Morgan Spurlock: The greatest TED Talk ever sold

779,563 views ・ 2011-04-06

TED


Please double-click on the English subtitles below to play the video.

00:15
I have spent the past few years
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putting myself into situations
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that are usually very difficult
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and at the same time somewhat dangerous.
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I went to prison --
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difficult.
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I worked in a coal mine --
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dangerous.
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I filmed in war zones --
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difficult and dangerous.
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And I spent 30 days eating nothing but this --
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fun in the beginning,
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little difficult in the middle, very dangerous in the end.
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In fact, most of my career,
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I've been immersing myself
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into seemingly horrible situations
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for the whole goal of trying
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to examine societal issues
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in a way that make them engaging, that make them interesting,
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that hopefully break them down in a way
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that make them entertaining and accessible to an audience.
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So when I knew I was coming here
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to do a TED Talk that was going to look at the world of branding and sponsorship,
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I knew I would want to do something a little different.
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So as some of you may or may not have heard,
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a couple weeks ago, I took out an ad on eBay.
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I sent out some Facebook messages,
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some Twitter messages,
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and I gave people the opportunity to buy the naming rights
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to my 2011 TED Talk.
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(Laughter)
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That's right, some lucky individual, corporation,
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for-profit or non-profit,
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was going to get the once-in-a-lifetime opportunity --
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because I'm sure Chris Anderson will never let it happen again --
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(Laughter)
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to buy the naming rights
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to the talk you're watching right now,
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that at the time didn't have a title, didn't really have a lot of content
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and didn't really give much hint
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as to what the subject matter would actually be.
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So what you were getting was this:
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Your name here presents:
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My TED Talk that you have no idea what the subject is
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and, depending on the content, could ultimately blow up in your face,
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especially if I make you or your company look stupid for doing it.
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But that being said,
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it's a very good media opportunity.
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(Laughter)
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You know how many people watch these TED Talks?
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It's a lot.
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That's just a working title, by the way.
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(Laughter)
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So even with that caveat,
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I knew that someone would buy the naming rights.
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Now if you'd have asked me that a year ago,
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I wouldn't have been able to tell you that with any certainty.
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But in the new project that I'm working on, my new film,
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we examine the world of marketing, advertising.
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And as I said earlier,
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I put myself in some pretty horrible situations over the years,
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but nothing could prepare me, nothing could ready me,
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for anything as difficult
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or as dangerous
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as going into the rooms with these guys.
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(Laughter)
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You see, I had this idea for a movie.
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(Video) Morgan Spurlock: What I want to do is make a film
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all about product placement, marketing and advertising,
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where the entire film is funded
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by product placement, marketing and advertising.
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So the movie will be called "The Greatest Movie Ever Sold."
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So what happens in "The Greatest Movie Ever Sold,"
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is that everything from top to bottom, from start to finish,
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is branded from beginning to end --
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from the above-the-title sponsor that you'll see in the movie,
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which is brand X.
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Now this brand, the Qualcomm Stadium,
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the Staples Center ...
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these people will be married to the film in perpetuity -- forever.
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And so the film explores this whole idea -- (Michael Kassan: It's redundant.)
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It's what? (MK: It's redundant.) In perpetuity, forever?
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I'm a redundant person. (MK: I'm just saying.)
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That was more for emphasis.
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It was, "In perpetuity. Forever."
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But not only are we going to have the brand X title sponsor,
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but we're going to make sure we sell out every category we can in the film.
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So maybe we sell a shoe and it becomes the greatest shoe you ever wore ...
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the greatest car you ever drove from "The Greatest Movie Ever Sold,"
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the greatest drink you've ever had, courtesy of "The Greatest Movie Ever Sold."
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Xavier Kochhar: So the idea is,
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beyond just showing that brands are a part of your life,
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but actually get them to finance the film? (MS: Get them to finance the film.)
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MS: And actually we show the whole process of how does it work.
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The goal of this whole film is transparency.
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You're going to see the whole thing take place in this movie.
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So that's the whole concept,
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the whole film, start to finish.
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And I would love for CEG to help make it happen.
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Robert Friedman: You know it's funny,
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because when I first hear it,
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it is the ultimate respect
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for an audience.
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Guy: I don't know how receptive
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people are going to be to it, though.
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XK: Do you have a perspective --
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I don't want to use "angle" because that has a negative connotation --
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but do you know how this is going to play out? (MS: No idea.)
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David Cohn: How much money does it take to do this?
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MS: 1.5 million. (DC: Okay.)
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John Kamen: I think that you're going to have a hard time meeting with them,
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but I think it's certainly worth pursuing
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a couple big, really obvious brands.
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XK: Who knows, maybe by the time your film comes out,
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we look like a bunch of blithering idiots.
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MS: What do you think the response is going to be?
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Stuart Ruderfer: The responses mostly will be "no."
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MS: But is it a tough sell because of the film
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or a tough sell because of me?
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JK: Both.
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MS: ... Meaning not so optimistic.
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So, sir, can you help me? I need help.
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MK: I can help you.
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MS: Okay. (MK: Good.)
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Awesome.
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MK: We've gotta figure out which brands.
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MS: Yeah. (MK: That's the challenge.)
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When you look at the people you deal with ..
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MK: We've got some places we can go. (MS: Okay.)
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Turn the camera off.
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MS: I thought "Turn the camera off"
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meant, "Let's have an off-the-record conversation."
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Turns out it really means,
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"We want nothing to do with your movie."
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MS: And just like that, one by one,
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all of these companies suddenly disappeared.
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None of them wanted anything to do with this movie.
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I was amazed.
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They wanted absolutely nothing to do with this project.
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And I was blown away, because I thought the whole concept, the idea of advertising,
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was to get your product out in front of as many people as possible,
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to get as many people to see it as possible.
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Especially in today's world,
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this intersection of new media and old media
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and the fractured media landscape,
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isn't the idea to get
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that new buzz-worthy delivery vehicle
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that's going to get that message to the masses?
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No, that's what I thought.
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But the problem was, you see,
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my idea had one fatal flaw,
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and that flaw was this.
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Actually no, that was not the flaw whatsoever.
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That wouldn't have been a problem at all.
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This would have been fine.
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But what this image represents was the problem.
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See, when you do a Google image search for transparency,
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this is ---
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(Laughter)
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(Applause)
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This is one of the first images that comes up.
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So I like the way you roll, Sergey Brin. No.
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(Laughter)
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This is was the problem: transparency --
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free from pretense or deceit;
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easily detected or seen through;
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readily understood;
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characterized by visibility or accessibility of information,
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especially concerning business practices --
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that last line being probably the biggest problem.
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You see, we hear a lot about transparency these days.
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Our politicians say it, our president says it,
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even our CEO's say it.
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But suddenly when it comes down to becoming a reality,
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something suddenly changes.
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But why? Well, transparency is scary --
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(Roar)
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like that odd, still-screaming bear.
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(Laughter)
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It's unpredictable --
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(Music)
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(Laughter)
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like this odd country road.
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And it's also very risky.
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(Laughter)
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What else is risky?
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Eating an entire bowl of Cool Whip.
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(Laughter)
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That's very risky.
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Now when I started talking to companies
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and telling them that we wanted to tell this story,
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and they said, "No, we want you to tell a story.
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We want you to tell a story,
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but we just want to tell our story."
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See, when I was a kid
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and my father would catch me in some sort of a lie --
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and there he is giving me the look he often gave me --
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he would say, "Son, there's three sides to every story.
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There's your story,
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there's my story
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and there's the real story."
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Now you see, with this film, we wanted to tell the real story.
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But with only one company, one agency willing to help me --
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and that's only because I knew John Bond and Richard Kirshenbaum for years --
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I realized that I would have to go on my own,
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I'd have to cut out the middleman
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and go to the companies myself with all of my team.
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So what you suddenly started to realize --
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or what I started to realize --
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is that when you started having conversations with these companies,
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the idea of understanding your brand is a universal problem.
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(Video) MS: I have friends who make great big, giant Hollywood films,
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and I have friends who make little independent films like I make.
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And the friends of mine who make big, giant Hollywood movies
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say the reason their films are so successful
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is because of the brand partners that they have.
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And then my friends who make small independent films
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say, "Well, how are we supposed to compete
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with these big, giant Hollywood movies?"
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And the movie is called
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"The Greatest Movie Ever Sold."
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So how specifically will we see Ban in the film?
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Any time I'm ready to go, any time I open up my medicine cabinet,
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you will see Ban deodorant.
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While anytime I do an interview with someone,
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I can say, "Are you fresh enough for this interview?
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Are you ready? You look a little nervous.
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I want to help you calm down.
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So maybe you should put some one before the interview."
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So we'll offer one of these fabulous scents.
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Whether it's a "Floral Fusion" or a "Paradise Winds,"
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they'll have their chance.
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We will have them geared for both male or female --
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solid, roll-on or stick, whatever it may be.
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That's the two-cent tour.
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So now I can answer any of your questions
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and give you the five-cent tour.
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Karen Frank: We are a smaller brand.
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Much like you talked about being a smaller movie,
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we're very much a challenger brand.
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So we don't have the budgets that other brands have.
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So doing things like this -- you know,
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remind people about Ban --
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is kind of why were interested in it.
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MS: What are the words that you would use to describe Ban?
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Ban is blank.
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KF: That's a great question.
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(Laughter)
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Woman: Superior technology.
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MS: Technology's not the way you want to describe something
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somebody's putting in their armpit.
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Man: We talk about bold, fresh.
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I think "fresh" is a great word that really spins this category into the positive,
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versus "fights odor and wetness."
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It keeps you fresh.
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How do we keep you fresher longer -- better freshness,
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more freshness, three times fresher.
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Things like that that are more of that positive benefit.
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MS: And that's a multi-million dollar corporation.
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What about me? What about a regular guy?
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I need to go talk to the man on the street,
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the people who are like me, the regular Joes.
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They need to tell me about my brand.
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(Video) MS: How would you guys describe your brand?
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Man: Um, my brand?
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I don't know.
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I like really nice clothes.
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Woman: 80's revival
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meets skater-punk,
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unless it's laundry day.
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MS: All right, what is brand Gerry?
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Gerry: Unique. (MS: Unique.)
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Man: I guess what kind of genre, style I am
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would be like dark glamor.
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I like a lot of black colors,
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a lot of grays and stuff like that.
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But usually I have an accessory,
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like sunglasses,
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or I like crystal and things like that too.
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Woman: If Dan were a brand,
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he might be a classic convertible
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Mercedes Benz.
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Man 2: The brand that I am
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is, I would call it casual fly.
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Woman 2: Part hippie, part yogi,
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part Brooklyn girl -- I don't know.
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Man 3: I'm the pet guy.
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I sell pet toys all over the country, all over the world.
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So I guess that's my brand.
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In my warped little industry, that's my brand.
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Man 4: My brand is FedEx because I deliver the goods.
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Man 5: Failed writer-alcoholic brand.
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Is that something?
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Lawyer: I'm a lawyer brand.
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Tom: I'm Tom.
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MS: Well we can't all be brand Tom, but I do often find myself
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at the intersection of dark glamor and casual fly.
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(Laughter)
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And what I realized is I needed an expert.
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I needed somebody who could get inside my head,
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somebody who could really help me understand
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what they call your "brand personality."
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And so I found a company called Olson Zaltman in Pittsburg.
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They've helped companies like Nestle, Febreze, Hallmark
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discover that brand personality.
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If they could do it for them, surely they could do it for me.
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(Video) Abigail: You brought your pictures, right?
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MS: I did. The very first picture
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is a picture of my family.
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A: So tell me a little bit how it relates to your thoughts and feelings about who you are.
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MS: These are the people who shape the way I look at the world.
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A: Tell me about this world.
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MS: This world? I think your world is the world that you live in --
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like people who are around you, your friends, your family,
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the way you live your life, the job you do.
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All those things stemmed and started from one place,
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and for me they stemmed and started with my family in West Virginia.
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A: What's the next one you want to talk about?
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MS: The next one: This was the best day ever.
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A: How does this relate to your thoughts and feelings about who you are?
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MS: It's like, who do I want to be?
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I like things that are different.
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I like things that are weird. I like weird things.
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A: Tell me about the "why" phase -- what does that do for us?
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What is the machete? What pupa stage are you in now?
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Why is it important to reboot? What does the red represent?
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Tell me a little bit about that part.
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... A little more about you that is not who you are.
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What are some other metamorphoses that you've had?
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... Doesn't have to be fear. What kind of roller coaster are you on?
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MS: EEEEEE! (A: Thank you.) No, thank you.
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A: Thanks for you patience. (MS: Great job.)
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A: Yeah. (MS: Thanks a lot.) All right.
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MS: Yeah, I don't know what's going to come of this.
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There was a whole lot of crazy going on in there.
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Lindsay Zaltman: The first thing we saw was this idea
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that you had two distinct, but complementary
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sides to your brand personality --
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the Morgan Spurlock brand is a mindful/play brand.
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Those are juxtaposed very nicely together.
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And I think there's almost a paradox with those.
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And I think some companies
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will just focus on one of their strengths or the other
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instead of focusing on both.
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Most companies tend to -- and it's human nature --
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to avoid things that they're not sure of,
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avoid fear, those elements,
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and you really embrace those,
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and you actually turn them into positives for you, and it's a neat thing to see.
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What other brands are like that?
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The first on here is the classic, Apple.
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And you can see here too, Target, Wii,
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Mini from the Mini Coopers, and JetBlue.
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Now there's playful brands and mindful brands,
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those things that have come and gone,
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but a playful, mindful brand is a pretty powerful thing.
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MS: A playful, mindful brand. What is your brand?
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If somebody asked you to describe your brand identity, your brand personality,
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what would you be?
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Are you an up attribute? Are you something that gets the blood flowing?
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Or are you more of a down attribute?
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Are you something that's a little more calm, reserved, conservative?
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Up attributes are things like being playful,
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being fresh like the Fresh Prince,
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contemporary, adventurous,
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edgy or daring like Errol Flynn,
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nimble or agile, profane, domineering,
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magical or mystical like Gandalf.
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Or are you more of a down attribute?
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Are you mindful, sophisticated like 007?
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Are you established, traditional, nurturing, protective,
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empathetic like the Oprah?
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Are you reliable, stable, familiar,
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safe, secure, sacred,
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contemplative or wise
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like the Dalai Lama or Yoda?
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Over the course of this film,
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we had 500-plus companies
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who were up and down companies
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saying, "no," they didn't want any part of this project.
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They wanted nothing to do with this film, mainly because they would have no control,
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they would have no control over the final product.
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But we did get 17 brand partners
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who were willing to relinquish that control,
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who wanted to be in business
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with someone as mindful and as playful as myself
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and who ultimately empowered us to tell stories
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that normally we wouldn't be able to tell --
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stories that an advertiser would normally never get behind.
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They enabled us to tell the story about neuromarketing,
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as we got into telling the story in this film
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about how now they're using MRI's
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to target the desire centers of your brain
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for both commercials as well as movie marketing.
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We went to San Paulo where they have banned outdoor advertising.
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In the entire city for the past five years,
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there's no billboards, there's no posters, there's no flyers, nothing.
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(Applause)
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And we went to school districts
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where now companies are making their way
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into cash-strapped schools all across America.
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What's incredible for me is the projects that I've gotten the most feedback out of,
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or I've had the most success in,
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are ones where I've interacted with things directly.
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And that's what these brands did.
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They cut out the middleman, they cut out their agencies
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and said, "Maybe these agencies
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don't have my best interest in mind.
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I'm going to deal directly with the artist.
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I'm going to work with him to create something different,
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something that's going to get people thinking,
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that's going to challenge the way we look at the world."
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And how has that been for them? Has it been successful?
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Well, since the film premiered at the Sundance Film Festival, let's take a look.
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According to Burrelles, the movie premiered in January,
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and since then -- and this isn't even the whole thing --
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we've had 900 million media impressions for this film.
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That's literally covering just like a two and a half-week period.
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That's only online -- no print, no TV.
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The film hasn't even been distributed yet.
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It's not even online. It's not even streaming.
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It's not even been out into other foreign countries yet.
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So ultimately,
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this film has already started to gain a lot of momentum.
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And not bad for a project that almost every ad agency we talked to
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advised their clients not to take part.
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What I always believe
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is that if you take chances, if you take risks,
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that in those risks will come opportunity.
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I believe that when you push people away from that,
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you're pushing them more towards failure.
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I believe that when you train your employees to be risk averse,
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then you're preparing your whole company
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to be reward challenged.
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I feel like that what has to happen moving forward
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is we need to encourage people to take risks.
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We need to encourage people to not be afraid
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of opportunities that may scare them.
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Ultimately, moving forward,
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I think we have to embrace fear.
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We've got to put that bear in a cage.
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(Laughter)
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Embrace fear. Embrace risk.
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One big spoonful at a time, we have to embrace risk.
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And ultimately, we have to embrace transparency.
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Today, more than ever,
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a little honesty is going to go a long way.
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And that being said, through honesty and transparency,
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my entire talk, "Embrace Transparency,"
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has been brought to you
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by my good friends at EMC,
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who for $7,100
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bought the naming rights on eBay.
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(Applause)
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EMC: Turning big data
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into big opportunity
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for organizations all over the world.
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EMC presents: "Embrace Transparency."
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Thank you very much, guys.
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(Applause)
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June Cohen: So, Morgan,
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in the name of transparency,
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what exactly happened to that $7,100?
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MS: That is a fantastic question.
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I have in my pocket a check
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made out to the parent organization to the TED organization,
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the Sapling Foundation --
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a check for $7,100
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to be applied toward my attendance for next year's TED.
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(Laughter)
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(Applause)
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About this website

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