It's a broad concept, but it allowed Watson to experiment, just as past Pirelli photographers did. But unlike the calendars before it, he sought to break the 12-month cycle. Instead of taking one photo of each month, he took 40. And he shot them in 16:9, a widescreen format, so they appeared more as stills from a movie and less of a fashion shoot: "The basic idea behind the whole project is that of telling a story in four ‘little movies’. What I wanted to convey were the protagonists’ hopes and their way of thinking about the future, in a way that would bring with it the aspect of dreaming." The cinematic approach makes perfect sense: Though he's one of the world's most renowned photographers today, Watson actually graduated from the Royal College of Art Film School as a director.