal;
with
more
curves.
It
will
be
used
to
animate
elements
throughout
the
film
that
are

far
from
technical
or
boring;
it
will
be
used
to
‘draw’
on
outlines
of
buildings,
people,
cars,
even
text
and

numerals.
Our
line
will
provide
a
constant
progression
from
scene
to
scene,
before
finally
ending
the
film

by
bringing
on
and
comple?ng
the
KPMG
logo.
This
will
allow
us
to
use
any
imagery
we
like,
without
worrying
about
being
too
detailed
or
specific,
and,

importantly,
without
worrying
about
how
the
pictures
move
logically
from
one
scene
to
the
next.
This

will
let
us
bring
different
aspects
of
what
KPMG
offers
to
life
by
using
a
number
of
quirky
and
engaging

visual
metaphors
(see
rough
script
example
below).
It
will
also
allow
us
to
seamlessly
integrate
text
or

numbers
without
adop?ng
a
consciously
infographic
style.
This
is
not
aher
all
about
sta?s?cs,
or
words.

There
are
enough
of
those
available
on
the
website.
The
result
will
be
a
contemporary,
crisp,
clean,
modern
(reflec?ng
KPMG’s
technology
consultancy
work).

It
will
be
grown
up,
but
human;
smart
and
stylish;
approachable
and
engaging.

The
tone
of
the
piece
is
key
to
engaging
all
the
different
audience
segments,
and
to
represen?ng
KPMG

in
the
right
way.
It
will
act
as
counterpoint
to
the
pictures;
an
essen?al,
integral
element.

We
will
use
the
idea
of
telling
it
like
it
is
as
our
inspira?on,
by
telling
the
story
in
a
way
that
is
ma8er
of

fact
and
clear
(and
in
the
process
embodies
the
idea
of
clear
direc=on
from
a
worldly
expert
with
a

personal
touch
and
a
point
of
view).
One
that
uses
unassailable
logic
-‐
why
wouldn’t
you
consider
KPMG

when
it
offers
all
this?

This
will
define
the
tone
of
the
narra?on
and
be
fundamental
to
the
en?re
narra?ve
structure
and

language
used
in
the
script.
In
an
en?rely
relaxed,
concise,
informal
way
it
will
lay
KPMG’s
cards
on
the

table
–
here
are
the
facts,
the
decision
is
yours.
It
will
be
the
equivalent
of
hearing
all
about
KPMG
from
a

friend
who
works
for
the
company
already.
Our
narra?on
will
not
be
voice-‐over
in
the
sense
of
a
straight
corporate
narra?on.
Rather
we
will
look
to

find
a
voice,
perhaps
one
that
is
well
known,
that
can
add
a
real
sense
of
depth
and
personality
to
the

piece.
Tonally
it
will
be
approachable
and
perhaps
a
li8le
wry;
neither
pompous
nor
taking
itself
too

seriously.

With
a
minimalist
visual
style
such
as
this,
this
will
really
lih
the
level
of
emo?onal
engagement,
as
will

the
use
of
a
dynamic,
but
interes?ng
music
track.
One
that
uses
real
instrumenta?on
and
again
is
far

from
corporate
in
style.
In
a
very
real
sense
the
narra?on,
combined
with
the
music
and
sound
design,

will
be
the
human
face,
the
character
of
the
piece,
helping
to
make
it
richer
and
more
polished.
The
Importance
Of
The
Right
Tone
Of
Voice

This
crea?ve
approach
lends
itself
well
to
re-‐versioning
or
adapta?on,
be
that
to
make
it
more
targeted
at
individual

audiences
or
other
individual
areas
of
the
business,
or
just
to
update
or
translate
into
other
languages:

1.
It
will
be
rela?vely
straighSorward
to
tweak
the
script
and
either
add,
subtract
or
change
individual
visual

elements
without
having
to
radically
rethink
the
film,
and
so
make
it
suitable
for
other
areas
of
KPMG’s

business
beyond
technology
consultancy.
2.
It
will
also
be
possible
to
target
each
individual
audience
segment
by
making
specific
soundtracks
aimed
at

each.
This
could
not
only
include
tweaks
to
the
script
and/or
visuals,
but
could
also
include
choice
of
voice

talent
and
music,
which
would
enable
us
to
change
the
tone
of
the
whole
piece,
whilst
maintaining
a
single,

on-‐brand
visual
iden?ty.
3.
We
could
also
take
this
even
further
and
create
different
films
in
the
same
style
against
backgrounds
drawn

from
others
in
the
corporate
palate,
should
we
want
to
create
a
dis?nct
visual
differen?a?on.
The
real
advantage
is
that
this
is
all
work
that
can
be
done
further
down
the
line,
should
KPMG
wish
it,
without

having
to
factor
it
in
up
front
Adding
Value
By
Providing
A
Degree
Of
Flexibility

Please
bear
in
mind
this
is
simply
an
example
of
how
voice
and
visuals
might
work
together.
We
would
of

course
work
closely
with
you
to
refine
the
messaging
as
well
as
the
tone,
not
to
say
the
visual
treatment

–
essen?ally
star?ng
again
from
scratch
should
it
be
needed.
Visuals
We
open
on
a
plain
blue
background,
perhaps
with
the

trapezoid
mo=f
from
KPMG’s
brand.
A
white
line

animates
onto
the
screen…
…
it
brings
on
firstly
a
giant
K.
In
quick
succession
a
P,

then
an
M,
then
a
G
are
added
They
disappear,
to
be
replaced
by
a
ques=on
mark.
We
pull
back
from
the
ques=on
mark
as
it
transforms

into
one
number
on
what
appears
to
be
a
page
of
double

entry
book
keeping.
As
a
line
is
drawn
along
with
the

totals
beneath
this
disappears
off
screen
to
the
right

again)…
Audio
Music
–
something
quirky,
interes=ng
and

engaging.

Four
simple
le8ers.
You
probably
know
them.

What
do
they
mean
to
you?
Well,
you
probably
know
that
we
are
good
with

numbers.
Example
Script

Textured - Line Forms The KP of ‘KPMG’
Textured - Title Complete
ANIMATION STYLE REFERENCE
Scene: KPMG Opening Textured - Line Forms The MG of ‘KPMG’
Untextured - Title Complete

Visuals
…the
line
then
becomes
one
element
of
a
globe
being

drawn
on,
which
begins
to
spin
showing
a
myriad
of
liQle

dots
where
the
regional
offices
are.
The
globe
finishes
on

the
UK
and
we
move
in
closer…
…as
we
do
the
perspec=ve
changes
to
a
flat
plane.
Onto

it
is
drawn
the
outline
of
a
cityscape.
As
this
finishes

drawing
across
the
screen
the
middle
four
skyscrapers

grow
much
larger.
One
of
these
is
filled
in
with
solid
white,
except
for
the

outline
of
the
leQers
KPMG.
Somehow
it
also
looks
a
bit

different
–
somehow
beQer.
The
skyline
then
changes
into
the
word
‘Audit’.
We
move

back
from
it
so
that
it
sits
much
smaller
in
the
middle
of

the
screen.
Rapidly
all
sorts
of
other
services
appear

around
it,
filling
up
the
screen…
Audio
You
might
even
know
that
we’re
everywhere,

from
Afghanistan
to
Zimbabwe
–

in
fact
in
151
countries
in
all
And
that
we
are
one
of
‘the
big
4’
But
what
makes
us
different
from
the
other
3?
Well,
did
you
also
know
that
we
don’t
just
do
audit

(though
we
do
that
really
well).
We
actually
provide

all
sorts
of
professional
services…

…one
of
which,
‘technology
consultancy’
grows
in
rela=on

to
the
others,
ge%ng
large
on
screen.

We
pull
back
to
see
that
this
the
words
are
on
the
page
of

an
open
newspaper.
It
closes,
revealing
on
the
cover
‘The

Sunday
Times’
masthead.
Below
this
is
wriQen,
like
a

headline:
‘TOP
100
COMPANIES
TO
WORK
FOR’
The
newspaper
then
transforms
into
a
trophy.
On
it
is

wriQen
‘Global
Firm
of
the
Year’
and
‘Bri=sh
Accountancy

Awards
2011’.
As
it
ﬁnishes,
it
moves
over
and
another

one
appears
alongside
it
–
this
?me
marked
‘2012’.
Audio
…including
technology
consultancy,
which
is
where
we

are
really
growing
at
the
moment.
And
did
you
know
that
we
are
consistently
voted
one
of

the
best
places
to
work…

And
that
we’ve
won
awards
for
being
good…two
years

running
now…
Visuals

Textured - Lined Trophy
Scene: Trophy Textured - Hollow Trophy
Untextured - Lined Trophy Untextured - Hollow Trophy

Visuals
We
see
our
white
line
split
and
mul=ply
into
a
number
of

lines
that
intertwine
and
we
see
points
of
data
moving

along
it.
This
then
brings
on
a
series
of
figures
in

succession.
Each
looks
slightly
different
and
is
labeled

with
a
different
job
area:
business
technology,

informa=on
technology,
technology
risk
consultancy
etc.
We
pull
out
again
to
see
the
outline
of
a
male
and
female

in
gowns
and
mortar
boards…
These
change
into
slightly
shorter
figures
in
school

uniforms
with
school
bags…
These
then
grow
again
into
full
grown
adults,
then
more

appear
on
the
screen
with
briefcases,
laptops,

construc=on
helmets,
lab
coats
etc
The
line
then
turns
into
a
range
of
different
things
all

in
succession
-‐
a
car,
a
television,
a
boQle
of
pills,
a
train

etc
Audio
We
need
all
sorts
of
people,
to
work
in
all
sorts
of

areas…including
some
pre8y
specialised
ones
in

our
consultancy
func?on.
We
recruit
graduates,
but
that’s
not
all.
If
you
are
just
leaving
school,
we
can
give
you
a
debt
free

university
with
a
job
guaranteed
at
the
end
of
it
And
if
you
have
already
worked
to
achieve
a
lot
in

your
own
sector,
you
can
bring
that
knowledge
to

us…
…because,
as
our
clients
come
from
a
huge
range
of
different

industries
your
knowledge
can
provide
our
clients
with

advice
that’s
just
right
for
them.
And
also
that
we
do
have
opportuni=es
for
you,
if
you
are

the
right
person,
either
right
now
or
in
the
future.

Textured - Line Begins To Wave
Textured - Lines Forms A Fibre Optic Cable
Scene: Technology Textured - Line Splits & Intertwines
Textured - Light Passes Simulating Data Transfer

Visuals
We
see
a
fenced
off
area
with
a
figure
standing
in
the

centre
of
it.
The
word
expert
draws
on
with
an
arrow

poin=ng
at
them.
We
cut
to
a
close
up
of
the
same
figure.
The
outline
of

a
telescope
is
drawn
on,
held
to
their
eye.
We
pull
out

again
to
see
a
thought
bubble
with
a
globe
in
it.
We
see
a
toothpaste
tube
being
rolled
up
=ll
the
very

last
bit
emerges…
We
see
a
large
‘complexity’.
A
knife
is
drawn
on
and

saws
the
word
in
half.
An
office
building
draws
on.
When
it
finishes
we
move

around
it
to
reveal
it
is
a
big
=ck
This
moves
to
one
side
and
a
bag
with
a
pound
sign
on
it

is
drawn
on
next
to
it
Just
ask
yourself
this…
…are
you,
or
do
you
want
to
be,
an
expert
in
your
field?

Do
you
spend
your
life
looking
forward,
thinking

globally?
Do
you
like
to
get
the
most
out
of
everything
you
do?

Do
you
like
cupng
through
complexity?
If
you
want
to
work
for
a
big
company,
and
you

think
you
are
good
enough,
there
is
no
be8er

place
to
work,
nowhere
where
you’ll
get
more

opportuni?es.
The
financial
rewards
are
great.
Audio

Visuals
We
pull
back
from
this
and
these
transfer
into
the
seal

on
a
cer=ficate
to
represent
professional
qualifica=ons
We
then
see
drawn
on
a
building
with
the
word
‘bank’,

next
to
it
another
with
‘KPMG’.
The
bank
cracks
and

falls
in
half.
The
KPMG
building
grows
larger
in
screen
Two
figures
draw
on,
one
male,
one
female...
…then
we
pull
back
to
see
the
figure
on
the
side
of
a

mountain,
climbing…
And
we
will
help
you
hone
your
skills.
And,
let’s
face
it
we
are
a
good
deal
safer
bet

than
banking.
Whoever
you
are,
wherever
you
come
from,

whatever
stage
you
are
at
with
your
career.
But
not
only
that,
it
really
is
a
great
place
to
work.
As
long
as
you
are
up
to
the
challenge,
and
not
afraid
to

work
to
get
where
you
need
to
be.
Audio

Textured - Character Placement 1
Half Textured - Character Placement 2 Untextured - Character Placement 2
Scene: Mountain Base
Textured - Character Placement 2

Visuals
…we
then
see
the
figure
arrive
at
the
top,
alongside

other
figures.
We
see
a
flag
planted
on
the
summit…
…We
cut
to
a
close
up
of
the
flag
to
reveal
a
big
no.1
on

it
(the
horizon
behind
it).
The
horizon
then
extends
into
a
white
line
which
turns

and
then
animates
on
through
the
KPMG
of
the
logo

before
finishing
off
the
thin
white
line
boxes
that

complete
the
logo.
Audio
You
can
share
in
our
success.
Don’t
just
be
part
of
the
big
4.
As
a
place
to
work

KMPG
really
is
number
1.

Music
ends
END

Crea?ve
Approach
Two
For
our
alterna?ve
proposal
we
would
like
to
gently
ques?on
your
brief
and
specifically
the
requirement

for
for
one
single
crea?ve
approach.
You
have
clearly
defined
your
three
key
audiences
and
we
would

recommend
that
a
more

targeted
approach,
focussing
one
film
on
the
younger
audience
of
School

Leavers
and
Graduates,
and
another
on
the
Experienced
Hires
will
achieve
a
more
effec?ve
outcome.
SCHOOL
LEAVERS
&
GRADUATES
Aims
/
Objec?ves
There
are
addi?onal
requirements
within
the
target
audiences:
•
To
a8ract
more
female
applicants.
•
To
a8ract
candidates
from
a
broader
social
profile.
(state
school
applicants)
•
The
primary
target
–
20-‐23
year
olds.
•
Enforce
and
maintain
student
thoughts
towards
KPMG
being
‘pres?gious’,
‘excellent

reputa?on’,
‘excellent
graduate
programme’
and
‘great
career
prospects’.
And
generate
a

‘viral’
effect
on
campus
by
word
of
mouth.
•
Convince
School
leavers
/
graduates
that
KPMG
is
one
of
the
best
employers,
offering

opportuni?es,
learning
and
s?mula?ng
challenges
in
an
intellectually
fer?le
environment.

Our
younger
audiences
have
a
very
different
perspec?ve
of
the
working
world
to
those
within
it,

and
a
big
part
of
appealing
to
them
will
be
to
clear
confusion,
apprehension,
and
align
KPMG
with

their
ambi?ons.
It
is
therefore
helpful
to
get
into
the
heads
of
Graduates
and
School
Leavers:
how
do
they
think?
•
Young,
ambi?ous,
compe??ve,
ins?tu?onal
mindset.
•
Keen
to
be
an
individual,
to
have
purpose
and
to
succeed.
•
Li8le
experience
and
understanding
of
the
reali?es
of
the
workplace
and
working
life.
•
Some
team
skills
exis?ng,
but
more
to
develop
professionally
and
in
terms
of

management.
•
At
?me
of
viewing,
they
are
pressured,
but
hungry
for
results
/
a
path
/
a
door.
•
They
are
excited
about
their
own
poten?al,
but
also
believe
it’s
more
difficult
than
ever
to

find
work.
•
A
desire
to
travel,
explore,
discover
and
excel.
•
Idealism,
ambi?on,
dream
of
star?ng
a
business:
KPMG
as
a
gateway
to
a
successful

business
career
/
applicable
skills.
Ra?onale

KPMG
wants
to
a8ract
strong
personali?es
who
feel
they
can
be
themselves,
therefore
our
film
needs
to

set
a
welcoming
tone
of
acceptability,
informality,
and
a
desire
to
find
out
who
they
are,
as
they
find
out

who
KPMG
are.
To
do
this
we
must
appear
to
be
welcoming,
honest,
relaxed
and
keen
to
meet
them.
Tone
Again
the
tone
of
the
film
is
key.
KPMG
must
shake
off
the
‘bigness’
of
being
one
of
the
Big
4,
whilst
s?ll

maintaining
its
credibility,
and
find
a
tone
where
the
messaging
feels
more
like
a
dialogue
than
a
formal,

top-‐down
invita?on.
The
film
must
come
across
as
smart,
thoughSul
and
not
trying
too
hard.
Empower
the
applicants.
Applicants
may
not
be
fully
aware
of
what
how
valuable
their
skills
already
are.
We
must
make
them
feel

empowered
by
the
path
they
have
already
started
to
follow,
and
show
them
its
poten?al
for
the
future.

KPMG
is
not
going
to
scru?nise
the
gaps
in
the
applicant’s
knowledge,
rather
search
for
where
their

strengths
and
passions
are.

Put
a
face
to
the
name.
Young
people
want
to
know
what
kind
of
life
KPMG
will
bring
them.
Will
they
change
as
people?
Will
it
be

in
a
way
they
will
be
proud
of?
Key
to
inspiring
applicants
will
be
to
show
them
role
models
–
stories
from

exis?ng
KPMG
staff
that
prove
them
to
be
enlightened,
fulfilled,
driven
and
impressive
characters
across
a

diverse
range
of
disciplines
and
loca?ons.
Viewers
should
feel
that
KPMG
brings
them
the
opportunity
for

impressive
development;
in
character,
in
skills
and
in
business.
Be
Yourself

Example
Script
Close
up
on
a
?cking
clock
-‐
establishing
our
theme
of
?me.
A
young,
but
conﬁdent
girl’s
voice
speaks

clearly
in
our
ear:
JESS.
Similarly,
a
male
voice,
DAN
also
speaks
to
us,
saying
every
other
phrase.
Upbeat,
posi?ve
music
develops
-‐
piano
and
percussion,
soulful
and
expressive.
The
clock’s
second
hand

?cks
towards
6pm,
with
every
?ck
we
see
carefully
choreographed
shots
of
what
Jess
and
Dan
alterna?vely

say...
Good...
bye...
clock.
Bye
lecture
hall.
Bye
bell.
Bye
uniform.
Bye
6metable
.
Bye
gym.
Bye

lockers.
Bye
bus.
Bye
Uni.
Bye
school.
Jess
runs
out
onto
the
top
of
Parliament
Hill
and
surveys
the
city
of
London.
Dan
stops
on
a
bridge
and

surveys
the
river.
Hello
world.
Both
the
school
leaver
&
graduate
audiences
are
hard
to
reach
and
we
must
keep
our
messaging
swih,
slick

and
to
the
point.
If
we
were
to
dis?ll
our
message
down
to
one
sentence
it
would
be
this:
KPMG
has
a
fascina=ng
path
for
you
to
follow
in
Business
Technology
consul=ng
careers.
In
its
style,
delivery
and
tone,
it
must
be
eye
catching,
brave,
stylised
and
diﬀerent.
It
should
wear
its

individuality
in
the
same
way
we
want
our
applicants
to.

The
music
swells
and
we
see
a
speedy
montage
of
Jess’
and
Dan’s
introduc?on
to
working
life.
From
the

small
moments
of
ac?on
we
see,
they
are
dedicated,
posi?ve,
hard
working,
learning
fast
and
making

friends.
It’s
not
easy,
but
the
rewards
are
evident
in
the
challenges
they
overcome.
Hi
CV.
Hi
interview.

Jess
shakes
her
interviewer’s
hand
and
says,
‘Hi
Mark.’
Mark
asks
her
to
take
a
seat,
‘So
why
are
you

interested
in
KPMG’s
School
Leaver
Programme?’
Hi
day
1.
‘Hi
everybody’.
Hi
work.
Hi
paycheque.
Hi
long
day.
Hi
Friday!
Hi
weekend.
Hi

Monday.
Hi
deadline.
Hi
skills.
Hi
confidence.
Hi
job.
Hi
team.
Hi
strategy.
Hi
qualifica6ons.

Hello
choices!
Another
musical
break,
and
we
see
Jess
is
now
well
on
her
way
at
KPMG.
She
seems
confident,
assured,
on

it,
responsible
and
liked
in
the
company.
We’re
impressed.
Dan
also
seems
to
be
taking
more
of
a

responsible
role
in
his
work,
holding
mee?ngs
and
managing
small
teams
as
well
as
talking
with
clients.

We
see
them
in
a
number
of
technology
contexts
-‐
server
rooms,
opera?on
rooms,
control
desks
etc...

Hello
technology.
Hello
cuIng
edge.
Hello
structuring.
Hello
maximising.
Hello
streamlining.

Hello
ideas.
Hello
break
throughs.
Hello
new.
Hello
different.
Hello
Singapore.
Hello
Russia.

Hello
Costa
Rica.
Hello
experience.
Hello
success.
Hello
promo6on.
Hello
office.

A
montage
of
bu8ons
and
switches
being
turned
on
-‐
drives
power
up,
machines
whirr
into
ac?on,

crea?ng
an
orchestral-‐like
swell
of
noise.
Suddenly
all
is
quiet.
Jess
switches
on
her
printer
in
her
office,

before
welcoming
a
new
young
applicant,

Hello
Rachel,
I’m
Jess.
Take
a
seat...
Dan
walks
past
her
door
-‐
for
the
first
?me
we
see
they
work
in
the
same
place.

Hi,
Dan

Hi,
Jess.
Jess
turns
back
to
her
applicant.

So
why
are
you
interested
in
Business
Technology
at
KPMG?
A
last
musical
phrase
rounds
off
the
film
and
we
fade
to
black
for...
CAPTION:
Switch
on
your
poten?al
with
Technology
Consul?ng
Careers
at
KPMG.

KPMG.
Live.
Learn.
Earn.
END

For
the
Experienced
Hires,
a
different
tone
is
required.
One
that
speaks
to
them
in
a
peer-‐to-‐peer
tone,
that
doesn’t

oversell
and
imparts
in
a
confident,
calm
way
some
of
the
key
opportuni?es
KPMG
offers
them.
For
this
audience
it
is

the
culture
of
working
for
KPMG
that
is
our
primary
selling
point.
This
approach
targets
people
already
accustomed
to
working
with
KPMG,
and
indeed
the
compe??on.
It
aims
to
remind

them
of
the
different
culture
they
can
expect
to
experience
at
KPMG
and
how
business
and
technology
consulta?on
is
a

growing
area
with
great
opportuni?es
at
KPMG.
Tes?monial
is
the
most
powerful
tool
for
this
audience,
as
they
will
respond
most
to
peers
and
colleagues
who
can

speak
from
personal
experience.
We
would
aim
to
source
these
interviewees
from
your
real
experienced
hire
staff.
An

example
of
the
sort
of
diversity
we’re
looking
for
is
below.

JANE

A
bubbly,
fun
sporty
girl
in
her
30’s.
THOMAS

A
friendly,
dry
humoured
man
in
his
20’s
CHUI-‐YEE

A
smart,
well
presented
and
ar?culate
woman
in
her
30’s
MARCUS

An
experienced,
wise
50
year
old.
LUCY

A
new
hire
-‐
just
a
month
into
her
first
role
at
KPMG.
EXPERIENCED
HIRES

CONCEPT
Fade
Up
-‐
A
neutral
modern
space,
possibly
KPMG
staff
cafe
Canary
Wharf

-‐
in?mate
soh
light,
a
neutral
but

pleasant
background.
The
5
interviewees
introduce
themselves
to
camera
in
a
relaxed
and
friendly
way,
as
if
they
were
at
a
drinks

party.
We
intercut
between
them
as
they
answer
the
ques?on.
Tell
us
about
your
current
role?
I
safeguard
my
clients
data
while
they
make
some
big
changes
to
their
infrastructure,
so
it’s
a
lot
of

responsibility,
but
we
go
carefully,
we
triple
check,
and
we
communicate...
I’m
working
with
a
new
client
to
build
a
robust
and
secure
data
management
system.
They’re
bringing

in
some
emerging
technologies
so
it’s
fresh
and
exci?ng
for
all
of
us.
This
is
my
first
hire
at
KPMG,
and
I’m
building
financial
models
for
a
number
of
clients
worldwide
-‐

so
it’s
keeping
me
busy,
definitely!
I’m
a
consultant,
I’m
from
a
technology
background
myself,
but
I’m
currently
in
a
short
term

posi?on
in
Hong
Kong
implemen?ng
an
upgrade
to
a
previous
system.
They
are
then
asked
-‐
why
KPMG?
It’s
a
global
company,
so
they
offered
global
opportuni?es.
They
look
aher
you.
If
you
want
a
change,
or
you
want
to
develop
something
in
par?cular
they

listen.
It
really
feels
like
you
work
together.
They
are
one
of
the
Big
4,
but
KPMG
is
totally
different
-‐
their
aptude,
their
style...
the
culture
here

is
different.
They’ve
taken
me
round
the
world
-‐
I’ve
seen
so
many
places
through
my
work
with
KPMG.

What’s
it
like
working
at
KPMG?
You
work
with
bright,
communica?ve...
Professional,
fun...
Considerate
people...
In
Technology
you
are
also
working
across
all
sorts
of
departments
within
KPMG,
and

the
synergy
and
team
spirit
here
makes
that
challenge
exci?ng.
The
learning
curve
is
steep,
but
enjoyable.
No
job
is
the
same.
You
can
be
working

with
a
worldwide
organisa?on
one
day
completely
re-‐designing
their
system,
and
the

next
day
analysing
risk
for
a
SME.
What
does
it
take?
I’d
say
to
work
well
here
you
have
to
be
a
team
player.
You
have
to
have
an
opinion,
be
able
to
make
decisions...
You
need
to
be
curious,
inquisi?ve...
Fun!
Have
a
sense
of
humour!
Understand
it’s
not
all
work!
Strategise....
Love
problems.
Love
challenges,
be
keen
to
solve
them
in
your
own
way.

And
finally
-‐
What
the
best
bit
about
your
job?
I
like
it
because
every
day
is
different.
It’s
like
a
huge
strategy
game
-‐
=ming,
agility,
preparedness
all
feed
into
it
and
it
always

surprises
you.
Technology
moves
fast,
and
you
have
to
keep
up
with
it.
It’s
great
being
at
the
front
of
that

race.
I
like
seeing
clients
realising
just
how
much
more
efficient
their
business
will
be
with
our

solu=ons.
There
is
a
=me
saving,
and
energy
saving
or
a
personnel
saving
that
we
can

produce
that
gives
them
drama=c
results.
It’s
challenging...
It’s
a
great
atmosphere.
It’s
KPMG...
END

...................................................................................................
‘Wilder voted 3rd in 2013 Televisual Top 50 Corporate Survey.’
Wilder are consistently rated highly in surveys of the best production companies as voted both by independent
judges and our peers. The reasons quoted include Wilder’s ‘integrity and creativity’, ‘consistently high
production values’ and ‘good reputation’.
TELEVISUAL MAGAZINE March 2013
Testimonials from Clients and Peers
“Hi, Everybody happy with the new film. The boss loves it! Another masterpiece from Wilder! Thanks to all.”
Alexis Coles, Director of Communications - Thomas Cook
“A massive thank you to you and your team. Your thinking, insight and as ever your inspired filmmaking made a telling difference”
David Magliano, MBE, Director of Marketing - London 2012
“Generating huge buzz – people found it ‘inspiring’ and ‘powerful’ – and it’s been used more broadly than we imagined. From
opening Global Client Partner conferences in London and closing townhall meetings in Rio, to dominating an Istanbul trade event
and attracting raw talent in Warsaw. It differentiated KPMG and transcended borders.”
Joe Waterman, Head of Global People, Marketing & Communication - KPMG
‘I am a great admirer of Wilder’s work - everyone has tried to copy the London 2012 Technical Film it seems. The rugby films you
made for the IRB were excellent.’
Terrence Burns, President - Helios Partners
‘Thank you Richard, you and your Team have delivered two great films and contributed to our success. We look forward to working
with you in the near future’
Angeline Tan, Communications/PR Manager - Singapore 2010
‘You and your team played an important part in an historic moment for Rugby and we enjoyed working with you all. Please pass on
my thanks to all’.
Mike Miller, Secretary General - International Rugby Board

...................................................................................................Clients

...................................................................................................Awards
2010
Bronze
-‐
Best
Direction,
New
York
Festivals
The
Football
League
‘Enjoy
the
Match
2’
Bronze
-‐
Best
Public
Relations
Films,
IVCA
Awards
The
Football
League
‘Enjoy
the
Match
2’
Highly
Commended
-‐
Best
Motivational
Training
Film

IVCA
Awards,
The
Football
League
‘Enjoy
the
Match
2’
Highly
Commended
-‐
Best
Motivational
Training
Film

IVCA
Awards,
DCSF/COI
‘Wayne’s
Story’
Highly
Commended
-‐
Best
Motivational
Training
Film

IVCA
Awards,
DCSF/COI
‘Wayne’s
Story’
2009
Grand
Prix
Winner
-‐
IVCA
Awards
The
Football
League
‘Enjoy
the
Match'
Gold
-‐
Industry
Award
For
Effective
Communication,

IVCA
Awards
The
Football
League
‘Enjoy
the
Match'
Grand
Award
-‐
New
York
Festivals
Ripple
Silver
-‐
Best
Public
Relation
Film,
IVCA
Awards
The
Football
League
‘Enjoy
the
Match'
Silver
-‐
Best
Editing,
IVCA
Awards
Exchange
Supplies
'Recovery
Position'
Silver
-‐
Best
Health
&
Safety
Film,
IVCA
Awards
Exchange
Supplies
'Recovery
Position'
Silver
-‐
Best
Public
Relations
Film,
New
York
Festivals
IRB
'Reaching
Out'
Silver
-‐
Best
Editing,
New
York
Festivals
ECB
'One
Game'
Best
Short
Film
-‐Mexico
Int’l
Film
Festival
Ripple

Audience
Award
-‐
8th
Silhouette
Film
Festival
Ripple
Best
Narrative
Short
Film
-‐
Calgary
Film
Festival
Ripple

2008
Best
Comedy
-‐
LA
Shorts
Fest
Ripple
2nd
Prize
-‐
TCM
Classic
Shorts
Film
Competition
Ripple
Audience
Award
-‐
Leuven
Int’l
Film
Festival
Ripple
Silver
-‐
Best
Editing,
IVCA
Awards
ECB
'One
Game'
Bronze
-‐
Best
Recruitment
Film,
IVCA
Awards
British
Gas
'A
to
Z'
2007
Silver
-‐
Best
Performance,
New
York
Festivals

Thomas
Cook
'Proud'
Bronze
-‐
Best
Motivational
Film,
New
York
Festivals

Thomas
Cook
'Spirit'
Bronze
-‐
Best
Public
Relations
Film,
New
York

Festivals
Ericsson
'Unsung
Heroes'
2006
Gold
-‐
Best
Motivational
Training
Film,
IVCA
Awards
Thomas
Cook
'Proud'
2012
Gold
-‐
Best
Recruitment
&
Induction,
IVCA
Awards
Poolia
'Wasting
Your
Talent?'
Gold
-‐
Best
Use
Of
Music,
IVCA
Awards
Premier
League
'Get
On
With
The
Game'
Silver
-‐
Animation,
Graphics
&
Special
Effects,
IVCA
Awards
Saudi
Aramco
'Energy
To
The
World'
Silver
-‐
Best
Editing,
IVCA
Awards
Premier
League
'Get
On
With
The
Game'
Bronze
-‐
Best
Direction,
IVCA
Awards
William
Joseph
'Waiting
For
Conkers'
Bronze
-‐
Best
Photography,
IVCA
Awards
Saudi
Aramco
'Energy
To
The
World'
2011
Gold
-‐
Business
Theater,
The
New
York
Festivals
UAE
EXPO
'Dream
Journey'
Gold
-‐
Public
Relations,
The
New
York
Festivals
UAE
EXPO
'Dream
Journey'
Gold
-‐
Best
Recruitment
Films,
IVCA
Awards
Poolia
'Wasting
Your
Talent?'
Bronze
-‐
Best
Direction,
IVCA
Awards
Poolia
'Wasting
Your
Talent?'
Best
Film
-‐
The
48
Hour
Film
Project
'Sexy
Tuesdays'
The
Audience
Award
-‐
The
48
Hour
Film
Project
'Sexy
Tuesdays'

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