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.
Proveo sam prethodnih nekoliko godina stavljajući se u situacije koje su jako teške i u isto vreme pomalo opasne. Bio sam u zatvoru - teško. Radio sam u rudniku uglja - opasno. Snimao sam u ratnim zonama - teško i opasno. 30 dana sam jeo ništa drugo osim ovoga - veselo u početku. pomalo teško na sredini, vrlo opasno na kraju. U stvari, tokom većeg dela moje karijere, dovodio sam se u naizgled užasne situacije sa ciljem da pokušam da istražim društvena pitanja na način koji će ih učiniti uključujućim, interesantnim, koji će ih, nadam se, objasniti tako da ih učini zabavnijim i pristupačnim publici. Tako da kada sam saznao da dolazim ovde da održim TED govor koji bi trebalo da osvetli svet brendinga i sponzorstva, znao sam da želim to da uradim malo 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.
Kao što možda znate, a možda i ne, pre nekoliko nedelja sam postavio oglas na Ebay. I poslao sam nekoliko Facebook poruka, nekoliko Twitter poruka, i dao ljudima priliku da kupe prava imenovanja mom 2011 TED govoru. (smeh) Upravo to, jedna srećna osoba, korporacija, profitna ili neprofitna, će dobiti priliku koja se dobija jednom u životu - jer sam siguran da Chris Anderson to više nikada neće dozviliti - (smeh) da kupe pravo imenovanja govora koji upravo gledate, koji u to vreme nije imao naslov, u stvari i nije imao puno sadržaja i nije pružao puno uvida u to o čemu će govor u stvari biti. Tako da ono što su dobili je ovo: vaše ime ovde predstavlja: moj TED govor o kome nemate predstave o čemu će biti i, u zavisnosti od sadržaja, može vam se loše vratiti, pogotovo ako učinim da ste vi ili vaša kompanija glupi zato što ste to uradili. Ali pošto je ovo rečeno, ovo je vrlo dobra medijska ponuda. (smeh) Da li znate koliko ljudi gleda ove TED govore? Puno. Ovo je samo radna verzija naslova. (smeh) Čak i sa ovim upozorenjem, znao sam da će neko kupiti prava imenovanja.
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 ovo pitali pre godinu dana, ne bih bio u stanju da vam to kažem sa bilo kakvom sigurnošću. Ali u novom projektu na kom radim, mom novom filmu, istražujemo svet marketinga, reklamiranja. Kao što sam ranije rekao, dovodim se u prilično užasne situacije tokom godina, i ništa me nije moglo pripremiti za nešto toliko teško ili toliko opasno kao što je odlazak u sobu sa ovim ljudima. (smeh) Dakle, 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 Sparlok: Ono što želim da uradim je da napravim film koji je sav o prikazivanju proizvoda, marketinga i reklamiranja, gde je kompletan film finansiran prikazivanjem proizvoda, marketingom i reklamiranjem. Film bi se zvao "Najveći film ikada prodat" Dakle, ono što se događa u "Najvećem filmu ikada prodatom" je da je sve od vrha do dna, brendirano, od početka do kraja - od sponzorisanog nadnaslova koji ćete videti u filmu, koji je brend X. Ovaj brend, Qualcomm Stadium, Staples Center... ovi ljudi će biti povezani sa filmom u nedogled - zauvek. I tako film istražuje ovu ideju - (Majkl Kasan: To je preterano.) To je šta? (MK: To je preterano.) U nedogled, zauvek? Ja sam preterana osoba. (MK: Samo kažem.) Ovo je bilo zbog isticanja. "U nedogled. Zauvek." Ali, nismo hteli samo da imamo brend X kao sponzora naslova, nego smo hteli da se potrudimo da prodamo svaku kategoriju u filmu. Kao da prodajemo cipele i one postaju najbolje cipele koje ste ikada nosili... najbolji auto koji ste ikada vozili, iz filma "Najveći film ikada prodat," najbolje piće koje ste ikada popili, ljubaznošću "Najvećeg filma ikada prodatog."
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, osim proste demonstracije da su brendovi deo tvog života, i to da bi ih trebalo nagovoriti da finansiraju ovaj film? (MS: Nagovoriti ih da finansiraju 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 da u stvari prikažemo ceo proces koji prikazuje kako to funkcioniše. Cilj celog filma je transparentnost. Videćete sve to u ovom filmu. Dakle, to je ceo koncept, ceo film, od početka do kraja. I voleo bih kada bi CEG pomogao da se ovo dogodi.
Robert Friedman: You know it's funny, because when I first hear it, it is the ultimate respect for an audience.
Robert Fridman: Znaš da je to smešno, jer kada prvi put čuješ za to, to je odraz krajnjeg poštovanja prema publici.
Guy: I don't know how receptive people are going to be to it, though.
Gaj: Ne znam koliko će to biti prihvatljivo za one koji slušaju.
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 da koristim "posebno gledište" zato što taj izraz ima negativnu konotaciju - ali znate li kako će se ovo završiti? (MS: Nemam pojma.)
David Cohn: How much money does it take to do this?
David Kon: Koliko će sve ovo koštati?
MS: 1.5 million. (DC: Okay.)
MS: 1,5 miliona. (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.
Džon Kejmen: Mislim da ti neće biti lako tokom sastanka sa njima, ali sigurno je vredno proveriti sa nekoliko velikih, vrlo očiglednih brendova.
XK: Who knows, maybe by the time your film comes out, we look like a bunch of blithering idiots.
XK: Ko zna, možda u trenutku kada tvoj film ugleda svetlo dana, mi budemo prikazani kao gomila živahnih idiota.
MS: What do you think the response is going to be?
MS: Šta mislite kakav će biti odgovor?
Stuart Ruderfer: The responses mostly will be "no."
Stjuart Raderfer: Odgovori će uglavnom biti "ne".
MS: But is it a tough sell because of the film or a tough sell because of me?
MS: Ali da li će to biti teško prodati zbog filma ili zbog mene?
JK: Both.
JK: Zbog obe stvari.
MS: ... Meaning not so optimistic. So, sir, can you help me? I need help.
MS: ... dakle nije tako optimistično. Dakle, gospodine, možete li mi pomoći? Potrebna mi je pomoć.
MK: I can help you.
MK: Mogu pomoći.
MS: Okay. (MK: Good.) Awesome.
MS: Ok. (MK: Dobro.) Sjajno.
MK: We've gotta figure out which brands.
MK: Moramo da smislimo koji su to brendovi.
MS: Yeah. (MK: That's the challenge.) When you look at the people you deal with ..
MS: Da. (MK: To je izazov.) Kada pogledaš sa kim bi trebalo da radiš...
MK: We've got some places we can go. (MS: Okay.) Turn the camera off.
MK: Znamo neka mesta na koja bi mogli da odemo. (MS: Ok.) Ugasi 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: Pomislio sam da "ugasi kameru" znači, hajde da popričamo nezvanično. Ispostavilo se da to u stvari znači "Ne želimo da imamo ništa sa 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 samo tako, jedna po jedna, svaka od ovih kompanija je iznenada nestala. Ni jedna od njih nije htela da bude povezana sa ovim filmom. Bio sam začuđen. Nisu želeli da imaju bilo kakve veze sa ovim projektom. I bio sam zapanjen, jer sam mislio da je ceo koncept, cela ideja reklamiranja, u tome da se tvoj proizvod postavi ispred što je više moguće ljudi, da ga što više ljudi vidi. Pogotovo u današnjem svetu, ova tačka preseka novih i starih medija u razdeljenom medijskom pejzažu, nije li ideja da se upotrebi taj novi zanimljivi način isporuke koji će poruku preneti masama. Ne, to je bilo ono što sam 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 u tome, što je moja ideja imala jednu fatalnu grešku, a ta greška je bila u ovome. U stvari, ne, to nije bila greška. To uopšte ne bi bio problem. To bi bilo u redu. Ali ono što ova slika predstavlja je problem. Kada u Google potrazi za slikama tražite "transparentnost", ovo je - (smeh) (aplauz) Ovo je jedna od prvih slika koje izlaze. Sviđa mi se kako radiš, Sergeju Brine. Ne. (smeh) Ovo je problem: transparentnost - oslobođeno pretvaranja ili prevare; očigledno i prozirno; jednostavno razumiljivo; karakerisano vidljivošću i pristupom informacijama, pogotovo o poslovnim praksama - što je verovatno i bilo najveći problem. Puno toga nam pričaju ovih dana o transparentnosti. Naši političari izgovaraju tu reč, naš predsednik je izgovara, čak i naši generalni diretori je izgovaraju. Ali iznenada kada stvari svedete na realnost, nešto se namah promeni. Ali zašto? Pa, transparentnost je zastrašujuća - (Grrrrrr) kao ovaj čudni vrišteći medved. (smeh) Nepredvidljiva je - (muzika) (smeh) kao ovaj čudni seoski put. I veoma je rizična. (smeh) Šta je još rizično? Pojesti celu činiju slatke pavlake. (smeh) To je jako rizično.
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 počeo da razgovaram sa kompanijama i govorio im šta želim da kažem ovom pričom, oni su rekli, "Ne, mi želimo da ti ispričaš priču. Mi želimo da ispričaš priču, ali želimo da ispričaš našu priču." Vidite, kada sam bio dete i kada bi me otac uhvatio u laži - i ovde me on gleda onako kako me često gledao - rekao bi, "Sine, postoje tri strane svake priče. Postoji tvoja priča, postoji moja priča, i postoji stvarna priča." Dakle, ovim filmom smo hteli da ispričamo stvarnu priču. Ali sa samo jednom kompanijom, jednom agencijom koja je htela da mi pomogne - i to samo zato što godinama poznajem Johna Bonda i Richarda Kirshenbauma - shvatio sam da moram da nastavim samostalno, da treba da odustanem od posrednika i da idem u kompanije sam sa celim svojim timom. Ono što iznenada saznajete - to jest, ono što sam ja krenuo da shvatam - je da kada krenete u razgovore sa ovim kompanijama, ideja razumevanja vašeg brenda je univezalni 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 pravi velike holivudske filmove, i imam prijatelje koji prave male nezavisne filmove kao ove koje ja pravim. Moj prijatelj koji pravi velike holivudske filmove kaže da je razlog njihovog velikog uspeha to što imaju brendirane partnere. Onda moji prijatelji koji prave male nezavisne filmove kažu "Pa kako se možemo nadmetati sa ovim velikim holivudskim filmovima?" A film je nazvan "Najveći film ikada prodat." Dakle kako ćemo konkretno videti Ban u filmu? U svakom trenutku kada sam spreman za polazak, u svakom trenutku kada otvorim ormarić sa lekovima, videće se Ban dezodorans. Kada budem intervjuisao nekoga, mogu da kažem, "Da li ste dovoljno sveži za ovaj interju? Da li ste spremni? Izgledate pomalo nervozno. Želim da Vam pomognem da se smirite. Možda bi mogli da stavite malo dezodoransa pre nego počnemo intervju." I tada bi ponudili neke od ovih fenomenalnih mirisa. "Cvetna Fuzija" ili "Rajski vetrovi", svi će imati svoju priliku. Imaćemo spremne i muške i ženske - čvrste, rol-on ili stik, u kom god da su obliku. Ovo je kratki pregled. Sada mogu odgovoriti na bilo koje vaše pitanje i pružiti vam malo dublji uvid.
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 manji brend. Svidela mi se tvoja priča o manjem filmu, mi smo više izazivački brend. Pa nemamo velike budžete kao drugi brendovi. I radeći ovakve stvari - znate, podsećati ljude na Ban - je nešto zbog čega smo zainteresovani za ovo.
MS: What are the words that you would use to describe Ban? Ban is blank.
MS: Kojim rečima biste opisali Ban? Ban je šta?
KF: That's a great question.
KF: To je sjajno pitanje.
(Laughter)
(smeh)
Woman: Superior technology.
Superiorna Tehnologija.
MS: Technology's not the way you want to describe something somebody's putting in their armpit.
MS: Tehnologija nije reč koju želite da upotrebite opisujući nešto što ljudi guraju u 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.
Govorimo o srčanosti, svežini. Mislim da je reč "svežina" sjajna u spinovanju ove kategorije u pozitivnost, kao suprotnost "borba protis smrada i vlage." Održava vas svežim. Kako vas održavamo svežim - bolja svežina, više svežine, tri puta više svežine, Ovakve stvari više ističu pozitivnu korist.
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 ovo je milionska korporacija. A šta je sa mnom? Šta je sa običnim momkom? Trebalo bi da pričam sa čovekom na ulici, ljudima koji su kao ja, obični ljudi. Oni bi trebalo da mi kažu nešto o mom brendu.
(Video) MS: How would you guys describe your brand?
(Video) MS: Kako biste opisali vaš brend?
Man: Um, my brand? I don't know. I like really nice clothes.
Uh, moj brend? Ne znam. Volim lepu odeću.
Woman: 80's revival meets skater-punk, unless it's laundry day.
Oživljavanje mode osamdesetih koje se sreće sa skejt-pank stilom, osim ako je dan za pranje veša.
MS: All right, what is brand Gerry?
MS: U redu, šta je brend Geri?
Gerry: Unique. (MS: Unique.)
Geri: Jedinstven. (MS: Jedinstven.)
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.
Čini mi se da je moj žanr, stil me čini nešto slično mračnom glamuru. Volim crne boje, dosta sive i takve stvari. Ali obično imam dodatak, naočare za sunce, na primer, ili kristal ili nešto slično.
Woman: If Dan were a brand, he might be a classic convertible Mercedes Benz.
Kad bi Dan bio brend, bio bi klasični kabriolet, Mercedes Benc.
Man 2: The brand that I am is, I would call it casual fly.
Brend koji mene čini nazvao bih ležernim šlicom.
Woman 2: Part hippie, part yogi, part Brooklyn girl -- I don't know.
Delimično hipi, delimično jogi, delimično Devojka iz Bruklina - nemam pojma.
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.
Ja sam momak za ljubmce. Prodajem igračke za kućne ljubimce po celoj zemlji, po celom svetu. Mislim da je to moj brend. U mojoj ubrzanoj maloj industriji, to je moj brend.
Man 4: My brand is FedEx because I deliver the goods.
Moj brend je FedEx jer ja isporučujem robu.
Man 5: Failed writer-alcoholic brand. Is that something?
Propali pisac alkoholičar - to je moj brend. Da li se to računa?
Lawyer: I'm a lawyer brand.
Pravnik: Ja sam advokatski brend.
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: Pa, ne možemo svi biti brendirani Tom, ali se često nalazim na preseku crnog glamura i ležernog šlica.
(Laughter)
(smeh)
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 je da mi je potreban stručnjak. Potreban mi je neko ko će ući u moju glavu, neko ko će mi stvarno pomoći da razumem ono što se naziva "ličnost brenda." I tako sam pronašao kompaniju koja se zove Olson Zaltman iz Pitsburga. Oni su pomogli kompanijama kao što su Nestle, Febreze i Hallmark da otkriju "ličnost brenda." Ako su uspeli sa njima, sigurno to mogu uraditi i za mene.
(Video) Abigail: You brought your pictures, right?
(Video) Abigejl: Poneli ste svoje slike, zar ne?
MS: I did. The very first picture is a picture of my family.
MS: Jesam. Prva slika je slika moje porodice.
A: So tell me a little bit how it relates to your thoughts and feelings about who you are.
A: Reci mi nešto o tome kako je ona povezana sa tvojim mislima i osećanjima o tome ko si ti.
MS: These are the people who shape the way I look at the world.
MS: Ovo su ljudi koji su oblikovali moj pogled na svet.
A: Tell me about this world.
A: Reci mi nešto o tom svetu.
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: O ovom svetu? Mislim da je tvoj svet onaj svet u kom živiš - ljudi oko tebe, tvoji prijatelji, tvoja porodica, način na koji živiš svoj život, posao koji radiš. Sve te stvari su proklijale i krenule iz jednog mesta, a za mene, one su sve nastale sa mojom porodicom u Zapadnoj Virdžiniji.
A: What's the next one you want to talk about?
A: Koja je sledeća slika o kojoj želiš da pričaš?
MS: The next one: This was the best day ever.
MS: Sledeća. Ovo je moj najbolji dan ikada.
A: How does this relate to your thoughts and feelings about who you are?
A: Kako je ona povezana sa tvojim mislima i osećanjima o tome ko 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: Ovo je nešto nalik onome što bih želeo da budem. Volim stvari koje se razlikuju. Volim 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 nešto o "zašto" fazi - šta nam to čini? Šta je mačeta? Na kojoj si fazi razvoja sada? Zašto je važno restartovati se? Šta predstavlja crveno? Reci mi nešto o ovom delu. ... nešto više o tome što ti nisi. Koje su još neke od metamorfoza kroz koje si prošao? ... ne mora biti strah. Na kojim si drugim ringišpilima?
MS: EEEEEE! (A: Thank you.) No, thank you.
MS: EEEEEEEEEEEE! (A: Hvala ti.) Ne, hvala tebi.
A: Thanks for you patience. (MS: Great job.)
A: Hvala ti na strpljenu. (MS: Sjajan posao.)
A: Yeah. (MS: Thanks a lot.) All right.
A: Da. (MS: Veliko hvala.) U redu.
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, nemam pojma šta će ispasti iz ovoga. Toliko je ludosti koje se upravo odvijaju.
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.
Lindsej Zaltman: Prva stvar koju sam videla u ovoj ideji je da imaš dve različite, ali nadopunjujuće strane tvoje "ličnosti brenda" - Morgan Sparlok brend je promišljen/razigran brend. Veoma su lepo suprotstavljeni zajedno. I u tome skoro pa da ima nekog paradoksa. Mislim da se neke kompanije previše fokusiraju samo na neke svoje prednosti umesto da se fokusiraju na obe strane. Većina kompanija - i to je u ljudskoj prirodi - teži da izbegne stvari u koje nisu sigurni, da izbegnu strah, takve elemente, a ti ih u stvari prihvataš, i pretvaraš ih u nešto pozitivno za sebe, i to je lepo videti. Ima li još takvih brendova? Pa na prvom mestu je klasik, Apple. Ima ih još, Target, Wii, Mini Kuper, i JetBlue. Postoje razigrani brendovi i postoje promišljeni brendovi, one stvari koje su došle i otišle, ali razigran i promišljen brend je prilično moćna stvarčica.
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: Razigran, promišljen brend. Koji je vaš brend? Ako bi vas neko pitao da opišete identitet svog brenda, njegovu ličnost, šta biste rekli? Da li ste podizački element? Da li ste vi nešto od čega krv brže struji? Ili ste više spuštački element? Da li ste nešto što je više mirno, rezervisano, konzervativno? Podizački elementi su stvari koje su razigrane, sveže kao Fresh Prince, savremene, avanturističke, granične ili hrabre, kao Errol Flynn, žustre i hitre, poročne, dominirajuće, magične ili mistične, kao Gandalf. Ili ste više smirujući element? Da li ste promišljeni, prefinjeni kao 007? Da li ste utemeljeni, tradicionalni, negujući, zaštitnički, puni razumevanja kao Opra? Da li ste pouzdani, stabilni, pristupačni, sigurni, bezbedni, sveti, promišljeni ili mudri kao Dalaj Lama ili Yoda?
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.
Tokom pravljenja ovog filma, imali smo više od 500 kompanija koje su bile raznovrsne kompanije i govorili su "ne", nisu želeli da budu deo ovog projekta. Nisu želeli da imaju ništa sa ovim filmom, uglavnom stoga što ne bi imali nikakvu kontrolu, nikakvu kontrolu nad konačnim proizvodom. Ali uspeli smo da dobijemo 17 brendova za partnere koji su bili spremni da se odreknu ove kontrole, koji su želeli da posluju sa nekim koje je ovoliko promišljen i razigran kao što sam ja, i koji su nam omogućili da pričamo priče koje inače ne bi mogli da ispričamo - priče koje inače ne bi stigle dalje od onoga ko se bavi reklamiranjem.
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.
Omogućili su nam da ispričamo priču o neuro-marketingu, i tako smo u ovom filmu mogli da ispričamo priču o tome kako koriste magnetnu rezonancu da naciljaju centre za želju u vašem mozgu za reklame, a takođe i za reklamiranje filmova. Otišli smo u Sao Paolo koji je zabranio reklamiranje na otvorenom. U celom gradu u proteklih pet godina, nema nijednog bilborda, plaklata, nema flajera, ničega. (aplauz) I otišli smo u škole gde nove kompanije prave svoje puteve u škole zavisne od novca po celoj Americi. Ono što mi je neverovatno u ovom projektu je da sam najviše odgovora dobio ili sam najviše uspeha imao sa onima sa kojima sam komunicirao 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."
I to je ono što su ovi brendovi učinili. izbegli su posrednika, preskočili su svoje agencije i rekli su da možda te agencije nemaju njihove interese na umu. Radiću direktno sa umetnikom. Radiću sa njim i stvorićemo nešto drugačije, nešto što će ljude naterati da razmišljaju, što će ih naterati da preispitaju način na koji vide svet oko sebe.
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 su prošli? Da li je to bilo uspešno? Pa, od kako je film premijerno prikazan na Sandens festivalu, pogledajmo. Prema Barels-u, od kako je film imao premijeru u januaru - i ovo uopšte nije sve - imali smo 900 miliona medijskih pojavljivanja. Ovo je samo u okviru perioda od dve i po nedelje. I to samo onlajn - bez štampe, bez televizije. Film uopšte nije stigao do distribucije. Čak nije ni onlajn. Nema striminga. I nije se pojavio u drugim zemljama. Sve u svemu, ovaj film se počeo da pokreće veliku priču. To nije loše za film za koji su skoro sve marketing agencije sa kojima smo pričali savetovale svoje klijete da ga se klone.
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 šta ću uvek verovati je da ako prihvataš šansu, ako rizikuješ, u tom riziku postoji prilika. Verujem da ako odvojite ljude od toga, gurate ih prema neuspehu. Verujem u to da ako vežbate svoje zaposlene da izbegavaju rizike, onda pripremate celu svoju kompaniju da ne prihvataju nagradu. Čini mi se da ono što se mora dogoditi da bi napredovali je da moramo ohrabriti ljude da rizikuju. Moramo da ohrabrimo ljude da se ne plaše prilika koje ih mogu uplašiti. Konačno, za napredak mislim da moramo prigrliti strah. Moramo da stavimo ovog medveda u kavez. (smeh) Prigrlite strah. Prigrlite rizik. Malo po malo, moramo da prigrlimo 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 konačno, moramo da prigrlimo transparentnost. Danas, više nego ikada, malo iskrenosti će vas odvesti daleko. Imajući ovo na umu, kroz iskrenost i transparentnost, cela moja priča "Prigrlite transparentnost" vam je omogućena zahvaljujući mojim dobrim prijateljima u EMC, koji su za $7,100 na Ebay-u kupili pravo pojavljivanja (aplauz) EMC: Pretvaramo velike podatke u velike prilike za organizacije širom sveta. EMC vam predstavlja "Prigrlite transparentnost"
Thank you very much, guys.
Veliko vam hvala.
(Applause)
(aplauz)
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.
Džun Koen: Dakle, u ime transparentnosti, šta se tačno dogodilo sa tih $7,100? MS: To je fenomenalno pitanje. Imam u džepu ček na osnivača TED organizacije, Sapling fondaciju, ček na $7,100 koji će biti primenjen na moje učestvovanje na TEDu sledeće godine.
(Laughter)
(smeh)
(Applause)
(aplauz)