I have spent the past few years putting myself into situations that are usually very difficult and at the same time somewhat dangerous. I went to prison -- difficult. I worked in a coal mine -- dangerous. I filmed in war zones -- difficult and dangerous. And I spent 30 days eating nothing but this -- fun in the beginning, little difficult in the middle, very dangerous in the end. In fact, most of my career, I've been immersing myself into seemingly horrible situations for the whole goal of trying to examine societal issues in a way that make them engaging, that make them interesting, that hopefully break them down in a way that make them entertaining and accessible to an audience. So when I knew I was coming here to do a TED Talk that was going to look at the world of branding and sponsorship, I knew I would want to do something a little different.
Potrošio sam zadnjih nekoliko godina stavljajući sebe u situacije koje su uobičajeno jako teške i u isto vrijeme na neki način opasne. Bio sam u zatvoru -- teško. Radio sam u rudniku ugljena -- opasno. Snimao sam u ratnim zonama -- teško i opasno. I proveo sam 30 dana ne jedući ništa osim ovoga -- zabavno na početku, pomalo teško u sredini, jako opasno na kraju. U stvari, većinu svoje karijere, ulazio sam u naoko strašne situacije isključivo pokušavajući istražiti društvene probleme na način koji ih je činio angažiranim, koji ih je činio interesantnima, koji ih je razlagao na način da budu zabavni i dostupni publici. Kada sam saznao da dolazim ovdje na TEDTalk koji će gledati na svijet upravljanja markom i sponzorstava, znao sam kako želim učiniti nešto drugačije.
So as some of you may or may not have heard, a couple weeks ago, I took out an ad on eBay. I sent out some Facebook messages, some Twitter messages, and I gave people the opportunity to buy the naming rights to my 2011 TED Talk. (Laughter) That's right, some lucky individual, corporation, for-profit or non-profit, was going to get the once-in-a-lifetime opportunity -- because I'm sure Chris Anderson will never let it happen again -- (Laughter) to buy the naming rights to the talk you're watching right now, that at the time didn't have a title, didn't really have a lot of content and didn't really give much hint as to what the subject matter would actually be. So what you were getting was this: Your name here presents: My TED Talk that you have no idea what the subject is and, depending on the content, could ultimately blow up in your face, especially if I make you or your company look stupid for doing it. But that being said, it's a very good media opportunity. (Laughter) You know how many people watch these TED Talks? It's a lot. That's just a working title, by the way. (Laughter) So even with that caveat, I knew that someone would buy the naming rights.
Dakle, kao što su neki od vas ili nisu čuli, prije nekoliko tjedana, stavio sam oglas na Ebay-u. Poslao sam neke Facebook poruke, neke Twitter poruke, i dao sam ljudima mogućnost da kupe pripadajuća prava na moj 2011 TEDTalk. (Smijeh) To je točno, neki sretni pojedinac, korporacija, profitna ili neprofitna, će dobiti jedinstvenu životnu priliku -- jer sam siguran kako Chris Anderson to više nikada neće dopustiti -- (Smijeh) da kupe pripadajuća prava za govor koji upravo gledate, koji u to vrijeme nije imao naslov, nije stvarno imao puno sadržaja i nije davao puno nagovještaja o čemu će tu biti riječi. Dakle ono što ste dobivali bilo je ovo: vaše ime ovdje predstavlja: moj TEDTalk da nemate ideju o tome koja je tema i, ovisno o sadržaju, može vam eksplodirati u lice, posebno ako ispadne da ste vi ili vaša kompanija zbog toga glupi. Ali nakon što sam to rekao, to je jako dobra medijska prilika. (Smijeh) Znate li koliko ljudi gleda te govore an TED-u? Puno. To je samo radni naslov, usput. (Smijeh) Dakle, čak i uz upozorenje, znao sam da će netko kupiti pripadajuća prava.
Now if you'd have asked me that a year ago, I wouldn't have been able to tell you that with any certainty. But in the new project that I'm working on, my new film, we examine the world of marketing, advertising. And as I said earlier, I put myself in some pretty horrible situations over the years, but nothing could prepare me, nothing could ready me, for anything as difficult or as dangerous as going into the rooms with these guys. (Laughter) You see, I had this idea for a movie.
Da ste me to pitali prije godinu dana, ne bih vam to mogao sa sigurnošću tvrditi. Ali u novom projektu na kojem radim, mom novom filmu, istražujemo svijet marketinga, promoviranja. I kao što sam rekao ranije, stavio sam se u neke prilično zastrašujuće situacije tijekom godina, ali me ništa nije moglo pripremiti, ništa me nije moglo učiniti spremnim, za išta tako teško ili tako opasno kao što je odlazak u sobe s ovim ljudima. (Smijeh) Vidite, imao sam tu ideju za film.
(Video) Morgan Spurlock: What I want to do is make a film all about product placement, marketing and advertising, where the entire film is funded by product placement, marketing and advertising. So the movie will be called "The Greatest Movie Ever Sold." So what happens in "The Greatest Movie Ever Sold," is that everything from top to bottom, from start to finish, is branded from beginning to end -- from the above-the-title sponsor that you'll see in the movie, which is brand X. Now this brand, the Qualcomm Stadium, the Staples Center ... these people will be married to the film in perpetuity -- forever. And so the film explores this whole idea -- (Michael Kassan: It's redundant.) It's what? (MK: It's redundant.) In perpetuity, forever? I'm a redundant person. (MK: I'm just saying.) That was more for emphasis. It was, "In perpetuity. Forever." But not only are we going to have the brand X title sponsor, but we're going to make sure we sell out every category we can in the film. So maybe we sell a shoe and it becomes the greatest shoe you ever wore ... the greatest car you ever drove from "The Greatest Movie Ever Sold," the greatest drink you've ever had, courtesy of "The Greatest Movie Ever Sold."
(Video) Morgan Spurlock: Ono što želim napraviti jest film o plasiranju proizvoda, marketingu i oglašavanju, gdje će cijeli film biti financiran od strane plasmana proizvoda, marketinga i oglašavanja. Tako će se film nazvati "Najbolji film koji je ikada prodan". Dakle što se događa u "Najboljem filmu koji je ikada prodan" jest da je sve od vrha prema dnu, od početka do kraja, markirano -- od sponzora iznad naslova kojeg ćete vidjeti u filmu, koji je marka X. Sada će ta marka, Qualcomm Stadium, Staples Center... ti će ljudi biti oženjeni s filmom u vječnost -- zauvijek. I tako film istražuje tu ideju -- (Michael Kassan: On je prekomjeran.) On je što? (MK: On je prekomjeran.) U vječnost, zauvijek? Ja sam prekomjerna osoba. (MK: Samo sam rekao.) To je bilo više kao naglasak. To je bilo, "U vječnost. Zauvijek." Ali ne samo da ćemo imati marku X kao sponzora naslova, već ćemo se pobrinuti da prodamo svaku kategoriju koju možemo u filmu. Tako možda prodamo cipele i to postanu najbolje cipele koje ste ikada nosili... najbolji auto koji ste ikada vozili u "Najboljem filmu koji je ikada prodan", najbolje piće koje ste ikada imali, uz učtivost "Najboljeg filma koji je ikada prodan",
Xavier Kochhar: So the idea is, beyond just showing that brands are a part of your life, but actually get them to finance the film? (MS: Get them to finance the film.)
Xavier Kochhar: Dakle ideja je, pored pukog pokazivanja da su marke dio našeg života, već ih stvarno potaknuti da financiraju naš film? (MS: Uhvatiti ih da financiraju film.)
MS: And actually we show the whole process of how does it work. The goal of this whole film is transparency. You're going to see the whole thing take place in this movie. So that's the whole concept, the whole film, start to finish. And I would love for CEG to help make it happen.
MS: I mi smo u stvari pokazali kako cijeli proces u stvari funkcionira. Ključni cilj ovog cijelog filma je transparentnost. Vidjeti ćete cijelu stvar kako se događa u filmu. Dakle to je cijeli koncept, cijeli film, od početka do kraja. I ja bih volio zbog CEG-a da se dogodi.
Robert Friedman: You know it's funny, because when I first hear it, it is the ultimate respect for an audience.
Robert Friedman: Znate to je smiješno, jer kada sam to čuo prvi puta, to je krajnje poštivanje za publiku.
Guy: I don't know how receptive people are going to be to it, though.
Guy: Ne znam koliko će senzibilni zaista ljudi biti prema njemu.
XK: Do you have a perspective -- I don't want to use "angle" because that has a negative connotation -- but do you know how this is going to play out? (MS: No idea.)
XK: Imaš li perspektivu -- ne želim koristiti "kut" jer ima negativnu konotaciju -- ali znaš li kako će se ovo razviti? (MS: Nemam ideju.)
David Cohn: How much money does it take to do this?
David Cohen: Koliko je potrebno novca da se ovo napravi?
MS: 1.5 million. (DC: Okay.)
MS: 1,5 milijuna. (DC: OK.)
John Kamen: I think that you're going to have a hard time meeting with them, but I think it's certainly worth pursuing a couple big, really obvious brands.
John Kamen: Mislim da će biti teško naći se s njima, ali mislim da je svakako vrijedno pronaći nekoliko velikih, stvarno očitih marki.
XK: Who knows, maybe by the time your film comes out, we look like a bunch of blithering idiots.
XK: Tko zna, možda do trenutka kada će film izaći, mi ćemo izgledati kao hrpa brbljavih idiota.
MS: What do you think the response is going to be?
MS: Što misliš kakav će biti odaziv?
Stuart Ruderfer: The responses mostly will be "no."
Stuart Ruderfer: Odgovor će biti uglavnom "ne".
MS: But is it a tough sell because of the film or a tough sell because of me?
MS: Ali hoće li se prodati zbog filma ili će se prodati zbog mene?
JK: Both.
JK: Oboje.
MS: ... Meaning not so optimistic. So, sir, can you help me? I need help.
MS: ... Znači nisi optimističan. Dakle, gospodine možete li mi pomoći? Trebam pomoć.
MK: I can help you.
MK: Ja mogu pomoći.
MS: Okay. (MK: Good.) Awesome.
MS: OK. (MK: Dobro.) Sjajno.
MK: We've gotta figure out which brands.
MK: Moramo shvatiti koje marke.
MS: Yeah. (MK: That's the challenge.) When you look at the people you deal with ..
MS: Točno. (MK: To je izazov.) Kada pogledate ljude s kojima radimo...
MK: We've got some places we can go. (MS: Okay.) Turn the camera off.
MK: Imamo neka mjesta do kojih možemo otići. (MK: OK.) Isključi kameru.
MS: I thought "Turn the camera off" meant, "Let's have an off-the-record conversation." Turns out it really means, "We want nothing to do with your movie."
MS: Mislio sam "isključi kameru" što znači, mogli bi imati neslužbeni razgovor. Isključiti u stvari znači "Ne želimo imati ništa s tvojim filmom."
MS: And just like that, one by one, all of these companies suddenly disappeared. None of them wanted anything to do with this movie. I was amazed. They wanted absolutely nothing to do with this project. And I was blown away, because I thought the whole concept, the idea of advertising, was to get your product out in front of as many people as possible, to get as many people to see it as possible. Especially in today's world, this intersection of new media and old media and the fractured media landscape, isn't the idea to get that new buzz-worthy delivery vehicle that's going to get that message to the masses? No, that's what I thought.
MS: I upravo tako, jedan po jedan, sve su te kompanije naglo nestale. Niti jedna od njih nije htjela imati ništa s tim filmom. Bio sam začuđen. Nisu željeli imati apsolutno ništa s tim projektom. I bio sam iznenađen, jer sam mislio kako je cijeli koncept, cijela ideja oglašavanja, bila predstaviti svoj proizvod pred što je više ljudi moguće, da ga vidi što je više ljudi moguće. Posebno u današnjem svijetu, na raskrsnici između novih medija i starih medija i polomljenog medijskog krajobraza, zar nije ideja dobiti to novo dostavno vozilo koje će prenijeti tu poruku masama. Ne, to sam ja mislio.
But the problem was, you see, my idea had one fatal flaw, and that flaw was this. Actually no, that was not the flaw whatsoever. That wouldn't have been a problem at all. This would have been fine. But what this image represents was the problem. See, when you do a Google image search for transparency, this is --- (Laughter) (Applause) This is one of the first images that comes up. So I like the way you roll, Sergey Brin. No. (Laughter) This is was the problem: transparency -- free from pretense or deceit; easily detected or seen through; readily understood; characterized by visibility or accessibility of information, especially concerning business practices -- that last line being probably the biggest problem. You see, we hear a lot about transparency these days. Our politicians say it, our president says it, even our CEO's say it. But suddenly when it comes down to becoming a reality, something suddenly changes. But why? Well, transparency is scary -- (Roar) like that odd, still-screaming bear. (Laughter) It's unpredictable -- (Music) (Laughter) like this odd country road. And it's also very risky. (Laughter) What else is risky? Eating an entire bowl of Cool Whip. (Laughter) That's very risky.
Ali problem je bio, vidite, moja ideja je imala jedan fatalni previd, a taj je previd bio slijedeći. U stvari ne, to nije bio previd kakobilo. To ne bi bio uopće problem. To bi bilo dobro. Ali ono što taj imidž predstavlja jest problem. Vidite, kada istražite Googleov imidž za transparentnost, to je -- (Smijeh) (Pljesak) Ovo je jedna od prvih slika koju dobijete. Sviđa mi se kako se kotrljaš Sergei Brin. Ne. (Smijeh) To je bio problem: transparentnost -- slobodan od izgovora i prijevara; jednostavno otkriven ili proziran; smjesta razumljiv; okarakteriziran vidljivošću ili dostupnošću informacija, posebno kada se radi o poslovnoj praksi -- ta zadnja linija je vjerojatno najveći problem. Vidite, ovih dana čujemo jako puno o transparentnosti. Naši političari o tome govore. Naš predsjednik o tome govori, čak i naši izvršni direktori o tome govore. Ali iznenada kada dođe do volje da se stvarno postane, odjednom se nešto promijeni. Ali zašto? Transparentnost je strašna -- (Rika) poput tog čudnog ali još uvijek vrištućeg medvjeda. (Smijeh) To je nepredvidljivo -- (Muzika) (Smijeh) poput čudne seoske ceste. I to je također jako riskantno. (Smijeh) Što je još riskantno? Pojesti cijelu zdjelu šlaga. (Smijeh) To je jako riskantno.
Now when I started talking to companies and telling them that we wanted to tell this story, and they said, "No, we want you to tell a story. We want you to tell a story, but we just want to tell our story." See, when I was a kid and my father would catch me in some sort of a lie -- and there he is giving me the look he often gave me -- he would say, "Son, there's three sides to every story. There's your story, there's my story and there's the real story." Now you see, with this film, we wanted to tell the real story. But with only one company, one agency willing to help me -- and that's only because I knew John Bond and Richard Kirshenbaum for years -- I realized that I would have to go on my own, I'd have to cut out the middleman and go to the companies myself with all of my team. So what you suddenly started to realize -- or what I started to realize -- is that when you started having conversations with these companies, the idea of understanding your brand is a universal problem.
Kada sam započeo pričati kompanijama i govoriti im kako želimo ispričati ovu priču, i oni su rekli, "Ne, mi želimo da vi ispričate priču. Mi želimo da vi ispričate priču, ali mi samo želimo reči svoju priču." Gledajte, dok sam bio djete i kada bi me otac uhvatio u nekoj vrsti laži -- a ovdje je kako mi baca pogled koji je često bacao -- on bi rekao, "Sine, postoje tri strane svake priče. Postoji tvoja priča, postoji moja priča, i postoji stvarna priča." Vidite, s ovim filmom, mi smo željeli ispričati stvarnu priču. Ali samo s jednom kompanijom, jednom agencijom koje su nam bile spremne pomoći -- i to samo jer sam znao John Bonda i Richard Kirshenbauma godinama -- shvatio sam kako ću morati krenuti samostalno, morati ću odsječi posrednike i otići kompanijama sam sa svojim timom. Ono što uskoro započinjete shvaćati -- ili ono što sam ja započeo shvaćati -- kada krenete s konverzacijom s tim kompanijama, ideja razumjevanja vaše marke je univerzalni problem.
(Video) MS: I have friends who make great big, giant Hollywood films, and I have friends who make little independent films like I make. And the friends of mine who make big, giant Hollywood movies say the reason their films are so successful is because of the brand partners that they have. And then my friends who make small independent films say, "Well, how are we supposed to compete with these big, giant Hollywood movies?" And the movie is called "The Greatest Movie Ever Sold." So how specifically will we see Ban in the film? Any time I'm ready to go, any time I open up my medicine cabinet, you will see Ban deodorant. While anytime I do an interview with someone, I can say, "Are you fresh enough for this interview? Are you ready? You look a little nervous. I want to help you calm down. So maybe you should put some one before the interview." So we'll offer one of these fabulous scents. Whether it's a "Floral Fusion" or a "Paradise Winds," they'll have their chance. We will have them geared for both male or female -- solid, roll-on or stick, whatever it may be. That's the two-cent tour. So now I can answer any of your questions and give you the five-cent tour.
(Video) MS: Imam prijatelje koji stvaraju velike, gigantske hollywoodske filmove, i imam prijatelje koji stvaraju male neovisne filmove kakve i sam radim. I moji prijatelji koji rade velike, gigantske hollywoodske filmove kažu kako je razlog zašto su njihovi filmovi toliko uspješni upravo zbog marke partnera koju imaju. I onda moji prijatelji koji stvaraju neovisne filmove kažu, "Kako se možemo takmičiti s tim velikim, gigantskim hollywoodskim filmovima?" A film se zove "Najveći film ikada prodan". Pa kako ćemo vidjeti posebno Ban-a u filmu? U svako vrijeme sam spreman krenuti, svaki put sam spreman otvoriti svoj medicinski spremnik, vidjeti ćete Banov dezodorans. Dok svaki puta radim intervju s nekim, mogu reći: "Jeste li dovoljno svježi za ovaj intervju? Jeste li spremni? Izgledate malo nervozno. Želim vam pomoći da se smirite. Dakle, možda ste trebali staviti malo prije intervjua." Tako ćemo ponuditi jedan od ovih sjajnih mirisa. Bilo da je to "Cvjetna fuzija" ili "Vjetrovi raja", imati će svoju priliku. Imati ćemo ih usmjerene za oboje, muškarce i žene -- tvrde, s rolom, ili stick, što god je moguće. To je pregled. Sada mogu odgovoriti na bilo koje od vaših pitanja i dati vam skuplji pregled.
Karen Frank: We are a smaller brand. Much like you talked about being a smaller movie, we're very much a challenger brand. So we don't have the budgets that other brands have. So doing things like this -- you know, remind people about Ban -- is kind of why were interested in it.
Karen Frank: Mi smo manja marka. Na tragu onoga što si govorio o manjem filmu, mi smo prilično izazivačka marka. Tako da nemamo budžete koje druge marke imaju. Tako radeći stvari poput ove -- znaš, podsjetit će ljude na Ban -- to je razlog zbog kojeg smo zainteresirani.
MS: What are the words that you would use to describe Ban? Ban is blank.
MS: Kojim riječima biste opisali Ban? Ban je praznina.
KF: That's a great question.
KF: To je sjajno pitanje.
(Laughter)
(Smijeh)
Woman: Superior technology.
Žena: Superiorna tehnologija.
MS: Technology's not the way you want to describe something somebody's putting in their armpit.
MS: Tehnologija nije način na koji želite opisati nešto što netko stavlja na svoj pazuh.
Man: We talk about bold, fresh. I think "fresh" is a great word that really spins this category into the positive, versus "fights odor and wetness." It keeps you fresh. How do we keep you fresher longer -- better freshness, more freshness, three times fresher. Things like that that are more of that positive benefit.
Muškarac: Govorimo o smionom, svježem. Mislim kako je "svježe" sjajna riječ koja će stvarno zarotirati proizvod u nešto pozitivno, umjesto "borbe protiv smrada i znoja". Održava vas svježim. Kako održavamo vašu svježinu na duži rok -- bolja svježina, više svježine, tri puta svježiji. Stvari poput ovih su više pozitivno korisne.
MS: And that's a multi-million dollar corporation. What about me? What about a regular guy? I need to go talk to the man on the street, the people who are like me, the regular Joes. They need to tell me about my brand.
MS: I to je multi-milijunska korporacija. Što je sa mnom? Što je s običnim dečkom? Moram otići razgovarati s ljudima na cesti, s ljudima koji su poput mene, običnim ljudima. Oni mi moraju reći o mojoj marki.
(Video) MS: How would you guys describe your brand?
(Video) MS: Kako biste vi opisali svoju marku?
Man: Um, my brand? I don't know. I like really nice clothes.
Muškarac: Hm, moju marku? Ne znam. Ja volim stvarno lijepu odjeću.
Woman: 80's revival meets skater-punk, unless it's laundry day.
Žena: Oživljavanje 80ih sreće skater-punk, osim ako nije dan za pranje.
MS: All right, what is brand Gerry?
MS: Dobro, što je marka Gerry?
Gerry: Unique. (MS: Unique.)
Gerry: Jedinstvena. (MS: Jedinstvena.)
Man: I guess what kind of genre, style I am would be like dark glamor. I like a lot of black colors, a lot of grays and stuff like that. But usually I have an accessory, like sunglasses, or I like crystal and things like that too.
Muškarac: Pretpostavljam kakav žanr, stil jesam bio bi tamni glamur. Volim crne boje, puno sivoga i stvari poput toga. Ali obično imam neki dodatak poput sunčanih naočala, ili volim kristal i stvari poput toga, također.
Woman: If Dan were a brand, he might be a classic convertible Mercedes Benz.
Žena: Kada bi Dan bio marka mogao bi biti klasični kabriolet Mercedes Benz.
Man 2: The brand that I am is, I would call it casual fly.
Muškarac 2: Marka koja sam ja bila bi, nazvao bih ju, neformalni let.
Woman 2: Part hippie, part yogi, part Brooklyn girl -- I don't know.
Žena 2: Dijelom hipi, dijelom yogi, dijelom djevojka iz Brooklyna -- ne znam.
Man 3: I'm the pet guy. I sell pet toys all over the country, all over the world. So I guess that's my brand. In my warped little industry, that's my brand.
Muškarac 3: Ja sam dečko ljubimac. Prodajem igračke ljubimce širom zemlje, širom svijeta. Dakle pretpostavljam da je to moja marka. U mojoj izvitoperenoj industriji, to je moja marka.
Man 4: My brand is FedEx because I deliver the goods.
Muškarac 4: Moja marka je FedEx jer ja isporučujem dobra.
Man 5: Failed writer-alcoholic brand. Is that something?
Muškarac 5: Propao pisac-alkoholičar marka. Je li to nešto?
Lawyer: I'm a lawyer brand.
Odvjetnik: Ja sam marka odvjetnika.
Tom: I'm Tom.
Tom: Ja sam Tom.
MS: Well we can't all be brand Tom, but I do often find myself at the intersection of dark glamor and casual fly.
MS: Dobro ali ne možemo svi biti marka Tom, ali često se nađem na raskrižju tamnog glamura i neformalnog leta.
(Laughter)
(Smijeh)
And what I realized is I needed an expert. I needed somebody who could get inside my head, somebody who could really help me understand what they call your "brand personality." And so I found a company called Olson Zaltman in Pittsburg. They've helped companies like Nestle, Febreze, Hallmark discover that brand personality. If they could do it for them, surely they could do it for me.
I ono što sam shvatio jest da mi je potreban stručnjak. Trebam nekoga tko će mi ući u glavu, nekoga tko će mi stvarno pomoći da razumijem ono što nazivaju vašom "osobnom markom". I tako sam pronašao kompaniju pod imenom Olson Zaltman u Pittsburg-u. Ono su pomogli kompanijama poput Nestle-a, Febreze-a, Hallmark-a da otkriju svoju osobnost marke. Ako to mogu napraviti za njih, sigurno mogu i za mene.
(Video) Abigail: You brought your pictures, right?
(Video) Abigail: Donio si svoju sliku, točno?
MS: I did. The very first picture is a picture of my family.
MS: Jesam. Moja prva slika je slika moje obitelji.
A: So tell me a little bit how it relates to your thoughts and feelings about who you are.
A: Pričaj mi malo kako su oni povezani s tvojim mislima i osjećajima o tome tko si.
MS: These are the people who shape the way I look at the world.
MS: To su ljudi koji oblikuju način na koji gledam na svijet.
A: Tell me about this world.
A: Reci mi nešto o tom svijetu.
MS: This world? I think your world is the world that you live in -- like people who are around you, your friends, your family, the way you live your life, the job you do. All those things stemmed and started from one place, and for me they stemmed and started with my family in West Virginia.
MS: Tom svijetu? Mislim kako je tvoj svijet onaj svijet u kojem živiš -- poput ljudi koji su oko tebe, tvoji prijatelji, tvoja obitelj, način na koji živiš svoj život, posao koji radiš. Sve te stvari proizašle su i počele iz jednog mjesta, a za mene su proizašle i počele s mojom obitelji u zapadnoj Virginia-i.
A: What's the next one you want to talk about?
A: Što je slijedeće o čemu bi želio razgovarati?
MS: The next one: This was the best day ever.
MS: Slijedeće: To je bio najbolji dan ikada.
A: How does this relate to your thoughts and feelings about who you are?
A: Kako je to povezano s tvojim mislima i osjećajima o tome tko si?
MS: It's like, who do I want to be? I like things that are different. I like things that are weird. I like weird things.
MS: To je poput onoga što želiš biti. Volim stvari koje su drugačije. Sviđaju mi se stvari koje su čudne. Volim čudne stvari.
A: Tell me about the "why" phase -- what does that do for us? What is the machete? What pupa stage are you in now? Why is it important to reboot? What does the red represent? Tell me a little bit about that part. ... A little more about you that is not who you are. What are some other metamorphoses that you've had? ... Doesn't have to be fear. What kind of roller coaster are you on?
A: Reci mi o "zašto" fazi -- što to predstavlja za nas? Što je mačeta? U kojoj pupa fazi si sada? Zašto je važno ponovno podignuti sustav? Što predstavlja crveno? Reci mi nešto o tom dijelu. ... Malo više o tome tko ti nisi. Koje su neke druge metamorfoze koje si imao? ... Ne mora biti strah. Na kojoj vrsti tobogana ste?
MS: EEEEEE! (A: Thank you.) No, thank you.
MS: Eeeeee! (A: Hvala vam.) Ne, hvala vama.
A: Thanks for you patience. (MS: Great job.)
A: Hvala na strpljivosti. (MS: Sjajan posao.)
A: Yeah. (MS: Thanks a lot.) All right.
A: Da. (MS: Puno hvala.) Dobro.
MS: Yeah, I don't know what's going to come of this. There was a whole lot of crazy going on in there.
MS: Da, ne znam što će ispasti iz ovoga. Puno toga ludoga se ovdje dogodilo.
Lindsay Zaltman: The first thing we saw was this idea that you had two distinct, but complementary sides to your brand personality -- the Morgan Spurlock brand is a mindful/play brand. Those are juxtaposed very nicely together. And I think there's almost a paradox with those. And I think some companies will just focus on one of their strengths or the other instead of focusing on both. Most companies tend to -- and it's human nature -- to avoid things that they're not sure of, avoid fear, those elements, and you really embrace those, and you actually turn them into positives for you, and it's a neat thing to see. What other brands are like that? The first on here is the classic, Apple. And you can see here too, Target, Wii, Mini from the Mini Coopers, and JetBlue. Now there's playful brands and mindful brands, those things that have come and gone, but a playful, mindful brand is a pretty powerful thing.
Lindsay Zaltman: Prva stvar koju je vidio bila je ova ideja da imate dvije različite, ali komplementarne, strane vaše osobnosti marke -- Morgan Spurlock marka je pažljiva/zaigrana marka. One su suprotstavljene vrlo lijepo zajedno. I mislim kako postoji paradoks s njima. I mislim kako će se neke kompanije usmjeriti samo na jednu od svojih snaga ili drugu umjesto da se usmjere na obje. Većina kompanija ima namjeru -- i to je ljudska priroda -- izbjegavati stvari u koje nisu sigurne, izbjegavati strah, te elemente, i stvarno prihvatiti te, i u stvari ih pretvoriti u pozitivno za sebe, i to je lijepo za vidjeti. Koje su druge marke takve? Prva ovdje je klasik, Apple. I možete vidjeti također ovdje, Target, Wii, Mini od Mini Cooper-a, i JetBlue. Postoje razigrane i svjesne marke, te stvari koje dođu i odu, ali razigrana, svjesna marka je prilično snažna stvar.
MS: A playful, mindful brand. What is your brand? If somebody asked you to describe your brand identity, your brand personality, what would you be? Are you an up attribute? Are you something that gets the blood flowing? Or are you more of a down attribute? Are you something that's a little more calm, reserved, conservative? Up attributes are things like being playful, being fresh like the Fresh Prince, contemporary, adventurous, edgy or daring like Errol Flynn, nimble or agile, profane, domineering, magical or mystical like Gandalf. Or are you more of a down attribute? Are you mindful, sophisticated like 007? Are you established, traditional, nurturing, protective, empathetic like the Oprah? Are you reliable, stable, familiar, safe, secure, sacred, contemplative or wise like the Dalai Lama or Yoda?
MS: Svjesna, razigrana marka. Koja je vaša marka? Kada bi vas netko pitao da mu opišete identitet marke, osobnost vaše marke, što bi to bilo? Jeste li atribut koji ide gore? Jeste li nešto od čega krv poteče? Ili ste atribut koji ide dolje? Jeste li nešto što je više smireno, rezervirano, konzervativno? Gornji atributi su stvari poput razigranosti, biti svijež poput Fresh Prince-a, suvremen, avanturističan, naoštren ili onaj koji se usuđuje poput Errol Flynn-a, okretan i agilan, profane, nadmen, magičan ili mističan poput Gandalf-a. Ili imate donje atribute? Jeste li pažljivi, sofisticirani poput 007? Jeste li uspostavljeni, tradicionalni, njegovani, obrambeni, empatični poput Oprah? Jeste li pouzdani, stabilni, poznati, sigurni, osigurani, sveti, kontemplativni ili mudri poput Dalai Lame ili Yode?
Over the course of this film, we had 500-plus companies who were up and down companies saying, "no," they didn't want any part of this project. They wanted nothing to do with this film, mainly because they would have no control, they would have no control over the final product. But we did get 17 brand partners who were willing to relinquish that control, who wanted to be in business with someone as mindful and as playful as myself and who ultimately empowered us to tell stories that normally we wouldn't be able to tell -- stories that an advertiser would normally never get behind.
Tijekom ovog filma, imali smo više od 500 kompanija koje su bile gornje i donje kompanije govoreći, 'ne', one ne žele biti dio ovog projekta. Nisu željele imati ništa s ovim filmom, uglavnom jer ne bi imale kontrolu, ne bi imale kontrolu nad krajnjim proizvodom. Ali dobili smo 17 marki partnera koje su bile spremne odreći se te kontrole, koji su htjeli biti u poslu s nekim pažljivim i zaigranim poput mene, i koje su nas osnažile da ispričamo priču koja se normalno ne bi mogla ispričati -- priče iza kojih oglašivač normalno ne bi nikada stao.
They enabled us to tell the story about neuromarketing, as we got into telling the story in this film about how now they're using MRI's to target the desire centers of your brain for both commercials as well as movie marketing. We went to San Paulo where they have banned outdoor advertising. In the entire city for the past five years, there's no billboards, there's no posters, there's no flyers, nothing. (Applause) And we went to school districts where now companies are making their way into cash-strapped schools all across America. What's incredible for me is the projects that I've gotten the most feedback out of, or I've had the most success in, are ones where I've interacted with things directly.
One su nam omogućile da ispričamo priče o neuromarketingu, kao što smo ušli u pričanje priče u ovom filmu o tome kako sada koriste MRI kako bi ciljale poželjne centre u vašem mozgu za oboje komercijalni kao i filmski marketing. Otišli smo u San Paulo gdje su zabranili vanjsko oglašavanje. U cijelom gradu u proteklih pet godina, nema oglasnih panoa, nema postera, nema flajera, ništa. (Pljesak) I otišli smo u škole gdje kompanije stvaraju svoje putove u gotovinom oskudne škole širom Amerike. Ono što je nevjerojatno za mene jest projekt iz kojeg sam dobio najviše povratnih informacija, ili u kojima sam imao najviše uspjeha, a to su oni gdje sam ušao u interakciju direktno.
And that's what these brands did. They cut out the middleman, they cut out their agencies and said, "Maybe these agencies don't have my best interest in mind. I'm going to deal directly with the artist. I'm going to work with him to create something different, something that's going to get people thinking, that's going to challenge the way we look at the world."
A to je ono što su te marke napravile, odrezale su posrednike, odrezale su agencije i rekle, možda te agencije nemaju moj najbolji interes na umu. Surađivati ću direktno s umjetnikom. Raditi ću s njime kako bi stvorio nešto drugačije, nešto što će potaknuti ljude da razmisle, nešto što će izazvati način na koji gledamo na svijet.
And how has that been for them? Has it been successful? Well, since the film premiered at the Sundance Film Festival, let's take a look. According to Burrelles, the movie premiered in January, and since then -- and this isn't even the whole thing -- we've had 900 million media impressions for this film. That's literally covering just like a two and a half-week period. That's only online -- no print, no TV. The film hasn't even been distributed yet. It's not even online. It's not even streaming. It's not even been out into other foreign countries yet. So ultimately, this film has already started to gain a lot of momentum. And not bad for a project that almost every ad agency we talked to advised their clients not to take part.
I kako je to bilo za njih? Je li bilo uspješno? Dakle, otkako je film imao premijeru na Sundance filmskom festivalu, pogledajmo. Prema Burrelles-u film je imao premijeru u siječnju, i od tada -- a to nije čak ni cijela stvar -- imali smo 900 milijuna medijskih impresija o filmu. To doslovno pokriva samo period od dva i pol tjedna. To je samo on-line -- bez printa, bez TV-a. Film još nije krenuo s distribucijom. Čak ga nema on-line. Ne odašilja se. Nema ga još u drugim stranim zemljama. Dakle ultimativno, taj je film počeo prikupljati snažan momentum. I nije tako loše za projekt, za koji je gotovo svaka oglašivačka agencija s kojom smo razgovarali savjetovala svojim klijentima da ne budu dio toga.
What I always believe is that if you take chances, if you take risks, that in those risks will come opportunity. I believe that when you push people away from that, you're pushing them more towards failure. I believe that when you train your employees to be risk averse, then you're preparing your whole company to be reward challenged. I feel like that what has to happen moving forward is we need to encourage people to take risks. We need to encourage people to not be afraid of opportunities that may scare them. Ultimately, moving forward, I think we have to embrace fear. We've got to put that bear in a cage. (Laughter) Embrace fear. Embrace risk. One big spoonful at a time, we have to embrace risk.
Ono u što ja uvijek vjerujem jest da ako pokušaš, ako riskiraš, onda će se u tim rizicima pojaviti prilika. Vjerujem ako otjeraš ljude od tamo, onda ih guraš još više u neuspjeh. Vjerujem u to, kada istreniraš svoje zaposlenike da budu neskloni riziku, onda pripremaš svoju cijelu kompaniju da bude izazvana nagradama. Osjećam kako ono što će se morati dogoditi dok se krećemo naprijed jest potreba da ohrabrimo ljude da riskiraju. Moramo ohrabriti ljude da se ne boje prilika koji ih mogu uplašiti. Ultimativno, napredujući, mislim da moramo prigrliti strah. Moramo staviti tog medvjeda u kavez. (Smijeh) Prigrlite strah. Prigrlite rizik. Jednu po jednu punu žlicu, moramo prigrliti rizik.
And ultimately, we have to embrace transparency. Today, more than ever, a little honesty is going to go a long way. And that being said, through honesty and transparency, my entire talk, "Embrace Transparency," has been brought to you by my good friends at EMC, who for $7,100 bought the naming rights on eBay. (Applause) EMC: Turning big data into big opportunity for organizations all over the world. EMC presents: "Embrace Transparency."
I na kraju, moramo prigrliti transparentnost. Danas, više nego ikada, malo iskrenosti nas može dugo voditi. I nakon što sam to rekao, kroz iskrenost i transparentnost, moj cijeli govor, "Prigrlite transparentnost", vam je donesen od mojih dobrih prijatelja u EMC-u, koji su za 7.100$, kupili prava na Ebay-u. (Pljesak) EMC: Pretvara velike podatke u velike prilike za organizacije širom svijeta. EMC predstavlja "Prigrlite transparentnost".
Thank you very much, guys.
Hvala vam puno, dečki.
(Applause)
(Pljesak)
June Cohen: So, Morgan, in the name of transparency, what exactly happened to that $7,100? MS: That is a fantastic question. I have in my pocket a check made out to the parent organization to the TED organization, the Sapling Foundation -- a check for $7,100 to be applied toward my attendance for next year's TED.
June Cohen: Dakle, Morgan, u ime transparentnosti, što se točno dogodilo s tih 7.100$? MS: To je sjajno pitanje. Imam u džepu ček koji je naslovljen na roditeljsku organizaciju TED-a, Sapling fondaciju -- ček na 7.100$ koji će se iskoristiti za moju prisutnost na slijedećem TED-u.
(Laughter)
(Smijeh)
(Applause)
(Pljesak)