Tag Archives: pitchcoach

Fabio Capello, terminator, communicator…

After days of  media frenzy and ecstatic speculation over the affair of John Terry, ‘legend’, and Vanessa Perroncel, serial lover of England footballers, it came as no surprise that Fabio Capello was the  man who sorted it, seemingly without difficulty, doing so in a mere 12 minutes.

Why were we not surprised since few of us actually know him or what his views are?

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First of all is his  iconic body language. Upright, crossed arms, trademark spectacles and a jutting chin, the like of which last seen on Popeye. As one writer put it, “every small phrase of body language, every facial gesture speaks of professional indignation”. Not since Margaret Thatcher has any high profile person radiated such certainty.

Second, is his power of silence, speaking only when absolutely necessary and then with brevity resisting the need to embellish, to justify. In that 12 minutes with Terry, he only spoke for a few of them. Compare this with his garrulous predecessor  Maclaren whose only memorable gesture involved sheltering under an umbrella.

tewrryvan-420x0Interestingly on judgement day both protagonists advised, one by the ubiquitous Max the other by an ex-News of the World editor, tried damage limitation with carefully chosen photographs projecting ‘optimum’ body language.  The normally sultry Perroncel shown demure, grieving, the normally snarling Terry heroic and saintly. Sadly, neither learnt  that silence can be golden.

Lessons from Capello for interviewees or pitchers? Talking too much, not listening to the question, gabbling are common mistakes. So too is forgetting that the way you sit, stand or move will be sending a signal of confidence, or not.

The Iraq enquiry. Pitchcoach verdict on Blair.

Last week was an important one for this political  X-Factor reality show, where pitching success is all about the Q&A. Setting aside the content, which for the most part held few surprises, how well did the contestants perform?  Did they command the stage? Did they engage with their audience?

For all, the panel was the same. Not exactly Spanish Inquisition nor even would-be Simon Cowells. Deliberately low-key, decently British, they lacked cohesion and with over long preambles gave time for considered response, with less chance of the gaffe.

Last week’s main contestants.

The Spin Doctor, Alistair Cambell. An entirely predictable reprise of his bully boy attack dog in ‘lawful’ defence of his master. Past its sell-by date, as the master no longer has power, and the television show, The Thick of it, is so much better than the real thing.

At least he is not a lawyer. In the words of a sixteenth century proverb,”The devil makes his Christmas pies of lawyers’ tongues”.

Lawyer Number One, Sir Michael Wood used all the right words then and he articulated them again in his replies. He had made the legal position  clear, “we would not have a leg to stand on”. Regrettably, actions speak louder than words and when ignored he remained silent, remaining in post, rewarded with the gong.  Result, largely ignored again.

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Lawyer Number Two, and outright X-Factor Winner was Elizabeth Wilmshurst. Having resigned seven years ago as a matter of principle, she might have been expected to use the enquiry as an outlet for her justifiable outrage. Instead she arrived unburdened with supporting files, composed and almost serene such that her carefully chosen words, ‘like a scorpion’s sting,’ ridiculed this “lamentable” affair. 

Lawyer Number Three, Jack Straw, but not as Wilmshurst scathingly put it “an international lawyer.” Another predictably reasoned performance, smoother and less interesting now lasered, he managed to sit reasonably on the fence both supporting and distancing himself from Blair. His theme song ‘I am a survivor’.

Lawyer Number Four, Lord Goldsmith was “calm and reassuring like chocolate” and  used legalese at its most opaque, sheltering behind his role of looking after ‘my client’, always a good get-out. Except are we not his client? As Quentin Letts put it .. “over-rehearsed tones, his unctuous attempt at modesty, his amazing lack of human sorrow..”

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Lawyer Number Five, ex-PM, Tony Blair had as expected mastered his brief, he certainly mastered the panel and as ever displayed his mastery of the art of public performance. Six long hours of sustained brilliance, the strong body language, expressive with his hands, the practised use of his spectacles, the studied pauses for thought and careful acknowledgment of the questioner.

It was all there, a master class apart from one vital ingredient, something that was once his trademark, the ability to make an emotional connection with his audience. This was a cold performance with no Princess Diana moment.

Why? Simple. We are not his audience, he has no need or wish to engage with us. His audience is corporate America where a righteous Rambo commands top dollar, regrets rather less.

Wherever law ends , Tyranny begins” . John Locke.1690

Tracey Emin, Paula Rego, Mat Collishaw at the Foundling

The Foundling one of London’s very best small museums is punching above its weight with its current exhibition  It is well worth a visit . Guardian Online has pitched the story beautifully. The artists,Tracey in particular, talk movingly about how their work is inspired by stories of childhood, loss and abandonement.

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 Here is just one of several original works, this one Mat Collishaw’s lightbox, Children of a Lesser God,that have been placed with imagination throughout the museum in vivid contrast to older masters like Hogarth, an original patron of the Foundling Hospital. 

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The TV debate. (2) How to handle gaffes.

As viewers what we will be hoping for is the gaffe. If there isn’t one we will feel let down. So will the programme producers. It’s the same for live coverage of a Grand Prix where the most compelling viewing is the pile-up at the start. 

Our plucky contestants, of course, are desparately hoping to avoid the gaffe. They know only to well that an entire campaign can be sabotaged by one mistake captured on camera and to be repeated for ever on the net. The stakes are high!

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 The format, with restricted questions and interviewers less threatening than Paxman, or the deceptively ‘easy’ Frost (who famously nailed Nixon) is more contestant friendly than in US. However danger lurks. All will be preparing assiduously, studying every debate since Nixon/Kennedy, rehearsing in front of cameras and audiences, with tough interviewers alongside substitute contestants.

They may even seek advice from impersonator Tina Fey, who as Sarah Palin, “thanked the third graders of Gladys Wood Elementary School who were so helpful in my debate prep.”

The gaffes they may still make will be verbal or, just as damaging non-verbal.

Nixon won his famous debate with Kennedy with the radio audience. He lost it on television because he looked sweaty, tired and shifty. Kennedy looked youthful, confident and sincere.  The first President Bush glanced at his watch and lost the election as Bill Clinton took three paces towards his audience and won it.

Verbal gaffes can be equally devastating. Ford, said “there is no Soviet dominance of Eastern Europe”. Wrong, and it probably cost him the election. Biden, known as king of the gaffes, managed to plagiarise an entire speech by, of all people, Neil Kinnock. It didn’t work for him either.

So, avoiding the gaffe is a priority but even more important is the way you handle it when you do make one. You can prepare. As always, its not what you say but the way you say it.  The gracious acknowledgment, humour and the prepared remark that diverts.

The master exponent of this was the often forgetful but ever charming, Ronald Regan. In debate with Walter Mondale who, unlike him,  knew what he was talking about, he said ” I am not going to exploit for political purpose my opponent’s youth and inexperience.” Even Mondale laughed…and lost.

PITCHCOACH READERS AWARDS 2009

One of the toughest of all pitch battle grounds is the fundraising arena for charities and good causes. Over 10.000 charities in the UK alone. All of them for a deserving cause. All of them with a powerful emotional call. It is a dog eat dog world -where dogs and pets often fair better than humans!

Succeeding in this intensively competitive space, where everything from rattling of tins to sophisticated direct marketing is a weapon, calls for creativity and originality.  This special award was nominated, and written up, by Hannah Briggs.

ORIGINAL PERFORMANCE IN FUNDRAISING. FRANNY ARMSTRONG.

For Franny Armstrong – the not so stupid director behind ‘The Age of Stupid’, mastering the art of pitching has become critical to her success, not only as a filmmaker but also as a climate change campaigner. Pitching for financial support is one thing however, changing people’s behaviour is quite another.

Having raised over $1.2 million to finance and distribute the film using a business model known as ‘crowd sourcing’ (essentially persuading cinema goers to buy a stake in the film), Franny has now taken a more direct approach to reducing Britain’s carbon footprint.

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 The launch of the 1010 campaign in September last year made front page news in the Guardian following her impressive pitch on London’s Southbank. “We’ll be the first species to wipe ourselves off the planet knowingly” said Franny as she urged the public to pledge their allegiance and commit to reducing their carbon emissions by 10% by 2010.

 Another attention grabbing moment included getting Environment Secretary Ed Miliband on loudspeaker whilst on a trip to India and persuading him and his cabinet to sign up there and then. So far 58, 839 individuals, businesses and organisations have joined the campaign and that number continues to grow by the day.

 If the 10% cut is achieved by the end of this year, it looks like Britain should be in good shape for its next big eco pitch – the 2010 climate summit in Mexico. 

RELENTLESS PROFESSIONAL PERFORMANCE. LOCOG.

Arguably, the pitch of the decade was London’s successful bid for the 2012 Olympics. It was glorious, it was theatre at its most compelling, it had the whole country on the edge of its TV sofas. It was, as Seb Coe said, about making the emotional connection.London 2012. A triumph of emotion.

For the sponsorship team at LOCOG, charged with raising totally unreasonable  sums from the commercial sector, it must have seemed a case of “how the hell do you follow that?”

Their battleground was rocky! The soaring costs, from some £2 billion to £9  billion pounds, not the kind of figures that fill business with confidence. The plum global sponsorships already assigned by IOC. Add to that the always difficult task of demonstrating the value of sponsorship and doing this when the economy had gone into total meltdown!

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LOCOG have achieved their own Olympic record, an astonishing £600 million!!