Title: Futures of Entertainment 2 - Cult Media

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" And artwork and things like that and when when TV guide would come and it was the once a year -- picture of them and so forth imagine that compared to. The axis we have today. That's right -- older. I began explores. Mythology and see the world opens and whole -- particularly. And I was just. Floored by the realism that world and I wanted to be here so bad as opposed was. And it. 81 annually -- And night I found a system of rules that allowed me just Patten mentioned it before so I keep. Essentially tying towel around my neck and lines around my underwear by playing dungeons and dragons and and yet. Who was going to play with what's street toughs. So I had to think. How to make these fantasy worlds accessible. 22 bombs. You know to bullies. You know convinced them to sit around and listen to my crazy stories. So I began to get a a sense of what the interactive experience. And and two. -- to reach out me drag someone who wouldn't ordinarily have anything to with dragons knights dungeons and and make them. And enjoy it -- what I had to do was kind of cycle analyze them yet getting their heads and give them a little bit of what they want help them realize they're Nazis. I I moved on. After college to. Become creative writing teacher and applied some means. Methods and that led me to. Create the curriculum reform magazine that was published on Mac plus. Column was -- well hey. And it was a desktop publishing magazine. That I I believed in so urban -- that I got a car hall Marvel Comics and Lucas film in and said want to hear a picture of your product however. And they said okay and sent. It was amazing to me because that'll the magazine to to get national distribution. And all over the place and it maiden name in the adventure game industry. That guy Jackson called grand master. And and in that magazine I began to proselytize about the ones in future. A story line was going to start. Com me on television. Or or comic book and that was going to jump to this thing called bulletin boards. You're going to play out a part of that story all of us. And and the result of that story was going to jump back into novels were were you know what these. -- kind of video games. And and -- and vehicles you know a few years later. I started writing modules like palladium books and we post it and -- join a company called. Comics. And worked in the superhero universe. That that company was purchased by acclaim entertainment the guys mortal kombat. And no one that comics knew anything about games except means and I was just an assistant editor time. I sent them. They came to means and what character should we. This was in the early nineties to be the first. A claim video game and and I was partial to dinosaurs -- or. And they said well what with the story. And I invented. A story. And I asked Clinton to send me. Design documents concert documents things like that. I studied the format in. Equaled it -- and I became the producer and story aren't rock dinosaur hunter franchise. Right after that. -- magic the gathering to the attention and acclaim we were competing against mark and easy and I told you guys that was the -- with friends of mine from the gateways. Magazine. I said to them come with us help you build your universe. And they said okay that's better than just come in its its world that we can use other things novels that. And and it's okay but we need right now -- graduate about continent out of my. TV universe. -- okay. Plug their characters and that works. And made a lot of money and I could move out of the broad access -- it. And also millions of comics the match together and comic books and video games which are produced. Mark rose. And and and night I want my companies -- current. And that's what we do. We essentially take intellectual properties. And and develop the universe fictional world colossal. It's kind of fractal methodology. That that zeroes in on the message. The the property. And and then blows it out gigantic and then of course we know collectively. How to develop different media platforms. We can help companies use so we've done hot wheels for Mattel. We've done partner. Or. Walt Disney company. We did a little Disney fairies. We were working with Coca-Cola. Brand new IP. And and we. Working with 20th Century Fox James Cameron's. -- That's -- story."

" All right. My name's Gordon to tell how we're getting all the media. My background is not nearly as interest interest group as a country gentleman to my right. And that and the entertainment media business for about fifteen years and for the first fourteen of those on the finance side. A lot of the guy analyzing projects that these guys wanted to do think the audience isn't. And enough there's ways and you can excuse that one of the Macon anyways I would then figure out ways to try to reduce costs bringing money and hopefully they worked a lot of times they did. For in the last year. I passionate and like career still Walden media I now work in an off in Boston and oversee our outreach division. And what we do with her most movies want me it makes our. Family entertainment. And there adaptations. Well children literature. And we create programs for teachers librarians. Community groups faith groups. Showing them how they can use. -- movies as a teaching tool as an -- As well let's just trying to find groups in niche audiences that might have going to be for the movie that we're making and create programs to bring them and so that the for the movie is released. They feel that they have and ownership. Our kinship to the project."

" Okay so we've started out spent a little bit we've heard how you become interested in and in some of these shop owners in the work that your currently doing. I began by saying that we spent the shift of a lot of which onerous from the fringes of the entertainment industry. To the mainstream and I'm wondering first of all what what factors you think accounts for that -- what."

" Easy rider reasonable. Now that anybody I mean that really it's sort of hold the story of how that happened jaws it was really jaws. Was -- became -- literature but it was a popular novel it's basically a monster movie right it's just. It's very well done now with its giant blockbuster -- created blockbuster. Cinema in the seventies Star Wars later a close encounter all that stuff. Just like her saying it would have been -- brought to be movies became the -- Moody's. And I proposed right now that what -- the aim of these and other big movies so you can't make a drama let's go to search light or Warner classics who -- you can only make. -- John -- stuck."

" Absolutely that that you know establish that. Economic viability of of the blockbuster entertainment and and you know there's so many factors that that up applied in this you know it's certainly."

" You know -- at all -- fans have been dead the -- of genre entertainment but they haven't had an ability to connect with each other ability to build and really economically powerful community until you know something like -- So that I think has really helped things watch you know into the stratosphere with that that thing it another element is just that the people who create the content."

" You know are are are getting older -- have a certain generation you know people love John -- and men are more familiar with that are now the ones too who are creating it. And I think all the successful properties that we've seen image and that -- on television space have been developed by people who love."

" That material and as you know. As me as you know joggers and people mature."

" You know that the people who you know -- something has kids and then went into that business are now creating an -- you know I can't."

" I can't even imagine. How we're gonna -- things are gonna look like when Harry Potter generation. Gets to the point where they're controlling media you know it's going to be completely different faces John hurt him where they take that things that they loved about Harry Potter and -- on the avenue and creative ways. I think that's been."

" Very privately. -- there's Warner Bros. -- everybody. I worked on potter for three years."

" It just adds that a little bit I think it also helps that. That is the genre or -- material. That that -- magnificent talent being applied to that now used to be that that tax act out the horror fans in in this science fiction but now. Superb. Talent is being applied to their their maturing in their turn out really good stories but."

" All I think that's really important point the other point is that replying. All those skills of drama. Are getting applied to buy things that -- applied to -- in the fifties and we -- like him because the monster with school or -- the idea was cool but if you take -- show for instance. The traditional television stuff is there -- show. That the families of the characters. Human drama. Wyatt in you look at lost its much heavier now one site -- lots smaller. But you're giving everybody the stuff that the masses can connect they can connect to all those. All of -- humanities and now we're bringing new -- not me -- bring in new stories in case he is. That are taking what we -- reading in the eighties in comics. And now they're putting it on TV brilliantly. And but but -- stilts. Like I think my mother in law will really like heroes and given the dvds."

" Because they really work if people really well now that is a huge part of it and that's you know something and you know just. You know because JJ Abrams the creator lost and -- created heroes because they had worked in the east bay state really understand it and understood. A broadcast market that that are really you know network television is a broad cast media need to be able to attach all different types of people on very -- Indeed that with an ensemble cast that helps mitigate. How some audiences might be turned off by -- properties. Certainly not lost heroes we tribes that populated shows with characters that anybody in the eyes -- You yes some people might like the cheerleaders some people might like that. That copy you know some people might like -- brother brother story there's something in in that show for everyone's everyone's sitting on the couch. You know as a family can -- Hopefully what -- watchers and find things that they like and if there's something that they don't like they might just get it might is right through it to get to the point that you like and I think it. It it bringing that that John sensibility that love a genre and then applying you know. Experience making broadcast television has really about some -- to it that props from."

" So I would say coincides with the -- that India and TiVo. Where you can get much -- deep into your program. That if you miss an episode if -- if we didn't have cable center court it. And eventually lose interest because the story line and it went all these download. Even -- and out and there are still many different ways it can go back you can watching the next season on dvd. I fly back and forth between LA and Boston. About once -- week. I get most myself through iTunes very disappointed that and he seen acting following."

" But I want to arm on my laptop on the plane anything -- and that's I think that's and that it it it you know it debt and it's amazing because we you know and that's seen. So it was loss line in this massive broadcast and that experience what is often view is appropriate punctuation. Yes and the audience -- went away from broadcast -- that started experiencing show you another way it's Alice tremendously important especially with mr. Eisner's. That's when you watch these shows it is watching your case -- on that -- split up but commercials."

" Another thing too is."

" He -- actually the stuff -- use very often in honor. In his -- there -- about using it. That themes kind of hope. Mean he outsiders coming together finally work with each other as a very kind of hopeful. Positive -- and they're also very appropriate thing for our for our times potentially."

" And I think -- that answer has a lot like people are are finding something in the shop and it's hopeful that."

" To rethink."

" For everybody do you think it works with -- content."

" Like what's that like I actually think that the serial lightly more powerful plan greens can be extended its. Well I have had a privilege of doing cereal like all my shows were editing one offs and I tried that I want to do one and I was told. Don't do it because that was with last year's that the networks were saturated and other -- if he shows numbers are down in the mail freak out it is jumping on there -- members. I find it that he's. Numbers that really important point when asked about the budget of the show. What do -- and thinking about it if they didn't have all these extra revenues on that -- dvds. And any ancillary whatever -- media you guys can create. They're revenue would be in trouble because they're not the right number so I and it's not coming from the advertisers."

" See another strategy that was born out you know obviously it's pretty it's very obvious strategy. From my personal experiences or about it aliases of the show that I worked on that was mr. Eisner that at a very specific that audience. And we just tried to get. Network and studio pregnant with as much possible -- stuff. As weak and it says it. If as if those numbers went down we -- have critical success we cat can have audience loved we could sell lots of dvds and it was all about anything. Keep us on on the air and that you know something that we certainly like like here. So it's -- need to find those other revenue -- especially with something like heroes that it's you know. Very expensive and see seen that but that shown on screen every week. And and you need to find other revenue streams. To to support that and personally you know this is couple other competition has revenue streams need to be organic an authentic and and can't opt out of the audience and I think to be taken -- and having a positive -- story."

" So what episode. Going off that you're you're describing the importance of orient engagement of passion consumers. Is there tension between the expectations of what you need to do to build up hardcore fan base behind. Some of the properties you're talking about and what's needed for general market success."

" Sure that you know I think I think. You know what. What I feel intuitively because I approach approach what -- do you at this. -- and I -- and that I'm doing Latin. What I want to grow up obsessed with Star Wars would start -- on -- And and so I approach it from an area that I site try to use after what I what I would want to. In books I've read about marketing talk about me you know it's important to go after you know early adopters. Or audience. That influence there's whatever whatever that other halts. You know I think that that kind of strategy. Is very important it to apply it yes like heroes and an end. There's attention with servicing our audience answers your products as well but. I think you can do it. If you build things into your content that are accessible to honor a broad audience. And you certainly don't talk down to and are authentic with here with accord in the first thing it did when it got to heroes. After meeting and then and these guys marriage were artwork and work there. I'd say what her plans for com. And that's. What's. Happened with anything going. Could comic without doubt. And you know we activate -- producer made a phone on set -- comic con you know presents that it was so important for me it. If we take took took this thing to comment on it and and shared it with with people like who I -- it immediately with love. This property and that would go out and talk about it and be become our list or devoted base that would support our property. In times. But support it always but maybe if there are times when."

" It wasn't doing so well they would be airports and support us because they knew that we care about what we were yeah. I think also. In terms of the tension between masculine. And the the core fan base appeal. What would heroes is doing successfully what lost to a degree did successfully was. That the the the marks the characters. They were all involved with powerful emotions and they were relatively clear. As and so far is. There agendas. As as human beings. But the the -- media elements around it. Meet the thing. Much more deep. Reaction and complex so that if you work than he did like these characters and premise you had resources. Which were official. Which were part of the true persistent world that you can delve into as deep as you -- You can spend a few minutes today you could spend hours -- day. You know trying to find out what's really going on with those numbers. And so forth. And you could find out that answer would be rewarded. With with that answer that in a way that somebody viewing -- just TV show and never would or might not even care about so."

" So like your got your point -- is -- and that was one of the brilliant things about the way attend traffic these characters are all incredibly thankful."

" I -- that happen -- in people's thoughts and I understand that. -- cheerleader who is you know think she's an apology isn't vulnerable. That there were very rare type of characters that are broader audience can connect with and can understand it -- crop -- immediately. And it added genre audience can see things in them that were deeper richer and."

" On an illustration I just heard the other day a mom and her son are watching heroes they both loved show. The sun points. A character in the background Hussein has a few lines and walks out of there. And he gives that character's back story to his mom and the moms as I watch this every week what are you talking about how to. And and so he's got something. He's cool because he can deliver his information to the rest of his family. That actually makes them appreciate. This universe even more and and that's very very powerful. You're giving something to the -- and Easter day and bonus. -- that as a gatekeeper they can then bring back to to their community. And and say hey check this out."

" That's a really good micro example artwork -- The broad I want to comment on you touched on this a little I don't know where any guys in this. But when it comes to creating this stuff I have to say for me I'll let you guys I never think about all the things were talking about today. I don't think about the the market being the focus groups I honestly I don't think about how many get the show through the down times -- I'll think about any. -- want to use that -- and this is what I've lived by for thirty years I think about what policy the most. And that's it and it's like what I want to see what own idea -- I was I had the privilege when younger. Going to a panel like this we're David lean was speaking and he said victory cliche. It would please -- that -- public show. And I would -- You know and dive it at times but I never think about. In a calculus like this stuff we talk about here is all reverse engineered what we do happen and it's really cool and stuff that he talks about the acts absolutely but I don't put her in the words of an area but when I start this stuff when I teach my -- exodus eight. It's right the movie once you -- to show that you would watch and I got to a point is -- in my career. Where I'm a big game okay. And I was making to shut it 132 hours three years I directed twice and one dammit in the -- a lot of stuff. -- I would -- Was horrible it was okay but I wouldn't I I don't watch TV and I've played games and I had a chance to. The work NEA for five years gains in realise there's more values that film I actually start to look at films this at an earlier. As a peace not -- thing in all this other stuff is just consumer products that -- off. -- sort of look at film as well there's -- channel where I can get certain levels of emotion. And certain storytelling things I can't dealing gains but it might game is tied it. And extends it now I have certain emotional values I got of people that are in -- mindset from the movie. That I can bring into the game because the designer -- can't deliver some stuff I'm not going to make you had a game here sat there watching movies. And bad Fiji with -- Yet. So but really the reason I brought this up it's odd but not about the -- point but when I sit down the blank page it's what I -- is cool and it just to build on the."

" For second -- and that was exactly might take signs that in my experience you know working on on alias that -- is that that we did on analysts. We did you know -- gains and you know puzzles and they're very and it -- we stay in honor the answering machines that we. When I say -- the right there's a few writers on the show we did that."

" Because we love the show and we were excited about doing that's that creatively it's how we want to express ourselves and we did it more fun."

" It was something that we just oh my god -- the coolest thing with -- story out. And that you know has been my experience and now we're at a point where that as it -- you know where. Where that is you know I discovered convergence pollster mark works not turn on this book and -- oh my -- culture and media will be -- that's what I'm doing. And now you know there. You know NBC has trends the it department on heroes and but it better all throughout. Fans' passion."

" We're doing something that they lap around a property that they --"

" And and that night at -- just another thing about the the critical study saying -- so freaking helpful. In in terms of helping people like like me do this and the and you probably -- as exhibit."

" If I just."

" It people like us who are creative from a very. Passionate instinctive. Place and I and are just making stuff because we love it and then to be able to have thoughtful people."

" You know and talk to us about what's working in it about you know why it's working about our process. And that's not usually the network exacts whose job it is talked about it does not what you're talking about total disaster but you know. Talking to someone like -- or you know someone like out Alex you know who works MIT chatted with him about."

" About narrative it has been very helpful in me in looking forward it at how liable shape the way to work and be kind of let there be you know that analyze the way I created and seeing what worked what didn't and apply what works in the future says that critical states. Thing giving us. Giving us names and labels and structures for that used."

" In my in challenger a little. And reached a little darker side. That exists between mass and the -- Core core audience. If you alienate. That core audience. You're going road everything. That's my feeling. You art or music or art or. That's let's let's look at. Two properties. The X files and and a prize. Where where. These are these are become. Something even more. And the original visionary could have imagined. Andy. Properties that belongs world. And and they are bigger than even the people creating. The property. So if if for some reason use stop being true. So that property if you stop being that the Stewart. And and I use that that term lot. You you're there to shepherd Stewart this this franchise this ran this wonderful. Universe. If you stop doing that. And start since noodle your own thing it -- yourself a little too much well. Let me say I got rid and it pissed off and and walk away and then. If the key is pissed off with the with the property and walks away and says. Look. Spider-Man didn't -- spider sense once and Spiderman -- but he didn't part one part -- Joe average actually takes about that goes. What was that certificate it. What you know. The bad taste in my mouth I didn't know why -- my biggest problem."

" Big difference between originals and it a big difference. Right and it just on point I wrote last last year issue lies re -- new generation. We want to -- generation. Are. And so we crazy -- New flat. And six guys on common -- hardcore guys. Destroy us I mean that what you said. Eight the department we are on initiative from editorial views right in retrospect. That's right. Today. Just shouldn't use like re in the popular wrote. Here. You -- not do all -- issue lies for a hardcourt is that. Had -- It's about the kid about it generation well who -- cop you're over there. And it all guys who really all they care about it. All they care about is every T exactly what you said. We had -- what were were sitting there with Wikipedia. And other trying to -- in 1966 -- Woodbury. History is crap and we get the wrong going to comment on where we're getting all the art. I thought it. All that but art or. It and it's like sorry I'm not sitting up here like this that aren't you know I wanted to say how about no editorial help I want -- that but I like you know."

" National but it. An artist and as a villain just point your absolute rat and then it's at a percent and it's something that we need."

" You know there's different versions there's a version where creator of the show patriots and it's incredibly popular and they you're working on for a long period of time."

" Or whatever period time and then they might get -- and might want something else might want to try something else and change at the show significantly. Is what they wanted to creatively but it steps away from what their original vision lies in the potential. Alien an audience Natalie you guys obviously with it."

" With advertising. And certainly some product integration. It is a way that if you show appears to be selling out you can't you can alienate. Your audience significantly."

" immediately and that's you know that's a tricky line. It's one of the things that keeps me up -- you know that kind of thing because -- live in a world where to stand but to hear us. Rock immigration and assess its end and I just because on that and I look at it as an opportunity -- attacks that this is cool. And I gotta integrate itself on I got it integrates you know discuss security system that got -- Rick Karr. I can do all that if you allow me to do it creatively and organically and authentically and you've been in in my property says that it feels germane to it but the characters are doing and as a natural part of the world. And that is something it is fairy challenging to do."

" You know when advertisers coming that's the product integration -- they have needs -- there's -- requirements. And you know. In my experience in the past that. Those needs have been passed down on paper and handed to the writers or -- and and you've been told you have to do this. On top of everything --"

" to happen more and more but here's the thing where we kind of spotted on here as we sit right okay -- in the room with the people who are telling activists and let me work with. If the system guys there showing what you. That's awesome that's so cool I can make network -- the guys in here this is fantastic. And as soon as you start -- the hard with these people. And it and E Annie and engage with them creatively. You can come up with stuff that is that is -- your property and and many right none of it what I see none of it's popped in nothing's pop when your show we played that. Which wants -- a."

" Well set up my arguments for that stock is always I don't drink much -- in the year. But I don't drink you know other -- LTT need it the problem I've -- in the -- Brandeis very yeah. And it all looks kind of gee I'd rather see real products on the table that's what we know -- but and that's going to happen."

" More more. -- branded entertainment because with bring up TiVo which had brought up before. People are watching commercials and the advertisers are bringing a lot of money and we met a lot of major conglomerates that say we want to give you money to develop a movie. Around this product right where the product becomes the central. Driving force."

" And not at this means is really -- Companies -- that these days where are at like on the money -- like okay. -- you know -- I don't know -- ever on on some sort of creative development and basic capers is something like that it just. I thought about it that's what area earlier panel is."

" It's our way that was sponsored by ponds and cream you know they sponsored this -- show. I think about who's now. That might start it's like now I have ponds on the -- it was incredibly effective that date -- that they did something like that so it's a very recent example of something like that that's the way. This. Often. And we've done great product integration that think that we song and dance greats it's amazing things last -- with our company's numbers it's are they want a lot they're very excited about it."

" Andy has we're in the show and you know. It worked out well that they didn't have a lot of specific requirements."

" And we found a way even into the story where one of the fan favorite characters that you're not mores -- cute little Japanese guy who loves being here on -- what he's doing. He he keeps talking about the Nissan versa Nissan versa. And it was organic -- who he was it was -- to the story apartment -- character really hit it in the narrative that did not feel forced."

" And it was incredibly successful for Nissan."

" And it's been successful on international level. Where they now have I think it's a Nissan branded. Our Terry here has -- percent France and dad and -- and the heroes. Biographies built all around and around the."

" Diversity can't."

" I eight. Wouldn't it. Going back and forth I don't have a car -- and become big fans that cars and kicked out if MRSA. And therefore it's important lesson."

" Well you and a little more decisively here and talk about Narnia and what Walton. -- been trying to do that is sure your -- most of all his films have been fantasies of one sort or another if I go back in time the two groups I would set for most. All objected to fantasy when we're conservative Christians. Witness the Harry Potter protests and the other would be school teachers and librarians are raw and snaps the science fiction or fantasy books from our hands when I'm when I was growing now. And that's what you just said you're you're recording a very effectively through the strategies wolves -- Balkans or how do you reconcile fantasy as a genre. With those particulars. Segments of the the viewership."

" Well. We. We look for good stories and that's why when the company started. Why we started going to we spent a lot of time a lot of money going to teacher conferences library come to understand. The book and the stories that kids are reading that -- that's actually it wasn't a shot them all but the first. Successful movie that -- hapless holes based on the book by Louis sacker who also wrote the screenplay which came to us as a classroom wrote a letter is that. This is a great book. -- And certainly helped happening the author of the book write the screenplay. -- there for the changes. That. The Chronicles of Narnia and that. As a very powerful story for people whether they read it understanding and it's a Christian allegory or people that read it and had no idea. And I think it was the the power of the literature. That enabled us to make a huge fantasy film that appealed to an audiences that that might not otherwise have been drawn to a big. Fantasy movie. Christian audiences like that because we were very respectful of the material we do it certainly didn't make any literal adaptation. If you read the book you go to the movie. The movie opens with the great -- bombing. That is just touched down in the book certainly not to the extent that we hopefully it. But people in saying that they were brought into the story and they understand that we -- certain fanatic changes to it to bring enough history. But we're very careful not to take out anything. That was in the book. If there was -- Christian allegory we're going to leave him there and so that we wouldn't offend Christian audience that really believe in property. But we weren't going to build that up. Felt that we would turn off an audience that might fail that's the Christian one thing that we just said we're going to be very faithful to the book. The book has appealed to -- audience and it worked."

" But do you did you liking your new job went with the new movie -- with an excellent it was definitely major. We -- major campaign as far as integrating the story and all this stuff in schools and we're doing churches where everybody assumed that luckily for the last. Help me there's the books of all -- the package of seven books and theory and next we are making -- Prince Caspian."

" And we understood. That most people all over the line went to war room didn't really know story Prince Caspian was and the -- the -- packets now it's the fourth book. We've got a huge campaign teachers and librarians and faith groups introducing a story to them. I think this is another great story and finishing fifth Lewis is a great children's author great. Science fiction author. And hopefully would be successful that. But it's just pointing out. This is what's in the book and this is what you're going to see on the screen it's going to be a faithful adaptation. You don't have to worry that we're taking this out -- gone down play certain things and that's just as you're saying. All of you earlier. You can't talk down -- you really have to be respectful of of the core fans of the property."

" So one of the questions from the orient is how much of the revenue from Paris comes from international sales. How does this influence the creative process and we should open this up beyond Europe to talk about. Internationally what are the implications of called media turns your story --"

" I'm developing something right now for a very media and it's. Because they they feel that syndicated market's coming back where you can get 25 hours -- one block and sound and actually -- and then bring it over here. And what they're excited about the property fits -- well it all got all worked up over 300 right out and we do. It does matter but I'm really worked up over CG in live action eleventh. So on developing a series and and four that is really starting overseas. The chemical overseas market is always being in here on actions that while it -- action stuff it's less wordy they feel they can relate to it definitely. The generalization. That's true but it international markets really really really important for prop house with the leadership."

" It's been mass for her for heroes this excessive -- internationally unit that everyone who works on it was a complete surprise us. You know there's a story that it's off and they bought it about our half went. Went to Paris for these tools -- awards it and show it not been on TV yet been France. And yet it what everybody there had seen the show one BitTorrent or whatever the project but one is and we're recognizing people you know our our actors on the streets talking to them and they were caught out. With where the show was in the states and they were right there with that and that that. That international you know audience. And the revenues that -- and generate. When he can generate revenues incredibly important then. You know when of that you know crazy ideas that you know. The crazy idea that I happen and -- incredibly excited about -- a lot of that is based on my you know my experience on how shows like analysts Austen heroes you know these minister realized stories that played -- it means that -- internationally accepted. You know that this thing and I'm working on it is it isn't new property. And it's designed to. Watch simultaneously internationally. But not that we create here in America and and you know turn on everywhere else at the same time it's we create -- format and we create. And and then go out fine international partners who want to create their own version of that show that is tied into the into the mythology. And is and is that is a part. The shows that kind of like. The kind of an ultimate -- media global fiction idea that. You know there's that there's that I want to control it. Yet it and and that I think is a serious question because but but nick and and that McNamee and distinction. And that's it is it's creating a if it's if I'm taking my experience from. It in creating. Properties and creating gaps in the -- it in the property where that people can express themselves where that -- you know there's there's areas where people and it can express itself that. Can can. -- part of the mythology without you know altering its significantly so it it's something that's designed to allow everybody to be creative and the participated. In the experience on on a global level. And it's something it's only possible now. Because of this success of the international. They have -- success of these shows international money and obviously the Internet and trans -- story telling is. Incredibly important and with this property that I am working on any new. AAA franchise. Media property. Trans in the history telling have to be built into the DNA your property has the organic to the property you have to be you have to think about it from that from the very beginning or find a way to incorporate it says that you can. You can reach your audience you can generate revenue -- in an organic way -- and continue to make your show and -- in the future so this. This international thing it's just you know very exciting -- and it's all about that -- market."

" I have an international. Incident. But the in 2000. Two starlet was approached the hell to create this story content around the 35 anniversary hot wheels cars. For their website. We waited in it and say you know. We can started on the web and extended until we create little -- comics. Toys so -- pack again. We could do it there and just imagine. We -- then jumped the story lines it was theories. Videos. You guys relationship with. Mainframe entertainment. -- videos so work. And and then. Oh ringgit in the way you -- Created TV series so -- Relatively inexpensive. It's in my shop went for me I was and decides to run home Wharton and they approved and -- to do it immediately. So -- right way. Story line. Around wheels cars in the very first narrative. These sports spectacular it's 800 million dollar a year franchise were now. And we started writing these comics in the comics in the stores this was June. 1 wave of content to be in stores around the plant. In November in time for the Christmas rights issue. This yet so we're writing race around the world that takes place both are around planet earth. And in this alternate dimension. Occasionally the cars pull in and speed miles high move to -- and things like that. And so -- and so we were just putting landmarks. In there happens and giving Mattel heart attacks because. Are we were in. Rio de Janeiro here near the statue of Christ. To get there first and so now now now. Why. You why it's an established landmark. Well yes but. Our our our products are settled in India in Saudi Arabia you cannot pass through Christ in -- And so we seen that. But we Drew the line. Was was that Mattel said. No women in this story line. That there are 36 cars in this in this race. And there there is a peripheral cast of ten characters not a single female. Is is in here. Why well our our our consumer base. Doesn't want girls in in there and -- entertainment. And we said."

" Now why. Really why because that's just not. That's. And that and the bottom line is we heard this through back channels -- well. This product it's nestled in nations where we don't lose don't exist. This. You know what. I'm star runner so this -- and then then work here. -- videos."

" What happens. It's a punchline he did anyway. They're out there I don't know if we almost lost eight million dollar account. And and we we called mainframe entertainment and said what do you think about this and they said we -- that this rule exists and I said yes it does and they said. Note and we. We became solidarity. And we went -- in the chicks. That progress this was."

" Well right. The yeah I highly recommend. And if you think about. I'm probably getting all trouble sorry Mattel. 88 that he excitable. I don't know cloning. From New York. That the girl. The girl gets they said the -- to get in trouble rescued by the gods and -- And so you know we we scripted she she's surrounded by law. Our cars. And she goes afterwards and he snapped up. And -- rescue her and she solves that made problems. With mathematics in all sorts. You know -- Now with cooking now. You know it's. Those from the Middle Eastern countries that the children of Saudi princes are watching. Hot -- world race hundreds of times."

" Click here as example of something like that is obviously we have now. Here on -- Japanese character and his Japanese friend and there are huge part of the challenge on the badgers and they speak in Japanese."

" So."

" And -- so -- in Japan in and there are clearly these are Japanese people actor who plays and goes Korean."

" How to act and play the Japanese market that -- Japanese Japanese it is. You know Japanese partners Pacific. Language credit. Language and it and it's."

" And I guess it's enough for me they're talking. Attacks as if it eclectic. Music there's. There's it as a."

" What we know Japanese. Russia. But the speech."

" Yeah. There."

" There are certain things that you know culturally might have been a problem in transit and translate in taking the show the Japanese market that's. This war you know how it huge success. And men sit queasy success in Japan. And there have been so many meetings installment in much you know shrine in you know conversations about this thing you know what was going to work and so little is going to work because it was time for -- very clear on desperate place and it was done great Spirit and not likely connected connect with people around the world. It's you have you have to stand happen and deal with -- as -- things that are down your question. Just related to the topic that just came up about taking a social standards and dealing with -- minority."

" And improving diversity. Just last month Ellington this act national scene American summit. The American -- national summit and was part of the performers disabilities committee and them trying to get people -- facial differences. Incorporate into more media opportunities be it commercials TV film anything. Brain I reckon Thompson and the facial precedents so I see people at featuring amputations from burns. So the last Monday's hitter -- the heroes episode that just aired I was really -- the president. Hebron -- on there is an excellent. It was an offensive -- was it was it was fine. But. There's actually a Marvel Comics. Donation to the Phoenix society for burns drivers -- they need an adolescent boy comic book. That we used as this glory entry tool to tell their kids about what it's like to have a burn injury and what it's like to be different. And -- it's the largest minority but it has the least representation in Hollywood there's you know fifty for a million Americans in the country with a disability. And that's 20% of our population but -- you know the smallest are present in. In -- Hollywood so. I guess it's going to say oh really love to see character with a disability."

" Really it is up and that nothing director that I use for years and I know he's worked with April Lester the threats she has always. Brought -- keep disabled people. Though."

" Even in my one of my early show and I had -- the main characters in a wheelchair but he wasn't disabled. Actor if there is problems for the drivers you get right -- easier work -- thousand dollars a year it's the same thing as when you its its visitors so if you want to cast a native American and you always want to. Really an American. So that ten people commit and they are all."

" Right so we had some guys coming I have used real disabled people -- that you have to get the ones that are really good actors."

" That's the bottom line yet."

" I absolutely he's the guy in three episodes of one show who was genuinely. Disabled wheelchair but is because he nailed it. And he was better than anybody else and we will also put somebody in a wheelchair who wasn't in a wheelchair script but that was real I have to credit casting directors and case. The issue was always pushing to bring in disabled actors and that with a -- When you know."

" When -- crane created heroes he wanted to create -- that that showed him in the world that he saw the world thinking -- incorporated. You know everybody you know every kind of ethnicity -- person whether you know whoever they -- you want. Corporate and then -- there. You know we were allotted for happening you know many you know ethnic characters not on our show it. It and opened in the right words now probably not but. You know an American you know characters we had you know. Asian characters and you know we happen and what would be term you know mixed relationship. -- how many two era it was great it was very noticeable it was it was it was sick it was significant for television. And you know what -- we found was that. Obviously people up and respond well that's that. But in terms of being. Locked by the form. In to a specific group of ensemble characters that something that that I don't know if that people here watching nearest to you but we've been trying to entries sneakers and -- it's been very count for us. It's the ice that's -- attachment pictures -- no -- So it's difficult for us keep bringing -- different -- different characters into like you know someone that's you know -- Burn victim or Bernie she's or burgers at. Phenomenal character for something like yours to be able to tell stories that that character it is awesome. It's a matter having space you know with -- unit. That's one of the reasons why we created this in an option here as a -- or an anthology show. That that told stories that did not involved here as characters that were part of the same universe and you know through transit connections would be -- connected. But would allow us to creatively explore other stories in the house for other people's -- it but you have someone who was in a wheelchair to develop -- or we can go. You know -- at an aborigine you know tell tell a story or go to France and go around the world -- tell stories that these different to protect you -- Killed. It's been three hours on it I got the phone call was it so it. -- luckily I had spent that much time on that great day we got a lot of people who you know we had Eli -- and that is net and on these you know it and certainly his idea that he was doing or was. Phenomenon hopefully a strike it'll kick off again because they think it'll help. In the original vision of the show was -- very humanistic idea about. People around the world ordinary people coming to get to know each other coming together fining yet. That connection that and and working together to do nothing lessons in the world and he's very into that idea. And that that hopeful message and when -- on you know -- you know with this -- only you know with an ensemble. It can take you in directions that are expert market rate the way forums. Something like origin of the great opportunity for us some other ancestors. That one of them."

" Okay there's a question that's been hovering on the board for good chunk of the time which basically asked. However stressed it is storytelling get impacted by media consolidation. Make it easier to make it harder if given the it was sort of limited ownership."

" Should make it easier I think it does. -- sure because you would think that they would see that there's always ready to talk ignited dollars. So if you can -- all the revenue -- you think actually I left electronic arts to do to try to set this kind of stuff. And what you ran into. If the movie division could care all less about TV. They hate consumer products and he really don't care about comics let's they're going to let it get first rights that Apatow movie -- don't care about gone anyway. Everybody's protecting their own. Little piece of the pie more than -- protecting their content they're protecting their own careers is the culture of Hollywood right. And it's. I think it's going to happen but it's going to happen the opposite way it's not with the media committee it it can happen independently I think there was a question that things that we are given. About. Are some of the -- media -- is going to come from an outside the core I think it always adds I think it's even more important namely have to give them more tools. I was. I worked on a video game called the sand that was when the original team. And what I learned from that game. -- give the users the tools he would use the tools and I'll do your job for. And and that game they did our job for me just say it's like it's like we're all talking about you set the stage. And you let the players -- it's a lot more like. I was going to ask what you guys about when you approach these projects it's like in the game space. Instead of approaching it like I organist seat where it in the right department everything had to start from cared. Okay are actually believe and that necessarily but that's what they teach our core they're all pretty old school there. And then in the new media -- getting at is we have to build worlds that's -- and that's -- this point is that when I look at these spaces. We have to look at. Is that a place I wanna go nonstarter talk a little more games were getting away from TV movie let's play --"

" But it has the greatest you're absolutely right there's so -- at I'd want to go back to say that that thing about. About the corporate. At about dealing with the that trans median and does this this you know corporate convergence make it easier and it and it it."

" That the rhetoric that -- is absolutely correct you know the rhetoric that all uses that. You know these companies are had been pursuing. Specific type of model for very long time and they have been. In the way that you know London was kind of built on top of -- itself. If there's a massive infrastructure with within these companies at at and."

" When you think about these companies you can't just think about it like. It's a company and it has one idea. One vision and -- you know in my experience the companies that I worked for me company that is not the case at all."

" They're bigger multiple departments very different department it separate departments that could be doing the same thing."

" And maybe they haven't even met each other. And maybe they've never talk to each other and maybe they don't know that there's an asset in that department that could help me and there's a there's no."

" There there."

" Potentially some of these companies might have a lack of synergy with within their organizations and -- and that can be incredibly frustrating to people who are trying to be creative and try to be innovative within within these spaces and that's something that. We're seeing now a sea change within these companies that there understanding that -- media and synergy is a very real thing in his very necessary if they're going to exploit these space is properly."

" I would say -- Chronicles it. Disney does that rate partner and although these -- caught franchise management -- me but. There. Every. Aspect of the company and our company gets together right now at least on a monthly to biweekly basis gore everything. From. Video games that are being developed and consumer products that are being developed other possible spinoff. The CS Lewis's status. Very involved and what Kenny and can't be done which is probably a good thing as we can't. There are limitations how much you and exploited but we are is. As long as we are being respectful of the property we're looking at alive experience. To roll out with premiere of friends cast."

" And and I think I think they understand it absolutely -- it is cultural ones did Disney as candidate in many ways network them are numbered years --"

" Great experience and that's one people who work there and you know one of it. Disease --"

" And and they really candidate but fighters on there has been has been spectacular and you know hopefully within that infrastructure there's a way to connect with people. At the executive level with the creators on the ship on the on the content level. Not something that is that's -- that's it right -- wreaking massive disconnect for a base -- there always divisions in these companies that are meeting with each other. And talking about well this isn't aliens who make this thing it will added oh we can have this great this partner this you know Texaco whatever it would be."

" And there's no connection to the people who actually will be making that contact the girl L connection the content itself because at all and and it's."

" It's. -- in my personal experiences maybe it hasn't been a disaster maybe it -- it's worked out pretty well on the people and you see it that have been awesome and it's been it's challenging for them isn't as there's a."

" Difference in what's really interesting music heroes the case of here in the case. They they came and talked about the same sentence in my -- like I would Eric potter right they have a built in brand. It's a built -- franchise its pre established seven books they go to going to keep going. Everybody's Carolina. Okay everybody in line up again no problem parts of the Caribbean everybody in line. Because they edit it I understand he's content or else. It's already there revenue there's dollars we're gonna do it but when you're talking what's interesting to me is doing it. It's only me some variation potter -- that we take something original. From zero liked him and you did those guys. And yet I guess. Riley was behind him early peak time because you've -- major promotion I was watching promotion for here I think there's more money on advertising and -- And an analyst that was easy for me to see and -- what's going on over there actually it made me turn me off a little bit that's why discovered on dvd because I just. I was and about hard sell little bit it was. I don't like -- that anything can be campaign lost was very heavy hand and you know -- out there Oliver but there campaign -- ones it was morality. But starting these things -- zero and getting the corporation. And rally them around my god I mean its its its its gigantic."

" you have a kind of response as usual the the what's happening now with the producers guild is that they're getting together and defining. The need the notion of -- media and -- media producers. A lot of what it is that they're they're trying to do is based on I guess their observations of some of what we're doing. At star -- week what what happens is some of these huge corporations are are silos and they don't talk to each other and it's very very difficult to get this sort of thing going. Even in the case like pirates of the Caribbean. Fantastic you have a Trojan there. But don't you want in every green franchise don't you want to take that universe and make it Star Wars of the people want to keep visiting -- long after the third third thing the only way to do that. Is two is to fabricate. And persist with the trans media experience. That that goes on and on and and one of the things that we do well. The fun stuff that star -- does is is that we mapped out these -- media story lines and and these roll outs and -- create strategies behind how the story jumps from one medium to the next and how it. Is orchestrated and works of the peace and and conveys the vision of the the creators. The other thing that we do that sort of the secret sauce is because we are third party. A sort of a commando unit. That is granted. A little bit of a cart launched by the powers that be. -- a kind of kicked down doors in all of these different divisions and say hey. What are you guys working on let's make sure that it is a piece of a peace with this universe. So that Jack sparrow doesn't jump into what time machine and start shooting people with laser guns. It's it allows us to two Hughes using huge amount of diplomacy. And and huge amounts of coordination to essentially become the shepherd the clearing house. For the intellectual property. And and and so this planned. That that's kind of the first phase of trends media production. Can be implemented because a task force has been assembled from. Multiple divisions that actually does have power to to implement this. Are about what about the brand management in a situation like that I can't imagine turning it over to a third party. It if it happens really. It's -- we're we're working with the brand managers and and and they love us because they're struggling. The next Narnia picture and and and and weasels happens thing and and so you know it's it's all happening -- them so so to have somebody who's actually doing the legwork. From New York calling all these offices in Burbank. And coordinating this and and helping to implement it is is actually helpful. But this by the way could not happen unless. There were very specific powers that be visionaries by and large. Who say I want that. I want that for my property and and you've got to pay for and you've got to to let these guys implement it. Because they are representing my voice so if it's it's Jim Cameron. If it's Bob Iger Oren Aviv that at Disney. If it's. If it's a new hot shot in brand management that Coca-Cola who says you know what we're going to do this. Then. You know we we've we're getting our our leg up in there. What I'm hoping is that. Symposiums like this and and the continued communication of this methodology. Will get other people to open their eyes and and get people to play well together and and so what I think New York friends media team I think it's actually called."

" Now let's yeah we have our -- we have kind of -- media department on here -- and mark Forsythe is in the audience you know who was it innovators with -- me -- township of Smallville we brought in the war heroes that. Two tell us do all that this kind of stuff bent and and you and that idea about finding individuals within these companies you do get it. And you are places their career where they want to attach to this property and they can be young so that there may be there you know. They're open to to risk. You know that there it is risky it's his it's very risky and especially in watching TV show we -- how quickly TV shows you know failed so."

" Who at this company's going to attached to a super hero show on broadcast and and that you find there. We found some amazing people and the woman named John spratt who -- it it was and marketing I think it at the time she was incredibly supportive."

" You know -- of doing these kinds of things and she found money pressed to create a website. Where we did at after comic cots that we could send fans to to a website that all came out of you know her willingness to commit to our vision even though was something that was not part of their culture at all. And it's matter and you know over the course -- here as we found those people within the organization of an apartment together. In a very task force that's that situation but for these companies."

" flourishing in this case and for them to be able to take these Transmeta concepts and lay them onto other properties they need to create."

" Trans -- are -- to create."

" It's an iteration on the brand manager might be."

" And someone who can really overseas properties and connect the different divisions with each other and let people know what they're working on it connect with the traitors and incorporate them and all the opportunities that are available to them."

" You guys -- symmetric. You got to show revenue because the real here's where the way it feels to me right now is that it's hot it's sexy this from the executive point not our."

" It's hot sexy gotta have it right and that's going."

" Priest at some point there did that guys like him are going to go. Well wait a minute we just spent 300 grand. On the last three months and -- here are saying what are the metrics that show me that I mean a bringing more audience bringing more advertising bring us up so maybe I'm wrong guys chime in on this."

" It's it's actually better but right now it's kind of like we can do this it's cool and even now. It's saying whatever metrics you know if you're fortunate and eight mattress his bit eight bit sound metrics and and sell advertising and they can they need to create."

" Transmeta is are being -- It's iteration on the brand manager might be. And someone who can really overseas properties and connect the different divisions with each other let people know what they're working on it connect with the traitors and corporate and then all the opportunities -- available to you guys ever to symmetric. You have to show revenue because the real here's where the way it feels to me right now is that it's hot it's exodus from the executive point not our -- It's hot sexy got a -- right and that's going. Priest at some point there -- that guys like hammer gonna go. Well wait a minute we just spent 300 grand."

" On the last three months -- as -- what are the metrics that show me that I mean -- bringing more audience scream or advertising bring us up so. Maybe I'm wrong guys chime in -- it's actually Laettner that right now it's kind of like we can do this it's cool and even now. It's saying whatever metrics you know if you're fortunate -- his bit eight bit sound metrics and you can sell advertising and making fun."

" A -- department includes companies don't our money right unless there's money rats -- that you'll never get but they're not going to do it because it's cool we think it's cool. Exactly that you know the president very small ways you know created division investigates digital opportunities but it's able to do anything. And it's when they start in money. You know that they found -- that they battling it. I think absolutely there and -- here in terms -- that that is a."

" A fiction. -- in and and the advertising -- possibility there when you deal with. Procter & Gamble or fortune 500 company wants to do that. That is not a Hollywood studio it's -- little trickier because yeah you can plug your own product within within this stuff but. But you can't sell advertising to potential rival and so what's of the need to the other metrics as well in addition to Intel that you can sell advertising. -- he started looking at virtual world stuff. Sure yes we have a -- there in building right here Tutsis to finish that thought though the there is a division at United talent agency. -- on line and so what they represent us and there actually. Right now starting to build. The kind metrics that -- you're talking about. He use to help so Lawson and outsells other -- That TO -- media. Production so."

" That's insanity great point -- CIA starting -- thing as well and I see him Masson really smart people too that's primary present the plan. And are they would not be doing that if there wasn't money there so clearly they know that they can get get. Get paid and that's phase and you know so."

" I've lived through a lot of these targeted it paid. For the traditional thought a lot is you know that's not -- that. People are certain an enemy. But it's it's certainly willing to let -- was not I'm certain that that that others are there on your show. Write your shows very special."

" I don't I think I don't know about that -- it is it isn't really you know there there are are you know any brand can keep. Probably almost any brand can find a way to incorporate transcends for a chance you know. That it. You know any successful property or -- has it has an audience that loves that that Brandon will want to find you and freeways and practices. And it and it they're doing that in the states that is controlled by the you know I buy company there's absolutely aware that there month that's."

" So I hate and opera to great exchange but I wanted to get a couple of questions from the Florida there. So one that's been moving its way out fairly steadily -- so far only officially produced. Trans media experiences have been discussed this fan generated -- media content with euros or other media. Objects in the equation. -- these efforts supporters suppressed one that's just drop down from that. Asked about legal and labor. Barriers that might in ball and procreation -- co authorship of the organs. Sounded too good to address those questions together."

" I mean -- in the sense that out. Well anecdote to anecdote I did -- show called sentinel it. But 1990. And it was designed for eighteen to 39 year old guys and we created this fan base we -- created they create a fan base 100% women on here. And I didn't know -- and conventions all the sudden I still get emails from become friendly with them which had reunions. And it's. You know hundreds or some kind of the biggest like 1500 winners and now they write fiction right right -- victory fan fiction. On. I did work with him back Didier -- pointed me if you directions and I'm looking in my stuff on my own showed -- I think this whole conversation goes back to that first question about the hardcore. Because we're talking about this is the hard -- if people are going to create content because they love it that's pretty hardcore right now. Back to my since example given the tools and they do it I think there's a lot of potential a lot of power and I taught they'll talk to my friends you all the time and they're talking a lot about. Empowering users they're still talking a lot about that so. Because it's we don't have to make it right there's always talented people out there don't have access to the tools we have. And we given the tools and it makes up now Heidi organized that -- you make it add value to your show those are challenges -- idea meaning of the things that talk."

" It looks the success of second life line which basically is. Give people tools to build. And it's become very successful that absolutely is now on the sense that -- and kinda figure out ways to get people to play with -- with with. The brands that I work on in the way that I used to creatively play with things like Star Wars and think about it and and they'll land stores -- We're very you know as as Ferris was saying earlier on the other panel."

" You know he's talking about find gaps it in the pocket in that and the content where people can can play it and not some man not."

" You know very you know think about I think about a lot and."

" And it and even and there's a heart or people who will create stuff and that's awesome but I think there are ways you can. Reach out to a broad audiences find ways that they can interact with your with your product and you know one thing that we're doing it. Came out of our relationship was spread donors for integration that that we did ten bring had a great idea about. You know is there -- way that that people could create their own characters."

" So we creative bears no mark or shy you know reiterated on the safety and created a very beautiful interface that."

" In in very basic way allows fans to pick. You know we'll ask anybody to pick. You know to create a character based on their location based on their power based on you know what type of person there are what type of thing and it's kind of like hit a game."

" And it it allows them to. Did participate creatively and it very kind of casual games style and an important way as well they're game. Yes mark -- built a way that he's not really. He seems like -- to me. I think he went it's not smart -- of that -- is it. He created a way that it that the characters will compete and -- and a way that that that based on. -- number it's that certain character -- is getting it and they'll kind of -- their way all the way to the end of the fighting -- fight against other notes is flipping over tiles to select you know -- art and you can plant very easily it's like treating -- it very easily on here on yourself on. After it out -- tape. You know probably. You know the one character that -- may be you know --"

" It -- that out."

" Anything that mobile yes. It's. But it also weapons."

" and Edwards. It is just lost it and it and you."

" We hope that we'll be okay -- are you -- so."

" It's -- yeah I sent him."

" Now how much how much you know money that they want more money that's it yeah. After actress says yes and just to. Just keep going on this is great idea is that so these people can you know with their phone can build these characters that can then be you know weapons that series right. And for me that has to be we have to find a way to make backhand. You know we have to find a way to give back character behind you so that they and that character can jump on them to the main series or maybe on the origins and find a way that there's value to the creation of that character and."

" And that let me let me tell you what my vision is for the future and its name. Hey we want at various. Things. Cars raced around the world that it -- it -- it. More -- I don't think. Yeah -- the liberal. Media. -- when I was a dungeon master. A grand dungeon master."

" And I was playing. You know 510 sometimes fifteen people were sitting around the state. I was creating world universe in which when it was done just right in the pizza and beer was set aside in the world look at me. I was looking back at them. There was a spark of match. Work in this world and I. As a storyteller. Was validating and celebrating. Your participation. In this world I was I was building something that raised -- In this world and then challenging you so that you can overcome that and again he raced out. That was so intense that was so -- those those nights. I want that. For an actual and C universe that is implemented across multiple media platforms I want you to. To be outdated and celebrated for being apart. And it. Of the universe proper for bird in your own small and subtle -- and I don't mean one dude who happens to win in web so. Or get a cameo in a sudden he's there he's not judging the president that's right. I think that's step toward yet here you guys do it. And then. God bless but but at some point. This is in the schools that we're trying to build. At my place. That that you will eventually comic character in -- world. And depending on your level of participation. Your level of loyalty your level of cleverness. And other people were participating feel about you. You'll move closer and closer to the center of the action. And and that's that's the kind of fictional world and I think he's going to start with Britain. In the future that's -- we're talking about a game it. We -- talking about it -- experience when universe that is not a game that is living reading operating."

" Got action well there but you're gonna have. Yeah -- game design look at you're damn right so that so. You can't have. This is very interesting that were in the same thing we have to have rules that and it is absolutely -- this is not it's not and nobody thought would not virtual reality and and it's we're okay. That's why make that clear view that's just a walking simulator it's and it's so dependent on line. Typical community issues you know going right."

" No you're you're supposed to -- who lives on best then I love it I love that not a lot of vocal can stay there oracle and gradually work their way to go part of the -- and he moved."

" And -- yet and that's -- and I you know and I and night as well as all things that we know eventually."

" And real challenges that is something that we experience in the base here at its creative collaboration."

" And yes something with the you know to interact and it for me that's. -- the perfect analogy for the way and we you know made lassie lassie here we elaborately. All came into every week we come into the room we all using it that's senate rules -- story. We all collaborate on that -- that story and and -- answer last season it would match after match."

" And part -- straight away from that that process and looked at something that was more. Structural."

" And more traditional. Model be created something that was more traditional models we've learned tremendous lessons from a from that. The complexity. Getting -- working with creative people collaborating on her. It's you are challenging with ten people and the acting assistant pastor. -- a dungeon master."

" It's kind of -- right and what that and what would that look like within within that space you know that's something to think about."

" Is it really important process in -- In film director right and TV there's executive producer writer writer strike -- director right now. In game there's this thick egalitarian thing we sit around. And you have a great idea you -- the hybrid integrated yet you know we go. His next great idea and there's nobody there it is okay let's build on that and it's this weird thing in so. All I'm saying is that you need a came after repeated director in a court visionary Arthur how many guys -- have he needs somebody who's gonna say yes let's do that it's not that he's talented people you either going to be gone."

" That's that's actually -- and and and building on that there -- lessons from a game industry that we take in you know he's not here as a talk that's on this -- of the last few days is that. Yeah that that team approach to creating something. You know that. A single creative thing you know we. Functioning as a group we do what I like to like -- rapid product -- worked very quickly we create something that is kind of potentially low arrest but -- we. We can get you know story broke and a couple days a script written a couple of days to the world working its unified team and then we look at -- and we see what's working what's not. And that allows us to stay ahead of the -- occurred and -- on this thing you also have multiple characters running multiple threats so he can write once read I can write a thread he can write -- again. My shows were always. Two guys -- one guy and it's like one guy with every scenes that really that's can't really work. Questions --"

" Objectives is to build on yours your vision of the future -- there around your your done table. I think it. I looked at its former TV their missiles appreciate that and I understand what you're getting but we think about. Mean TNG is he my -- medium it's face to face it is about a small community. Existing in the seen time and place. And we're talking about -- media a across the world maybe -- synchronous. Me you know things that are not about these tiny communities word you mean. So -- that and I think that this is huge gap there and trying to understand how you can now justify. That I'll I'll -- in college. And it because they plan. Yes no and I I was thinking about I think and memos to come close that some degree but. One of the problems of the memos is it unless you played them for eight to ten hours a day you're never gonna get close to that center so. You can't you know there's the question of being able to. Reach one you know what that spark for a wide range of types of engagement and places continent. In platforms and time and space is really gets me immediate challenge I don't see. It's it's."

" It's actually. Slightly different my problem with them memos it is that. Is that you can try real hard. And it will take you hours and days and months seem to get anywhere near. And I think sometimes even any kind of validation there are people wander around them the back alleys of those are memos and people don't even talk to. With the kind of a technology that's being developed mobile and everything. The personal -- station mechanisms. Will almost immediately start validating. You're your investigation -- that is patient in this world. And I'm not necessarily talking about a true game experience I'm talking about and aunts and experience. If you want to play the game you'll go into the memo of that universe is that that are it -- I'm talking about. Be being able to. To dabble in and participate and and then more you do that the more that you can you're threatening to contribute cash. And and and that's that's really yet so there is a distinction between what I'm talking about and true private gaming."

" But it's it's -- neat thing going on securely to and it's in line people. I've been working mania. And consulting theme park. For Dubai okay and what they got money you know. So what it is and I can't you know delighted Diego and talk and -- talk about -- from. Not to -- school right to buy like what eight. I work. By fine so. Here's the interesting thing so few moderate honestly say some high level things that might spark that I can't Altman. But if you wear something on your body. And it holds all the data relating to you an experience -- persistent. This is -- persistent one like favorite word games and -- if it I loved the game and efforts and so I really want to tell you guys about -- they have some major licenses and -- design and attraction. Is expendable. In one attraction -- what attracted to be -- place but it's basically be a character. And it -- technologies is motion capture he uses."

" All reflective surfaces. Camps I'm not going to going to if you heavily on my design. There but it's it's the right is really it's really cool and right now other technology people trying to get engineering go. On this thing but the basic concept is if you could take at theme park physical space. And everybody can be do you mind you could have. A sort of live action and a mom I'm not talking about people cost. I can't talk. But I'm really really really really excited about this and I had more on working on this. In May be anything in twenty years I went HI mean it couldn't get up the computer yet."

" That's that difficult situation. There. I don't know like now. Getting out of a difficult situation have a -- A kind of -- difficult question -- I'm approaching this sort of question between fantasy and actuality. From a perspective somebody who's been working in mobile and real spaces. And in in my productions run against the question mystery. In actuality and you do history and deal with history. And when it became very interested in our production houses like participant productions that did an inconvenient truth but then go on the road. And proselytize and really try to build carbon calculators and all these sort of real world. Impact of -- is right on their media property. And -- I'm wondering about it because like here tinged in some of the discussions here. Especially about the CS Lewis properties is some sort of interest in in issues and real world involvement. And that in the mind there's some. Aspect of fantasy it's an escape from that. And so I'm wondering in this discussion -- media we can start expanding it towards. Trance -- not just across different media platforms. But from fantasy into. Into real real world issues and real world involvement. Not just around playing game and maybe some of these. Crises in the world that are going around it that that circulates them here."

" Listen. Coming from my personal background. And overcoming. A lot of the obstacles I face -- in order to. -- speak at MIT which was beyond. My imagination. I had some hard knocks and learn some lessons. These are messages. That's that I think about I think about the kids are left behind. My peers when when we're young in the incidence of teenage years. Who didn't make the choices that I made and and wound up in in dark areas. I'm trying to everything Niger is is talking. Back to that. And reminding me. So so there isn't a social message and in what I do. And and I look for a message in the in the world's in the universe is that I create if there is no message. This whole thing is going to fall flat I don't care how many millions of dollars you you've put in it and we've seen. Mega bomb movies where where the themes and messages were not well well developed. It's it's it's a requirement. Word for there to be. Some kind of message and that's what Narnia gotten that's what heroes got and and they are resonating. With with society today and that's what's helping to make them successful so you can I think absolutely. That that. This can you can be made more so well more more more powerful more moreover. But not to the point where it becomes didactic or else -- turn people -- its its alliances to walk."

" And tip in -- friends created here in Britain from as it sat in her care place does -- about trying to make them. Frank -- hopeful story. And it and with the success of the show and the way he's seen you know. The way he has seen a fan community build around and media property and the support and love and that that that community has. Pat has shown organ and the power. He really believes that the success of Europe is based on ethnic community that that that gathered around the property starring -- on built positive Basra he attributes that the success of the don't want to the show that community. So he. Has come up with and you know incredible concept that you know he's he's spoken with about that's at some level so -- my -- discover. He that. He he wants to find a way to use heroes to users as a -- brand as a way to. Be more of a positive force for good in the real world it to be a way that you can bring community gather. You know start starting with that fan base -- hear us. And bringing -- together and finding out what they care about and helping them find ways to effect positive social change in the world and that in the way you know very forward thinking companies like participant. Have shown to be positive and effective in doable. And it's something that. Yet him and I've been working on we've been talking to a lot of really excited people about about these kinds of things on the net from MIT some of them you know in the Silicon Valley and everybody's been excited about this and we're trying to find a way to use. To use entertainment. And to use it very successful pop culture brand act as a way to. Not didactic way which is the huge challenge about it stick to it. It showed people how how they can affect change how they can be positive. And make change in the world and potentially. I don't want to I'm just he's -- what we want to help people understand the power of things like philanthropy the power of being socially aware of the power that an individual can even an individual can have worker and -- can happen come together. There's tremendous. That. I set eyes and they were fixing this fantastic things on the net that. That are very exciting there's an ad campaign of invisible children and I don't know if you guys are aware and I would I would consider invisible children trans -- media property I think it and it's based around. Grassroots high school fundraising or schools in Ethiopia. Spot finding ways that kids around America and -- around the world can come together and find each other and work to help. And effect but you know a very real world. Situation. And I encourage everyone to check it out that their their interfaces are elegant the way they use the tools that. You know what I call web two point though the way that they use podcasting and and they use kind of real time. Aggregation of metrics or something which might not be the right term is something that that everybody -- should check out it and it's it's you know. That that I think is a very expects it exciting think of things began --"

" And that's what I Love Boat working well me and -- right now. With almost every one of our -- we try to find some social costs to get out of films opening this weekend mr. gore and wondered Korean. We set a goal park and the toys for tots to raise 12000. Hounds and -- in one week intended and cities and Guinness is going to certify that as a record ended up raising 28000. And so that was fantastic and whether people move they were. It was or marketing a movie or it didn't matter because of the candidate we -- a lot of toys for it and each district is a fine."

" Users thematic -- to doing doing we were Tim and I are put together with Nicholas paper on it obviously. You guys don't know I -- about one laptop. You know we -- to chat about it and it and it and one laptop is very. Dramatically tied -- to hear us. It's that it's a way it's a way of empowerment it's a way that individuals can connect around the world. And it it you know change their individual lives and it can work together. So here as is attached to one laptop and and and you know mossy -- is one of the stars of our show it is a spokesperson now for one laptop. And it and it's it's thematic lay on our brand and and and it and I hope that we're going to work together very well. One."

" Hi mark Davis Cup you're throwing now. So I wanna challenge you guys really think about what it would mean perhaps just in an extent in the universe this world through me. When a group LA I want to be on the Richard prosper dancing Bugs Bunny planet in arms. So ten years ago we actually -- technologies work automatically put people that yes and research. And and on the web if you look there's video of me in the T. It as a team 1000 reference thriller which is automatically made. That was possible because we basically Briscoe. And basically -- and elements. So as -- us. Are you going to be willing. To open up your content to take. All the characters on -- green and do you. Fifty eclipse each that are green screen. Backgrounds and put them out on the west of the defenseman Stan Leonard universe. Or we're Narnia. Since seriously because now finally at that point and you my job we have web based editors -- anyone in the world can go out and movies that. Let's the ability take it and really no way to laugh and participation readily in the creek where --"

" We need to do any of that inquires within a year or so they're going to be able to do that themselves that -- to rip apart every episode of -- stick themselves there. And do whatever they want to look at those -- shorts yet but it's -- that the network actually. Screens areas is not for."

" And it and I would just just to jump it you know I'd say it. I would say. And now let's say first I'll say no I thought."

" I think that we're not going to keep you are or characters but we're absolutely going to create new characters may be some -- or characters and let you -- with them and what do whatever you want to do with them. And and have fun with them and explore the space and be creative creative within that space but there is absolutely need especially with the mass market brought you know."

" Rob -- brought property like heroes -- to protect the core base is that base is. You know that if it is the mass audience that's watching match on a weekly basis and we also want to protect -- for everybody. Want to make sure that that that the brand can can remain consistent for that that brought experience and for the fan experience and we out but we do you want to acknowledge. The fans and people who want to exploit the property it in new and exciting way itself personally yes you know as well."

" Is where where -- I think. Friends of the company -- stop arm productions based on the Chicago and they have a property called Edgar Allen which was launched in books and -- promotion target. And they just launched an animated series that tunes. And I think two minutes of every episode is and generated. Com. Where through their website and kids writing in saying we would like to see this date. They take that well that that it really. It really depends who it's for. I think so it's like I developed a project on it it went sideways became something else."

" It was originally going to be TV series where it to me care actors -- by humane care and -- care actors. We're going to run -- package so to speak. That people renews your equipment interactivity but I was going to be able to. Use production dollars just keeps splitting those guys up shooting all the stuff and set -- farming all without having like two writers on that work on the -- sites that. Now when you're talking about is now let people. -- it you know at that a lot of that the games that create and I think. That's cool but it as long as its unofficial you know I mean it's like that's a fan base that the official stuff always had the hologram steal lines it comes rain -- it it comes from the core of the show that's fully approved but you. Open all up for people to play Enron and trade but I don't have to watch that -- Right and and that -- might show might and keep. Them like I don't have to. -- that but I want more -- around and there's no I don't blame him for the goofy. You know the goofy lousy hero thing at somebody did or are you ultimately it's he's not responsible I think as long as there's the officials. And it's really clearly marked its its all really great. And convertibles -- very -- talks a lot about layers."

" You know different like experiences and that summit to really keep in mind is because. Audiences masses and then it's not just the fans who want generate you know fan constantly you know. We're talking about and the and the conversation yesterday about and fiction fan fiction was talked about a lot they're very different specific. Niches within fan fiction so they're different ways -- that people want to experiment with the characters so. They're an absolute we can create spaces where people could officially. You know interact with you know our characters and then then certainly there would be you know unofficial ways that other people -- and exploit -- and it's just a matter trying to."

" You know come up with as many exciting creative authentic ways to keep your audience opportunity to do whatever they they want to do and yet maintain integrity here to him what you print this."

" I need to be some legal pioneering -- to make sure that that's okay because you know these corporations are very nervous about the right he. And so forth but I I think it it is going to happen."

" Because it'll happen either way right whether they controlled -- opera and it. Happening with machine -- traditionally. -- Oh yeah. I think that we just we dealt with fun I'm here -- and Markel correct me if I get any that's wrong -- I was seen stuff on -- that where those you know bits or whatever that were you know where people were words were remixing bits of the showed it to music you know. It it to whatever they wanted to and they had. I'm all Roddick relationship between a couple of the characters you may even have been related which was you know their choice they're being submitted to create a thing except that I said --"

" I want to let's encourage that lets acknowledge that it lets you know. Let's maybe do a you know drivers and outlets you'll contest will be something for comic -- will get all these people this is submit this -- and we'll take will take a look at it and."

" You know will will expose it and put it out there well. Maybe that was of you know based on yesterday's conversation -- not a good idea to -- contest but beyond that."

" Legally. You know it let that it became well if you want to do something like that we need to be able to control that remixing. That correct mark."

" Yeah we had a built we had to build it like you know or an editor on our website we had to give them specific clips that we had cleared the -- rules that hatred rules that that they can play -- and you know it was maybe not as successful as it would've been if we just set it and if you make -- ship sent us. But because of the legal constraints. The use of clips from the show. We were locked into it into anything. There. There. Appears to be. -- eight. On the -- stuff on YouTube it's it's right. May seem like. And it's had a particularly if you're caught you're dead. We have -- we did some amazing viral videos for appearances at the launch. That we worked on with some incredibly creative people and it's heated -- You know kind of handy -- style images of them are characters you know kind of learning about the power there's Germany's. Main thing. That we shot about where that -- and it was that kind of handy -- jackass style video that was shot by her best friend. And that. Her best friends talking declare."

" About you know her powers and then he gets in -- sets that you can't -- that I'm inside the car on the dash and drive straight batters he hits."

" It's flying over the card gets Texas let's all -- and and it was very kind of seamless and it was very you know real."

" And dat and it's really been out there because it has you know people look that it makes it that's terrible -- people -- driving to each other with ours what are those costs. They cost -- a lot of money -- significant -- my audience and and that's the thing is you'll find people."

" With an NBC initially different layers of it it was -- agency. Here one of the different NBC departments who were very excited that screen that the on. And were willing to put resources behind it willing to to do it and they may -- incredible things. And they took up the food chain to that."

" the highest levels of the company and they look -- look at that no (%expletive) way are we putting that out there."

" Is what will it take to move the industry passed the notion that -- media is still essentially clever way to advertise products or content. And retreating -- media content as it's -- viable product. And a little wonder about is what are your predictions for the kinds of -- media experiences were going to see in the next few years. I -- me eighteen points have gotten so far."

" Let me just the second part of that there's one there's one property wanted to bring up here is I'm working there now and everybody's talking about. Side by fancy and high school musical. Is a ridiculous -- media property and he and it's not swords and it's not guns and it's not. It's not a traditional geek out stuff maybe it's a different geek you know I don't know maybe it's the ten to fourteen year old girls but. It's so big and so pervasive and so much stuff I just had to put that one out there has always been talking about stuff that. We all have been participating in and there you got line. That the content is completely different. But it's it's it but in the same way its genre and it had its audience that is passionate. As heroes audiences. And it's made an obscene money and it's also defining. The channel absolutely and that he -- that -- that yet that was from advertising we're talking about as well as the almost anything can have a community and they'll the world community around it that's fine with -- that community terrific ways and exciting that's wasted to play with it. Clinton spends."

" That's right it's certainly on alludes to the future high school musical because. You know -- with anything new it always starts with the sex and violence. And then it evolves into or more mass culture. Thing in and that's what you're -- see. With the the -- media experience since it started with. With the Nate the matrix and and Blair witch project and and so forth in its contemporary. Version. And then is evolving into these these things that would appeal to -- Two young women and so forth and that's that's I think the the way it's going to continue going but there has to be. Things that exemplify. And that are showing the the studios and the the corporations that. It's actually generating."

" Cash revenue the other piece of the other part of the question about when it becomes like an art form just an advertisement promotional. Mike yes it's based on my experience any of games now. Is it when the executives. Went some executives in joy -- media away some of us do. Then they'll yet. Otherwise until then it's it's it's an advertising promotional until they have a user experience of how cool it is and somebody doesn't it. We felt I had the same thing with video games Hollywood it's. Big disconnect. And then they're start ended executive -- right so now the executives of this EU level or maybe five years -- they were gamers right now. Five years later -- up a little bit higher and we can start talking about the United we have talked about games might hear it but I think big games are a really. Really important -- media keys and their -- most important part for me for Mike -- in the world because that's. You in the and my whole goal my careers to get you some mean that's been -- without the child. And that's. That's why working games I look that told and -- start a look at the Linear stuff. As a support system does not -- system anymore. It going looking to the future. Because as jealousy get a lot of emotions. But but I really think it's all about. People have to understand from a from a user point of view not from but the revenue we're always -- that sixty whoever is after really understand it everything I view. Everything I do mystery -- point. I'm making -- I love the -- gains. I mean we must say ten times like this or type music you know I love Star Wars toys. You know and it's -- and I'm sure he and I. Would love to write episode of that -- our horse show. Invited media but I -- I I was just a skywalker ranch very liked the archives that is. Thickness."

" but. Another thing that I think was at I think ever being as part of that question was you know. We've been talking -- media -- coming from a very kind of corporate you know immediate case. You know. Place you know. For me. That trans media stuff that I've played with an experiment with this with was when I was an alias and I took the tour is aware of they'll debate in the on the wet and nature and neediest. On the web myself and I would argue that. The bit but no more than many you know mediums you know gains. Send -- map. With the tools that are available to people to create it in their homes and kids and you know individuals were not part of a corporate payment structure to treat it trans media story. It are all -- out. For you to be exploited and that you know. My understanding evidence that the some of the people who were involved in that you know I'll let these games and those -- but Texas air -- had gone on to create. You know their own their own air keys with -- with within the community. And I think that that. That's one of the places where we're gonna see amazing -- creative you know things -- or rate slightly version of this guy. And some the F find out more about the --"

" After world I think afterwards for yet this guy who you know created. Up property for himself that you know he got people that he knew it says. You see GM and animate you know -- narrative story and he kind of tilted online take on YouTube and and he kind of he did it. You know himself in with people that he knew and money that he can generate an and it was then purchased by the company but. The garage games version of trans media story telling and fantastic version of Transmeta storytelling you know it's going to be incredible and that's -- it. You know its army to go to other new cool things and that's going to help get this whole meet him you know. Take in more seriously and shown that how powerful it can be -- and it and that I think that that's an opportunity you have."

" This is that's the really important to me back in the -- and the other thing we haven't talked about it at all of this and generated stuff. Is a form of feedback. It's a form of the feedback loop and in the film business like and I started theater. College you know an audience that class and they can see afterwards I was greatly loved that. While you're out there making these TV shows here is buried fourteen hours a day you know what you're doing maybe half time magazine daily degrees -- like me. And what I would get and I go to the Connor get what I got the fans in my shall. They can see the forest trees that you know I mean it's like I'm making -- down yet and meet you I'm not really making it for that. Create that occurred exactly -- the network they give all the -- and so in the last. -- half of the sentinel we were absolutely influenced. By the fast and bide their desire for more than apology episodes like the Courtney -- the serialized. More relationships that in the it was fantastic because of the creator. Where to get your feedback we get these crappy focus group marketing things which -- direct. You know you can filtering yourself in the brain who is really it with teeny certain feature. They're keeping up so much money you can't change it and you can trust I don't they criticize TV -- on the Spirit being well ignored actors."

" That's the thing for -- up for your next thing right absolutely or incorporate it and and you know. Were getting fan yet we're getting responses that right color we had been about you know these characters that we created on the -- people that like -- to -- We you know we got ten more episodes and those guys so we can't we can't alter it we we can't change it so. And that are. Currently shut down didn't there -- yeah Pakistani -- at about -- but that's bad that's you know that's a whole other conversations. Incredibly important to stay here are surveillance ship as the keep to keep the narrative line to keep my feet of production that. -- answer dealing with that but dealing with fan response and getting their input is incredibly valuable and you know that's like for me coming here talking to people who actually have a time to think about. The stuff that I do -- talking about it is so helpful in shaping the way I approach it and talking to the people of the critical you know or."

" It's critical studies that I'm sorry it's media studies. People as well as fans and the parent -- talking incredibly thoughtful people as a young woman I speak with yesterday is incredibly insightful about about certain things and and taking that and let it and hopefully you know. Helping alter content in the future it's I think banner."

" Clearly on Narnia there. Guys have a thing called Narnia fans. You have got a blog yet it's you know and he wasn't he wasn't posting anything on there that. Disney or Walton didn't say you can post it was mostly a blog and take picking up things -- They had a much higher. Unique user rates really hits then that. Official events correctly because there is that two way interaction with people are actually in China welcomes. Website probably one of the few production company and we also. -- on our side. And we out of the McCain not about a month ago and the fans were not happy and Avery fury well -- I don't know much but the seekers. It's in the dark threat is. And we left and complain yes me at that point wants something you can't take it down. And out of the news story if you do that."

" Now as a lesson that you know we. In terms of building that's faces from the stands that we is you know -- that's very important and it. You know for me kind of Trace it back to Buffy and Giles please interaction with this and community and I pulled out was when we watched lots. In theory who have worked with jobs. It was a part of who have worked with Johnson was -- lots. Pat relations within that and communities that we created a website. Using some of the Buffy people on the fuselage that it was an official place official unofficial place. ABC had no money in that in you know I think it is a forum -- his pocket in the beginning. And it was away it stands -- placed in Iraq directly with the creators of the show us that it it people could -- they can go online talk to each other and and we did the same thing on heroes with this thing apartment wonders that we know and away it. It to trying to build a space where that answered on talk about it and it you know. Hopefully. Or read it filters it highlights that. Nobody and that's what image you know massive disconnect that's on the challenges it is that you stick it if your if we are doing and on our own. You know in it in a way that -- he's like -- done it would be much easier. But now that Lawrence -- it you know. And it and do you like NBC Horry or whoever they need to have control that space you know it Spain you know. They need to control who works there gets paid there and moderates as forms all those types of things so you know. Potentially in the future by ever created my own property -- might create my own space that nobody else so that it -- direct relationship."

" Two to get back to answer the the original question. Right now. I am hey my paycheck comes from the marketing division. Of these companies. What we're pushing our representation to gulf war and at what we're trying to do ourselves a little bit. Is to move that because I -- media storytelling is is this production is development is is a heart. Not much humor product you ran that you strike up. Two -- it can be extended into concern is that rights yet. But it is it it it will be an art form and it is going to be something that that emerges. From. Visionaries in and therefore it it is not. Going to be paid for with marketing dollars and and I'm a little impatient. Because I really want to jump that fence but that's what what has to happen."

" Next and it and that it's such a great point and it's been something that has been challenging press six eight exploiting heroes because. As a Star Wars fan I love all that other stuff I want my action figures and shirts I want all the stuff I want to begin I want to be cool. And I wanted to extend the story itself. You know one version you know so we met with someone in consumer products who wanted to make us you know sort of replicate your -- okay that's cool. So what point you with that that special we can take the box for that and do something it's very artful and maybe do a special comic book it's on the back of the box that well. The -- And it will show you how you know. Characters found the sword and give you history that sorts it adds value to that -- products from it -- through storytelling. And that is incredibly challenging to do in the current landscape of these companies you know with without. One specific person or department he's filtering all these types of things. It's done very piecemeal and an aunt and through force of will and personality and that's that's that things."

" Absolutely we're I'm we're creating a eight pirates of the Caribbean. Free -- Four DXD but it does mean extreme digital portal and and -- we use the the channels. That allowed for us to develop the mythology and so forth to to make. Our little story can act as if duty hours it's going to be an interactive story it's directed at -- queens. Is again -- and and Jack is in their but what I was interested in where these these are the power lords who. Are actually trying to -- neck in an interest in international and what's their story and so forth. So it Jackson there but he's not the main difference. And and hopefully that will help open obesity animated videos though it's it's it's going to be animated. The exact nature -- you know. Africa budget. But it's it's going to be cool."

" So when we talk a little bit about games as part returns in your system comics are also becoming. Increasingly sentinel well in this several of your -- involvement with comments are just wondering if you could. Talk about what comics had to the max turns media --"

" It's weird day. Comics there's a company makes at a meeting with and the other day. Called devils do you know is that okay so they're business model is. It's about building intellectual property that's all it is that so so you write for free the guy draws for free you own -- 88% of the book. And you can and marketed now though we are in and I'm I'm approaching that comic -- question because comic books to movies is like. It's stupid and I'm up on X eleven movies competently written them. I'm that obsession over it is stupid it's to the point now where. Getting in a graphic novel form. And don't like it and it's mean it's like to have a trends spot where it yet it's but it it's really are now using the comic book as an expanded in the expansion fiction. Is important to me the problem. I've gotten to videogame to movie I've got. Ten million people on the movie and sold two million -- gain an ominous -- Right so much. Penetration you -- getting that's wiping comic book work better in the opposite way to see the hardcore built the properties from comics. Out now. Q I have this property I'm working on now an absolutely am doing a cop car writer and I don't want the graphic novels and fiction in that direction on this. On the property of the world but I really -- comics are great way to -- properties but the expansion because of the numbers."

" But what hear -- might not be aware is. The digital component to that and it rates comics in the form where you've -- your local comics shop. That market is absolutely. It's time to -- and intestinal beyond tiny you can't even believe how small that market is you know that. DC and marvel those worlds is that they operate in it and that they. This company's very much in the business of servicing their base and also finding ways to build intellectual property out of their base but what we cannot hear us when we traded online comics. That that where the idea -- chip asking who were in big conflict fans -- you know. I couldn't overstate their value to hear of properties that's. And they you know said let's do this online comic we've created these online comics that are five pages essentially and they come after every episode. And they're done professionally by you know. Artists within a comic book community and they are done by writers on on on our staff and they -- you back story. Future story original story all tied into that city here as mythology. Those comics are. It's incredibly successful to the point where you know again Markel give me the actual numbers whatever he's got that. It's arguably the most successful comic book in the world you know -- will have like 500000. Downloads of the PDF maybe a million page views. Some of these. But and I get."

" Quote."

" Does that doubt it. Yeah it goes around. -- issues of that. -- okay the American Indian waters here it's."

" Wrecked and well I think we're resist talking about me in the way he was it is. Books. That -- in Brazil. It -- it's -- yeah. It. It. They had any currently import -- okay it's. -- me."

" Experience based on the here as is -- comic book show but that type. You know graphic story telling I think you know. Reaches a lot of people and it's just -- about ways to get to them and and opportunities that kind of thing on the on the net R are just beginning I think marvelous facing going to be launching at an online subscription."

" It's common service by the way. From a marketing standpoint. These are these the fortune 500 companies that are not necessarily entertainment companies because of these. The new. Legitimacy of comics monger graphic novels. There are looking into. Producing. Comic books. That somehow tie into their product and and so forth are allowed to advertise. Their product in some way. And then their leveraging them through their own distribution systems. If your a a giant soft drink company and you want the world to see this comic book. Everyone on the planet that can see this this comic book and one former another may be have to miniaturized thing. It's what we did with hot wheels and and so forth but it does get out there it is in a medium. That's really handy because as you know. There's there there are relatively it's NAFTA to create we can generate a comic book in in and roughly thirty days at starlight and and you're getting out there and they serve to do all kinds of things bridge story arcs you use them that way and expanding universe. Emphasized secondary characters. Point the way toward toward the next arc and and so -- so these are roll things. That are that are happening that I think you're going to actually see more of because they they effectively. Function as a kind of vanguard. You get the comic book series out first even if you're it's really aren't you really."

" The property and I mean acknowledged that it is a comic book shelf and it's it's. It it is that any. Then you know really forward looking anything about mom and all the different types of monitoring of the monitor we are -- what -- so many different John -- stories are really. Trick the and there are different -- To lock up. But."

" But. There it -- is incredibly popular in the states yeah I think so that there western audiences that are are loving his stories at their finding in mind that that are you know not strictly superhero stories -- all different types of stories and that just goes to the power comics as an art form."

" And I think is seen as we start seeing more of these online comics it's just gonna blow lot because."

" As the tools that you know trans media I think -- you know it can be available to almost anybody. The tools of making online comics I think our our very rapidly available and that isn't as it."

" And you entertainment more popular opposition --"

" They don't disagree with you on August. And I had this feeling that people that the masses. It call it wrong. Don't want to read because it's more effort than all of the other stuff it's just the push -- it's it's that this it's pathetic -- between this isn't."

" Now that's why start to say to count the property meaning that. It's organic and they citizen with the first second episode of what watched enemy had the book on the newsstand and it was like. Awesome and it was this if it's organic to the property would people be reading comic book on not like this if -- have a show."

" You be in the same boat as everybody else their original. -- and we do lots of studies. Literacy and it drops every year you were reading last and their -- will -- go the other way -- businesses there ways that."

" Did you get a little -- little ones. Yeah the."

" we -- suddenly I think it's I think it's. But --"

" I think -- speech. Decided this other parts of the salsa beat. Me people reading it and mournful. I hate the fact that we have these -- kill -- we intrinsically and comics are great for reluctant readers in their car right gateway drug like executive. That's helpful. At. Anderson in terms of the tools that are available there to rehearse the comics incorporated. It's not just the comic books are the standard thing that Easter read their ways that you can very creatively. Used used."

" Well flash animation at all the tools telling a story. It with your computer you can tell comic book story that incorporates text into it in a creative ways -- feels more like entertainment. -- been some very innovative. You know successful versions of that I think you know that. That one person that I love is that there's that vehicle metal -- solid and and someone made -- An animated comic about -- was emotional effective and you could follow Lennon and you almost didn't have to read everything because it it it kind of use motion and and they're just different layers of comic entertainment -- it."

" That's an excellent product that here is that the combination and animation it was on the yes yet. And it was it was a combination that for interest that there is the trend if if a property. That people love now. They -- and -- now and so they love the brandy love snake solid snake every snake and they want more. And they want more than other you know Linear game and that's pretty wild that's thing and that game it really fiction and it really it and it got. Long cut scenes in India to sit through. And but when you. Have a brand this sort of the point right we have a brand its popular like it is -- is that he's working on. On. Any the power of the IP -- people. To get -- care but other. Deliveries or indicate that certainly and I'm probably taking a -- amnesty that you know someone could create using. Tools and online of their own skill and online comic that can be incredibly successful mentality I'll -- yes it can also had animation and all the things and that could be versions of it where you -- the button and it was animated need it or you didn't do that -- you read it normally we've been experimenting with that -- went -- the last -- last thing I'll say. If you give all the tools everybody. And the truth is I really think this is kind of true. Is that there's only perspective of people are going to make great stuff. Right and there's a reason that. Why -- we have the privilege of riding a step in the right place right time and we kind of try to do it. And that so you look at you two and it's like how many -- what's the percentage of good onstage that you know -- how many good movies -- year to. Maybe so it's going to be like that would everything but I really look forward to. The user created stuff it's happened before where it gets. Bigger than -- and in it somebody bought it you know it started as a user thing it's somebody spots but talented solid or art. Okay I'm not -- I -- thank the panelists the refining."

" Really quick thing listen. It's I want to address on the the people out there and particularly the students. The -- you guys are our next you know the next wave -- listening to this you're going to implement this and I think that's vital. And the one thing you have to keep thinking about because I've seen this with you. Types. You you're you're inside your building your structures and creating universe is in building your engines and so forth and and then when you -- out. I don't want you to become -- in in this giant machine -- need to have that message would -- you. That is going to propel you help us make the changes that we're talking about. And and to do that you need to be able to communicate to people. People like us people who war or. A little more experience in the industry. I'm so that we can help you yeah here because you have this enormous talent in this enormous. Passionate and well. So to that end and I just want to do this as a policy Jeff at starlight runner dot com your first contact."

" Yeah it had scarlet -- dot com. I've now -- now."

" I -- and -- the second you can find -- FaceBook and and I think that it's incredibly important that there's a dialogue and we share information and that's what this conference. You guys put together."

" Wouldn't be more critical and can be you know more critical time so that's spots and areas in my race everyone -- missing."

" Thanks everyone for coming I wanted to bring up Josh green who is. Along with Sam borders of people who -- Maybe this."

" image that he's he's outside. I -- It. For me this isn't closing remarks but I'm not going to not instead yeah. -- Instead I would like to use these these opportunities to -- very long list of nannies and this is the credits that you. Have to sit through because the blue Israel comes up -- act act act calm so -- what I would like to thank everyone these are McConnell. He sat through some very long sessions at some discussions on these is a conference that annual conferences alliance because it is a conference that. Relies on speaking speaking to each of -- Arm and so I would like Toronto because again for everybody. I'd like to thank the AV crews and the let's go up and down. Product cameras the closest thing we have to a robot and it's also. Almonds and it I will get hooked us up on the web sites and I would also like to thank. The diligent people who live blog did because that was -- in -- fantastic joke. -- Josh and -- and -- and bottom line and Laura and Kevin and Lima and call me and yes at a rate cut. And Derek and Mandy and heat and -- well. All of whom pitched in for nothing column and did some work for us to make this thing happen. -- that went on it and who's -- at the last minute to live blog yesterday. Alex and Derek again -- also some other things I'd also like to thank Lauren and Illinois on its giant. Two the secret -- to weren't credible support. Room and and making the board thing happened and thank you for everyone who use that that what's right well. And sample would thank you because he's the man who probably did most everything logistically it's."

" Just wanted to say with all -- folks who came here the hope that the next time we speak is in the future -- payment next year. The operated in touch and hopefully we keep these conversations you know."

" One more thing before you made. -- hopeful that correct any problems please take it outside and it's okay thank you."