Crafting Award-Winning Climate Campaigns With Boaz Paldi
This episode features a conversation with Boaz Paldi, Chief Creative Officer at the United Nations Development Programme. It was recorded in February 2025.
In this role, Boaz oversees UNDP’s advocacy, campaigns, events, and activations. For example, back in 2021, he launched the now iconic #DontChooseExtinction campaign, featuring a dinosaur gatecrashing the UN General Assembly, highlighting research that revealed that for every dollar pledged to tackle the climate crisis, four dollars are spent on fossil fuel subsidies that keep that same crisis alive. Last year, Boaz delivered the award-winning #WeatherKids campaign, which used children to deliver weather reports from the future, spotlighting the catastrophic consequences of global inaction on climate change and its impact on the next generations.
Through these, and other, activations at the UN, Boaz continues to push the envelope on the kinds of communication we see when it comes to climate, more broadly, as well as shifting what’s expected, and see as acceptable, when it comes to the messaging coming out of the most significant organization on the planet.
Prior to joining UNDP, Boaz worked as a TV journalist for almost two decades, covering conflicts, natural disasters, and human-interest stories across Africa, the Middle East, Asia and Europe, first for the BBC, then for Reuters, where he worked as Executive Producer for TV News.
Amongst other things, Boaz and I discussed the essential components of great climate campaigns, what happens behind the scenes to bring groundbreaking activations to life, and how the element of surprise can help us break through the noise.
Additional links:
Watch the #Don’tChooseExtinction campaign film
Find out more about #WeatherKids
Watch Weather Kids on YouTube
Check out Activista Agency
See more from the Framestore Production House
Explore work from climate writer Casey Rand
Discover Anzu in-game advertising
See more work from The Artery
See Oli Frost annoy fossil fuel financiers
Check out the documentary film, The Game Changers
Dickon: Hi and welcome to Communicating Climate Change, a podcast dedicated to helping you do exactly that. I'm Dickon and I'll be your host as we dig deep into the best practises and the worst offences, always looking for ways to help you and me improve our abilities to engage, empower, and ultimately activate audiences on climate-related issues.
This episode features a conversation with Boaz Paldi, Chief Creative Officer at the United Nations Development Programme. It was recorded in February 2025.
In his role, Boaz oversees UNDPs advocacy, campaigns, events, and activations. For example, back in 2021 he launched the now iconic #Don'tChooseExtinction campaign, featuring a dinosaur gatecrashing the UN General Assembly, highlighting research that revealed that for every dollar pledged to tackle the climate crisis, four dollars are spent on fossil fuel subsidies that keep that same crisis alive.
Last year, Boaz delivered the award-winning #WeatherKids campaign, which used children to deliver weather reports from the future, spotlighting the catastrophic consequences of global inaction on climate change and its impact on future generations.
Through these and other activations at the UN, Boaz continues to push the envelope on the kinds of communication we see when it comes to climate, as well as shifting what's expected, and seen as acceptable, when it comes to the messaging coming out of the most significant organisation on the planet.
Prior to joining UNDP, Boaz worked as a TV journalist for almost two decades, covering conflicts, natural disasters and human interest stories across Africa, the Middle East, Asia and Europe, first for the BBC, then for Reuters, where he worked as an Executive Producer for TV News.
Amongst other things, Boaz and I discussed the essential components of great climate campaigns, what happens behind the scenes to bring ground breaking activations to life, and how the element of surprise can help us break through the noise. So, let's get on with it, this is Communicating Climate Change with Boaz Paldi.
From your perspective, how can communication best contribute in humanity's response to the climate crisis?
Boaz: I think communication is at the heart of it. We need everyone to understand what's going on and we need everyone to take action. But there's been a little bit of a deficiency in the communication as we moved through this crisis in the past 20 years. We've been hung up on the idea of doom and gloom of scaring people into submission, and that has proven over and over again as something that actually doesn't work. It has in fact the opposite effect. It has the effect of creating apathy with people, not action. And so, what we need to do is use that power of communication and get everyone on board. But use it for a positive purpose - to build agency, to build hope, to build the idea that the transition that we are facing will be the biggest boon in the history of humanity, and that's what we need to communicate. So, it's an integral part of the problem. It has to happen, but it has to happen slightly in a different way. We just cannot rely on scaring people to death anymore.
Dickon: Many of your campaigns feature unexpected messengers. For example, a dinosaur children acting as weather reporters and even brands funding conservation through advertising. I think what role do you think the element of surprise can play in climate communication?
Boaz: You know, I'm a storyteller, and I'm also a marketer. I am marketing a product. That product is saving the planet. It could be chewing gum, Dickon, frankly. I'm using every trope in the book in order to pass through the noise, in order to get people to listen to the message, and I'll use anything. And so I'll use kind of like you know, a different messenger, because that's what we need sometimes, and I'll make it funny. You know, the dinosaur was funny. And you know, I'm sure that you know that the UN is the least funny organisation in the world. And so, that's a surprise in itself that that, you know, the UN can be funny. And so we will use every means of communication possible.
What's really important to remember is that we should never let the subject dictate the kind of communication that we use in order to communicate about that subject.
Although we're talking about a very serious issue that has life threatening effects on us everyday, we can still use other tropes, we can use other ways of communicating about it that are not necessarily the expected. So, I think surprise plays a huge part of it. And also, the idea, you know, we are fighting against a massive amount of communication out there - of products, of channels. So, we need to cut through.
The conventional wisdom is that you have seven seconds to cut through the noise. And so if you have a dinosaur barging into the United Nations that looks as if it's going to eat every single person there and then it says, “Are you OK?” to the security guard. That cuts through the noise and that happens in the first seven seconds of the film. And then you have a chance of maybe getting people to stay and listen to the actual message, which might be funny, but will be the message of climate action.
Dickon: Why did you choose these messengers over more traditional ones? What did that allow you to communicate that a more traditional approach wouldn't?
Boaz: In the case of the dinosaur, I can answer very clearly. We are doing something extremely stupid by basically paying for these insane subsidies. It's ridiculous, but we can't say that because you know, we're not going to call ourselves stupid, right? So we need another entity out there to call humanity stupid, so we needed a non-human entity to say to us, “Guys, this is ridiculous.” And that's exactly what the dinosaur says. And it's the message that is the most appropriate to the subject matter because essentially we are paying for our own destruction. We are paying for our own demise. How dumb is that? And so that's, you know, as the dinosaur says, “that's the dumbest thing I've heard in 70 million years.” And that's exactly the truth. It's the dumbest thing I've heard in 70 million years.
So it allows us to take a step outside and talk to humanity from a place where it's like, you know, “you guys, come on.” And the same is true about the children. The children are a symbol of the future. And if the children tell us, “this is a solvable problem, solve it for us, please. Adults, you know, you've got the power. Solve it to us.” I think it puts us in a situation where we have to listen, the messenger is so important in this because it is our future is talking to us.
Dickon: As you rightly mentioned, the UN is generally thought of as a pretty stoney-faced organisation. How do you strike the right balance then between humour, the seriousness of climate change, and the audience's expectation, perhaps more importantly, of this global authority?
Boaz: I think it's really important to keep that authority going, but it's not necessarily that we need to be kind of like these, you know, stuffy people that live in an ivory tower. I think we need to be part of communication. I think we need to be where where people are. We can't expect people to come to us, we need to go to them. And, you know, this is kind of redundant now. We've been living it for the last 20 years, but social media has changed how we communicate. It's no longer the ivory tower bestowing upon people gems of wisdom. It's us communicating with people in a real way where we have a back and forth, where we have an audience, where we understand that audience, where we are trying to give the audience what they want to do and what they want to see. Not that they take us less seriously. The opposite.
I think if we are real communication force, if we really show that we are open to communication, that we're open to ideas, that we are open to not being in an ivory tower, then I think we will gain power from that, not lose power for that.
It's an old fashioned idea that the UN has to be this kind of like, you know, very stuffy entity that is there as the ruler of some kind of like arbitrary situation in the world. You know, we are part of the humanity and you know, we're a pretty good part of humanity. It's an important part of humanity. Except, we also need to communicate that. We do incredible work, we also need to communicate about that for.
So, for me, it's always kind of how do we get through? As I mentioned before, what's the pointy end of the spear and then what's the long spear? What does that include? And that includes the climate, the action that you can take, that includes the information that you need, that includes stuff that absolutely is essential to moving this forward and all of that sits behind these campaigns. But you still need to cut through.
Dickon: Have there been moments when an idea campaign? Or a suggestion for a campaign has felt too risky, too offbeat, and if so, could you share an example of an idea that didn't make the cut, and why?
Boaz: So I mean, we were so close to the dinosaur not making the cut. We were so close to the Weather Kids not making the cut, you know, the creative directors that I worked with, Paco and Beto, they've got a company in California called Activista. They're incredible people. They can tell me now that the living through making the dinosaur was like living in a soap opera, because every day we was our last day. Every day we're like, “OK, we're never gonna make it,” for two years! And so it's possible to do almost anything. It just depends on how you frame it. You know the risk mitigation that you put in place, that you're thinking about all possible risks, that you're that you're taking everything into consideration. You know, we created heat maps of where the issue was a hot topic during the production of the dinosaur. That you make people as comfortable as you can with the idea.
I haven't had an idea that there's been too wild to do. It's mostly because I think I'm, honestly, pretty stubborn, and so we try and do what we can. I mean, at the moment the situation is a little bit different. We're facing different times. I'm not sure that if I came to UNDP now with an idea like the dinosaur, that I would get it through at this particular time in history. At the time it worked, but I can't give you an example of something that didn't work because I can't recall anything like that exactly.
Dickon: You just have the guts.
Boaz: You know, more kind of like the stupidity, maybe?
Dickon: If it works, it works right?
Boaz: Yeah, I guess, I mean, you know, one of the biggest obstacles of making these two campaigns was an internal obstacle. It's not easy. The United Nations is a political organisation. We have stakeholders across the world. We have to make sure that they're happy, that they won't be angry, that they won't cut funding. That they will continue to support the United Nations in all its endeavours. And so, you know, the United Nations in many ways is a study in compromise and campaigns like this tend to be on the outer limit of that. We're pushing the envelope as far as we possibly can, but not crossing the line, that's what we try to do,
Dickon: But you must have pushed the envelope, the kind of Overton window of acceptability must have shifted somewhat, I think.
Boaz: I think so. I think we managed to kind of show the UN clearly that these kind of messages can work, that it's OK for us sometimes to be funny, that it's OK for us to use kids as messengers as long as we have all the rules set in place. You know, no one is exploiting anyone, and everyone is, you know, accountable. It's okay for us to have a conservation fund that is completely out there and is relying entirely on private sector advertising. It's OK to try and push those envelopes. The results are what really matters in the end.
Dickon: Once you land on a bold idea, what's the next step? How do you go from concept to a global campaign? What does it take to bring unconventional characters like Frankie the dinosaur, for example, to life in terms of storytelling, technical execution, and the kind of distribution strategies that have seen it reach several billion views?
Boaz: One step at a time is the answer. But essentially kind of like, you know, the first thing to do is kind of develop the idea. Then you kind of start kind of like getting into the technical aspects of it. What's the best way of creating a dinosaur? When we were thinking about the dinosaur, at first we thought it was going to be, you know, a robot, kind of we would build. But then we discovered that that's way too expensive for us. So we went with CGI, but that was too expensive for us. So how do we get the CGI going? We found an incredible production house called Framestore that essentially did a show for the BBC called Walk With Dinosaurs that already used dinosaurs. And we thought, “Oh, maybe they'll have more expertise and maybe it'll be a little bit cheaper.” And what it was is that they basically gave us a dinosaur they’d already built and gave it a new skin and that saved us millions of dollars. And so, you know, with our very, very limited budgets, it's always kind of like what's the creative and what's the best way of kind of trying to execute that creative without a budget? So that's that's the next step.
And then once you kind of start going with production and you have a script and you find the right script writer and you find the right person to be the dinosaur, which also was a big process because we wanted Jack Black, we didn't have Jack Black. We wrote it for Jack Black. But then finally we got Jack Black, you know, and lots and lots of people involved in that endeavour. And then so then once you have all of that together, then you start thinking about distribution, earned media. How are you going to make a splash? How are you going to launch this? What's the best time? I mean, the dinosaur took two years, it was two years of very, very hard work on a day-to-day basis without any stop on that. It was relentless. But through through networks, through friends, through through the community, we were able to really kind of like build that distribution network and make it global.
The other part of it that's really important is that we build these campaigns as plug and plays, so UNDP has country offices all over the world. We have offices that are functioning offices. Most of them have communication folks that are there. They’re eager to do stuff. They're very talented, they're very happy to cooperate. So we what we do is we build, plug and place for them. And so the dinosaur was a very easy plug and play because all you have to do is put another voice over on the dinosaur. So we managed to translate that to a tonne of languages and have it shown on national TV, in various places around the world, on OOH, or in various places around the world. And so that's part of the strategy. Make it as plug and play as possible.
The Weather Kids, of course, is much harder because you need an actual child. But we built everything around it, so the the videos that run behind, all you needed to do was put a kid in front of a green screen. And so we, yeah, we were able to do that.
And in the end, that's what really kind of like made these so successful because we were able to to tap into UNDP. Which is having these offices all over the world. These talents all over the world, and the ability to kind of create these campaigns as a global campaign, but on a national level.
Dickon: So, you mentioned Weather Kids, let's turn our attention to that campaign. For those who aren't familiar with the campaign… There might be a few of them out there still… Could you give an idea of what it's all about, how it's presented, and what it seeks to achieve?
Boaz: So we came across two pieces of data that we were fascinated by. The first piece of data is an obvious one. The changing weather is the most visible part of the climate emergency. We're seeing it all the time. We used to talk about the weather because we had nothing better to talk about. It was small talk. But now it's breaking news. It's on the news every single day. We have wildfires in LA, we have typhoons in the Philippines. We are constantly bombarded with the effects of the changing climate, that's not the only effect of the changing climate, but that's the most visible part of it. That's one piece of data.
The other piece of data is that we've seen studies from all over the world that show that the best way for us to try and get people to take climate action is to remind them of their children, to remind them of the next generation, that it's not about us, it's about our children. It's about, you know, in 50 years time I'll be dead. But in 50 years time, that's when the real stuff happens. And so we wanted to marry those two things together, and we discovered that the best way of trying to do that is maybe to create a weather report about 2050. We took 10-year old kids and we said, “OK, we'll describe the weather in 2050 when they're adults according to IPCC data.” So we didn't make this up. This is taken from the intergovernmental body for climate change of the UN, that put out the scientific data on this. And so we built a script around it, but we wanted to leave the voice of the children to be as authentic as we can, because it is children speaking about it. So we built a script with a voice of a child that describes the weather of when they're adult, if we don't take climate action.
And that is to really illustrate that this is about the children, this campaign is not aimed at kids, it's aimed at parents. It's very clearly aimed at grown-ups and so that was the thought process in that. And again, the sausage making was difficult. We got a fantastic script writer to to come on board and write the script, a moment called Casey Rand. Who is a climate activist but also a TV writer. She's absolutely amazing. She wrote the script. The creative process of filming the kids, we we managed to get a partnership with The Weather Company, the most visible part of The Weather Company is The Weather Channel and they allowed us to film in their studios in Atlanta. So, we weren't pretending to film a weather report. We were actually filming a weather report. We were using their simulation computers to create all of those graphics and everything. And then we built it up like we built out the dinosaur.
We thought about the audience. We thought about what's gonna work? what kind of languages we can have? How can we create this as a plug and play? What kind of partnerships need to be in place? And we try to think out-of-the-box in terms of distribution. Again, we had to deal with EBU that they would send it out on their on their satellites and on their news feeds. We had a deal with Anzu, a company that puts advertisement inside gaming. And so we had the Weather Kids run on like multiple gaming platforms for weeks at a time. And so we were trying to hit as many people as possible with the idea that the climate emergency is a generational issue. And that was the intent of it.
The results were, some of it was what we expected, but some of it was surprising in a good way. We had a very, very strong partnership with this organisation called the LCCO and part of that organisation is also an organisation called the AMCE, which is like the measurement, communication measurement association around the world. And so we were able to measure very exactly what the campaign was doing. And one of the statistics that we got from the Weather Kids, which blew my mind and was incredible and was basically what we wanted to do, what we wanted to achieve, but didn't think that we would achieve it is that the Weather Kids, it resonated positively across 95% of media. That means that we crossed the aisle. That means that we spoke to the other side. And so we were able where the Weather Kids to make that leap of having both sides of this very, very polarising issue agree that this was something that was worthwhile doing. We had the Weather Kids on Fox News and an hour later on CNN.
Dickon: I mean, that's the golden ticket!
Boaz: It is the golden ticket. That to me is the best thing that happened with this campaign.
Dickon: But the the old saying is, “never work with children or animals,” so what were the biggest production challenges in working with child actors in this case?
Boaz: So, you know, I have two kids. I've got a 7-year old and a 12-year old. I have a lot of patience for them, but I find that I don't have a lot of patience for other kids. So, I tried to keep away from that whole part of the production. We had an incredible production house that worked with us. It's called The Artery in New York. If anyone needs production in New York, you should call them up. They're absolutely incredible. And Vico Sharabani, who is the CEO, acted as the director for this show. He took it on personally and he was so good with the kids. It was unbelievable. It was like a dream watching him. We filmed for three days with the kids. I wouldn't have lasted an hour, frankly. And he was just the epitome of patience, the epitome of good nature. It was a lovely experience, actually. But it was mostly because the kids were wonderful, and Vico did just an absolutely brilliant job.
Dickon: I love hearing about all of these creative partners and agencies and facilitators. I mean, that's constantly a huge thing that I hear, no matter who I'm talking to on this podcast, the extent to which collaboration, finding the right people, engaging the right networks can have an impact on the success of this or that campaign. I mean, it really sounds like that's the the case here too.
Boaz: It's the most fundamental part of the success of this without these partnerships, we couldn't have done it. I mean, Vico, I think he lost money on this campaign. I mean, you know, you'd have to ask him, but he certainly didn't make any money. We paid him the bare minimum. He did this because he cares. And that's the starting point. We collaborate with people who share our values, who want to get the **** done. It's really important that you find the right type of collaboration, but what's surprising Dickon is that so many people are interested in giving a helping hand. And getting involved, in taking action, in seeing themselves as part of the solution.
Dickon: If we pivot to The Lion's Share, so with The Lion's Share, you're creating a means through which companies can directly fund conservation, almost like a royalty scheme set up in the name of the animals used in ads over many decades. How did you get brands on board and what were the biggest challenges in convincing them to take part?
Boaz: Just to be clear, The Lion’s Share no longer exists. It died of COVID, frankly. We couldn't get brands to engage when they were closing factories around the world and we didn't have enough of a egg basket to hold off until COVID was over. It's sad. I think we were also a little bit early.
But the idea is so infectious, you know, the idea that animals are used in advertisement all the time. The only entity in an advertisement that doesn't get any payment whatsoever is animals. You're paying for the crew, you're paying for the creative, you're paying for the production, you're paying for everything. You're paying for the set, you're paying for everything, but you're not paying the animals. And so when you go to brands and say, “Hey guys, you've been using animals for the last 150 years to enhance your brand. Why don't you give something back? Why don't you give us 1.5% of your media spend on any ad that includes an image of an animal?” And it just makes sense. And it actually makes sense to brands and brands that want to call like you know, come on board and start their sustainability journey. This is a perfect way of doing it because it's part of their core business.
I've always hated the idea of CSR, to be honest with you. Now, it's much more that way. We're we're seeing it become much more part and parcel of companies, of private sector, of corporations. But you know, this was 2017, at that point, we were still tackling CSR budgets without any real money, without any real power. We wanted to insert ourselves into the CMO. That was the main thing. We wanted the CMO budget. We didn't want the CSR budget. And so this is a perfect way of doing it. You basically say, “Hey. Why don't you do this?” The reason why most brands took it on was because of recruitment and retention. That's the real truth. It was about their own employees feeling good about working there. Mars was our first contributor and our largest, and Mars did it very specifically because of retention and attracting talent. I mean they have Pedigree, they use animals all the time in ads, and so they understand they, they they got it immediately. But the real reason was employees.
Dickon: How have you seen, or how did, participating brands, for example, Mars, how did they leverage their involvement in their own storytelling and in their marketing - or potentially their employer branding, to kind of go back to what you were saying just now? And are there any stand out examples that you can think of from the kind of communication activations that companies, that those private sector actors, were doing at the time?
Boaz: To be honest with you, they didn't do it very well. They didn't leverage it enough. I think, again, it was a little bit early. We didn't have enough of our communication arm to help them enough. We weren't funded enough. We got a lot of money from them. And then at our own insistence, gave it all away to where it would have impact on on nature, but we didn't leave enough money in the pockets in order to have a robust communication team that would help these brands actually communicate what they're doing. That was part of the failure as well. And I think it's a good lesson to be learned.
You know, those overheads that everyone complains about, they pay for communication people, professionals, to actually help you kind of communicate what you're doing. And I think it's on the the entity itself to help the brands do this. I don't think we can expect brands to kind of like communicate all this. I think we need to empower them to communicate. We need to give them the tools. We need to give them the product. We need to give them the stories. Then they can use it in whatever way they want. They have enormous power on social and online. And so I think that's the lesson learned from this, you know, make sure that that communication part of it is as robust as the partnership and the and the idea.
Dickon: How do you test or otherwise assess whether an idea will resonate globally, especially in regions with different cultural perspectives on climate change?
Boaz: We're very lucky at the United Nations. We have offices everywhere. We can very easily kind of like call the office in Bujumbura and say, “Hey. You know, you guys are experiencing civil war for the last 24 years. This probably won't work for you.” And they'll probably say, “Yeah, this probably won't work.” On the other hand, we have offices in Ukraine, which is experiencing a war situation, and we'll call them and you say, “Maybe?” and they'll go, “Yeah, sure. We'll do the Weather Kids.” And so you get a lot of local knowledge from from being able to be on the ground.
Now, honestly, it's unique to the United Nations, but we're very lucky to have that. So we don't really need, you know, to set up the focus groups, et cetera. And we have it all in house and it's a, you know, it's a phone call away. So I feel very, very lucky to have our country offices behind us. We wouldn't be able to do any of this without him and it gives us so much, so much national knowledge across the world.
Dickon: What's the single most important aspect of communication that we should be paying attention to in our communication endeavours?
Boaz: I touched on it in the first answer. Never ever let the subject matter dictate how you're communicating about it. Everything is OK with every sort of communication is OK for anything. Whatever works works. You cannot have preconditioned ideas on what will work and what will not work. You have to come to it open, you have to see what's going to work. You know, the wildest ideas out there might work. The wildest ideas out there might be too wild and won't work. But you have to be open to the idea that you don't need to have a certain form of communication to communicate a subject. Everything is communication. Everything is storytelling. Let's tell stories in the best possible way that we can. People out there want to hear stories. You need to communicate those stories in a way that people will want to listen to them, and that's all that matters.
Dickon: What's the biggest mistake that you see communicators make when attempting to engage the public on climate change issues?
Boaz: It goes back to the to the doom and gloom. I'm sick of it, Dickon. I'm so sick of this ticking clock that we live in. We're all going to fall off a cliff. It's 1.5° or nothing. It's 2° or nothing. It's 3° or nothing. It's like enough already. You know, we all know that it's a big, big, big, big giant disaster and we need to sort it out. Even the guys who are on the other side know that. And so let's move beyond that. Let's move beyond the doom and gloom. Let's move beyond the idea that we're all going to die and let's move to action. Let's move to inspiring people. Let's move to giving people agency, to empowering people. That's what we need to concentrate on. And so I would highly, highly strongly recommend that people move away from that narrative of doom.
Dickon: It was so invigorating to talk to bohas for this episode, but what in particular stuck with you from our conversation? What will you take from it and apply to your own?
For me it was the idea that the subject matter shouldn't determine the method of delivery. Izzy Howden from Make My Money Matter shared some similar thoughts when we spoke for a previous episode, but this stands out as something that many folks working in climate communications could benefit from exploring. We don't always have to take Route 1. In fact, in many cases, not doing so will likely be a more effective strategy.
Maybe that means making a satirical video game to annoy fossil fuel financiers and using the documentation of that process as a vehicle for the overarching message, just like Oli Frost did.
Or maybe it means making a film about the benefits of a plant-based diet on male performance and virility as a way to bring a new demographic that are often left outside of climate conversations, in this case, a wide range of active men, closer to the issue, just as we saw with the documentary, the Game Changers,
Or indeed, maybe it means using a CGI dinosaur to deliver a vital message about the error of our ways. We don't always have to do the obvious. In fact, people seem to start winning awards the moment they go in a different direction!
Next, I thought it was so interesting to hear how Boaz had learned from his failures with The Lion's Share and the deficiencies that that campaign had when it came to engaging the network of companies involved to better communicate about their role. These lessons are clearly reflected in the way he worked to fill those gaps in subsequent work, creating plug and play assets for the UNDP network. Failing is such an important part of the process and I really believe we should be talking about our failures far more often and far more openly, so we can help others avoid those same mistakes and all level up together.
Finally, a note on the power we have in the companies we work for. The massive corporations that took part in The Lion's Share, they were doing it because their people wanted it. Current and future employees wanted to see these companies doing something purposeful. We have the power to shape the cultures and actions of the companies we work with and for. They're scared of losing us. They're scared of losing our talents. We have to make our voices heard.
So, that's what I'll be taking with me. But how about you? What did you hear? What will you be incorporating into your communications endeavours?
Thanks to Boaz Paldi for sharing his time and insight with the show, it was great. You can find some links to relevant resources in the show notes. Thanks also to you for listening to Communicating Climate Change. If you enjoyed this episode, why not leave it a rating or review? Your feedback not only helps to shine a light on the guests and themes that resonate with you the most, but also boost visibility, meaning the series reaches more people expanding the community and driving the conversation forward. After all, that's what it's all about.
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