Marketing For Multiple Industries

Last but not least, wehave a question from bob,and I will answer any other kindof questions lightning stylebecause I have 28 minutes left.Bob asks, how do I arriveat marketing languagefor the business thatis relevant acrossdifferent marketing verticals?Do we need to developdifferent identitiesfor the different markets?So, bob?Where are you?I see you.All right, bringyourself on line, man.A little context, please.OK, so our agency worksin three main marketplacesentertainment, experientialmarketing and architecture.And what we do is wedesign environments.So for entertainmentthat sets lighting, videofor experiential marketing, itspop up retail and trade showbooths, and for architectural,it's big immersive spaces.These things arecommon deliverablesand common services, but they'recalled very different thingsin these three areas.Architecture, experientialmarketing and entertainmenthave different terminologyfor the processand different terminologyfor the deliverables.In the past, we'veactually had to havea whole separatewebsite, for instance,for our architectural market,so that they could findthe information accessible.What we're trying to do isnot have to express ourselvesin so many differentchannels and ways,but to come up withsome common wayto express these things tothese different verticalsso that we can have only oneset of marketing materials.But is that a fundamentallyflawed thought?OK.So you're talking about how tomarket your creative services,even though fundamentallywhat you do is the same,but you're servicing threevery different markets, right?Correct OK.And they need to be spoken toin a very specific language.Yes which one of thesedrives the greatest revenuefor your company?It's about evenly split betweenarchitecture and experientialmarketing.OK so would that be like 4040 and the other one is 20?Yeah OK, so we knownow to prioritizethose two over theentertainment stuff, right?Absolutely positively.OK, now of those two,in terms of revenue,which one's more profitablefor you architecture?So now you know whereto focus, right?Yes, I do.Is that currently howyour site is set up?No, it's not.It's actually, if you wereto look at our site now,it looks like we doentertainment as well.The funny thing is thearchitectural clientsfind that compelling.They're like, oh,you guys design, huh?Yeah, I want that, you know?But but then theyget uncomfortable.Oh OK.So what you have todo is build a bridge.So you have the sizzle,which is entertainment stuff,because it's flashy.It looks cool.And then you have to like, bringit and make it really concrete.So I think you're ahybrid your day, Walker.You know, fromblade, Wesley snipes,yeah, half human, half vampire.So I think what you have todo is position your languageto say, we know how to deal withhigh end entertainment clients,but we're really groundedin architectural designand whatever it is, thelanguage that you need to do.So you've got to find thatoverlap between those twothings.And when you can dothat, you're goingto be able to own a spacethat nobody can claim.Which is precisely whatwe're trying to do.We're trying to define ourselvesas something that there's notreally a model for Intel.So, yeah, so generallyspeaking, if youare able to reducedown a few key benefitsin the entertainment spaceand a few key benefitsin architectural space,look for the overlap.Look for the interestingjuxtaposition between these twomarkets.And then you can just dominate.That's the critical part.That takes a lot of creativity,and it takes the copywriterto help you with this.Yeah yeah, that wouldprobably be worth it.We've been making thefundamental mistake of lookingwithin for thisanswer, and we probablydo need to look without.OK, so I'm going to trustthat your clients really welland that they do like thesizzle and they're like,oh, you know, butdoes this stuffwork because entertainment,you know, it's just for the setand it's done right?Yeah so I thinkthat's where you learnhow to balance that thing.It's like jumbo shrimp.It's an oxymoron, but you'regoing to make it work.No, I think I can.I'm feeling whatyou're driving at,which is it's OK to kindof have the marquee, whichis that sizzlingentertainment stuff.But then you haveto bridge them.You have to printthem immediatelyto a language and adescription of product approachthat they're like, oh,I can have the sizzle,but I can have thatin my vernacular.Yes, that's right.Yeah like you said, thequestion answers itself, really,but I guess I was lookingfor some validation.Well, you have itall now, so we knowvery clearly thatyou have to serviceyour architectural client.There are one of the toprevenue earners for you,and they're the mostprofitable and entertainmentis what gets them in the door.But then they want meatand potatoes after that.So enough of the flashbang andall that kind of stuff, right?So and you can even talkabout it like that, right?Where this kind ofvery rare creature thatknows how to deal withhigh end Hollywood clientsto do x, y and z.But really, we're just a bunchof geeky architects, whateverit is that you want to say.However, that worksand you could do that.You're like the artistic jock.Like, really?Do you know what I mean?Yeah, no, I love you.I'm like homecoming queen King.It's funny that youstuck on the word hybridbecause we relabeled thecompany from a design firmto a hybridexperience agency, OK,to try to create space for usto exist at this intersection,right?So intersection, cross training,multidisciplinary hybrid,fluid, those are all thewords you use and you justmove back and forth.A clever copywriter should beable to weave this togetherfor you and make thisbeautiful tapestry.And then you backed itup with amazing visuals.So the entertainment stuff islike the click baity thumbnail.It's like the car or thehot girl, the hot guy,and it's like, wow, there's aphysics lesson in here, really.OK that's your creativity.OK apply it andyou're good to go.Thank you.You're welcome.