Augmented Creativity: The Future of Digital Storytelling with Wesley ter Haar | Adobe Creative Cloud

(exciting music) – Hello everyone. Gonna start exactly on time. I’m Dutch. We take it very seriously. If you want some of the
pictures I just took, we have the Adobe Max calendars
coming out next month. It’s a joke. (audience laughing) (Wesley laughing) so, thank you all for spending some time. This is super fun. We call these types of
sessions The Open Monastery. It’s really a deep dive into
things that are top of mind for our company, Media Monks. We’re hoping there is a
fair share of information inside inspiration to make this worth your collective whiles. Just generally today is
gonna be about digital storytelling and next-generation
digital storytelling. Part of that is really
deep diving into today. Spoiler alert, I think there’s a lot of under leverage opportunities. So I’ll talk about that,
and then I’ll also go into some of the amazing new opportunities that we’ll see coming up again and again. Gonna start with a really
quick introduction. I am Wesley ter Haar. I found Media Monks back
in Amsterdam in 2001. I moved to LA about four 1/2 years ago. So, this sort of feels like home. But for locals, I think
living and working in Venice, I’ve been downtown five
times in four years. So it feels like a different city. I also spent a fair amount of
my time now in Mexico City. I’m on the board of S4,
which is for marketing Sorrell’s new company. My role is a mixture of
operational excellence, creative excellence. If anybody’s planning on
taking pictures today, please take a picture of the picture, ’cause it’s clearly my finest work. (audience laughing) What very few people
know, is when we founded Media Monks back in 2001,
I was the Flash guy, which is very exciting.
(audience laughing) I think we’re not allowed to say anything about Flash anymore. Especially not at an Adobe conference. I am going to mention
it a few times though. Quick check, who here sort of drug using Flash in our industry? I have 10 minutes of
nostalgia for all of you. It’s gonna be amazing. So, Media Monks, we
call ourselves a global create production house or partner, whatever you want to call it. I think that mixture
of doing the creative, but also doing a production is really key two a lot of what we’ll
be talking about today. We have about 1400 people, 19 locations. It’s really interesting because
the way we’re organized, means all these things are
closely working together across time zones. Means there is this
amazing sort of diversity of culture and thought that
tends to go into our work, which is really fun to see. If I would have to define
the trifecta of Media Monks, it’s our talent, our ability to recruit and retain amazing talent,
which allows us to do amazing work which then wins a
bunch of shiny stuff. That shiny stuff is also
a reflection of really understanding what cultural
relevance is and then executing against it. And then this idea of
being future proof, right. Being on the front lines
of emerging user behaviors, emerging technologies,
which is definitely part of what we’ll be discussing today. I’m gonna show a quick piece of work just so everybody gets a sense
of the type of stuff we do, and then we’ll dive in. Here goes. (upbeat music) ♪ Hey, hey, hey, hey ♪ ♪ Hey, hey, hey, hey ♪ ♪ What ♪ ♪ Hey, hey, hey, hey ♪ – [Man] Do you feel that? – [Man] Power. ♪ Boost boost ♪ ♪ Boost boost boost ♪ ♪ Boost boost ♪ ♪ Boost ♪ ♪ Yeah yeah yeah ♪ ♪ Oh. ♪ ♪ It is, it is ♪ ♪ Who the hardest of ♪ ♪ I just don’t know ♪ ♪ Number one ♪ ♪ I’ma show you what I’m made of ♪ ♪ Or who the hardest ♪ ♪ I just don’t know ♪ ♪ Number one ♪ – Here we go. Let’s take you now to meet the squid. (upbeat music) – [Man] Oh, I’m pushing him down. – [Man] I did not expect that. (upbeat music) – The time has come to explore
beyond our known horizons. – [Man] This is Colonel
Sanders with mission control. (audience clapping)
– I’ll take it. I’ll take it. And yes, we did send a
chicken sandwich to space. So I think we can all agree
that we do very important work. (Wesley laughing) Yes. I’m gonna start with a bit of
a story about storytelling. And it’s weird because this
whole session is sort of nomenclature and storytelling. I’ve grown to really dislike
the term storytelling. I dislike storytelling. I hate all of the
variations like story doing, storyselling, storymaking, storyliving and these sort of get thrown
at us at marketing conferences. And in old pieces, I
literally heard somebody this morning say story helping, which made me feel bad
about myself in general (audience laughing)
and the industry I’m in. And I dislike this, not because
I think there’s anything foundationally wrong with the term, right. Seth Golding is probably the person it pushed us from a marketing and creative AC perspective onto this path. This idea that marketing is
no longer about the stuff that you make, it’s about
the stories that you tell. Foundationally, I think
there’s a lot of value to that. The idea that a narrative
is the way we as people sort of embed things, either emotionally or with emotional resonance or permanence. And there’s a lot of data and resource that backs this up, right. This idea that the
emotional impact of an ad is much more important
than the content of an ad. Makes a bunch of sense. I think we all sort of get that. This idea that we’re evolutionarily wired to think in stories. We sort of use narrative,
we understand it. There’s structures to narratives that we can sort of engage with. And even if you look at the professionals, the so-called memory
athletes, most of them, to remember things, actually use stories. So, stories are an amazing tool. They’re almost a technique or a hack to get people to sort of
imprint a bit of knowledge. So, this idea of storytelling, being a way for us as an
industry to make our point and do good marketing. Lots of sense, lots of sort
of a deep heavy lifting, thinking we can do about that space. What does that mean for
digital, which is more tactile and more physical. I love that. What I hate about storytelling
is that our industries, sort of when, cool, we’re directors now. Right. Because storytelling, we took
the dominant entertainment industry film, and as
marketeers and creators, we all went, cool, we get
to do more movies, right? That’s really amazing. And I’m gonna play the cynic
here for like 30 seconds. It’s also super
convenient, ’cause it means all of the sort of traditional agencies and traditional creative
company’s could really just keep doing what they do. They didn’t really have
to think about digital in it’s own medium. They could go, storytelling is just film, and we might have shorter film now, and maybe somebody even
shoots it vertical. Amazing. But it’s still film. And it’s in some case, even longer film because somebody made up
the term branded content which I also hate. So, (laughs) is gonna hate
on a lot of stuff today. It’s old man shaking fist at cloud. (audience laughing) So. (laughs) I love it. He did the whole, That’s amazing. So even in digital, right,
digital which is all about interaction and flow and mechanics, lots of conversations
are, who’s shooting this? Who’s acting in this digital piece? And do we get to go to Hawaii
and eat great craft services? And do I finally as a creative,
get to be a film director and a scriptwriter? And there’s a huge
chicken egg conversation to have with a few beers, or because we’re (speaking
in foreign language), Which is if the creative and
marketing side of our business sort of latched onto storytelling,
and really translated it to linear film, the media
side of our business went, cool, just to video ads. Give me more video ads
because they’re easy to sell. They’re easy to publish. They’re easy to create leads with. So, this is my problem with storytelling, is the metaphorish film. I think at a minimum, when
I think about digital, the sort of defining metaphor storytelling should be closer to theater. Should be closer to play, right. Depending on who plays, who
acts in it when it’s being done, where it’s being done and
who’s in the audience, it’s slightly different. There is nuance to it, based on variables. There’s no just a linear
story that somebody scripted and just gets played out. But the more I think about digital, and the more I think about
how fragmented it is, and the more I think about all
of us sort of using digital, ’cause a bunch of different channels, more and more it feels like improv. It feels like, yes anding across
some type of user journey. Right. So, we’re trying to create yes and moments for a consumer that hit’s our .com. Yes and what’s next? They see something on
social, yes and what’s next? So, more and more my hypothesis
is digital storytelling is more improv based, just trying to get to the next yes and. So, the problem with what has happened in which is the main
reason I really struggle with storytelling is a term, we’ve taken what is this amazing medium for interactive innovation,
the web, the internet or what we now call digital,
and we’ve really made it revolve just about
traditional linear formats. Just film. And that isn’t just me saying that. These are IAD stats. The Internet Advertising Bureau which is a slightly less cool
FBI, for digital advertising. (Wesley chuckles) This is stats from 2019. So 62% of all ads spend,
is just promoting film ads. Just film ads. So you can say, okay, 30% is there, right, for real digital storytelling. Not really. Most of that 38% is search,
bit of programmatic, and that’s about it. Which means we’re left
with this tiny sliver of ad spend connected the real interactive digital storytelling. And in our industry, ad spend is, that’s the air you breathe. If there’s no ad spend against it, there’s no space for
something to actually grow. so, when I talk about today, I also say, we’re in the darkest timeline
of digital storytelling. ’cause we Frankenstein
two things together. We’ve taken a very
traditional way to think about storytelling, which is pieces of film and then we’ve gone, We sort of start to
look at a 30 second film or a 60 second film online. So, let’s make the film shorter. And even though we have all of this data that could be really fun and
could drive personalization, we’re just gonna use it
to target and re-target. And that’s really what’s
storytelling in digital space has sort of ended up at. So, my take today is, we’re
gonna look at how we got there and we’re gonna look at how
we hopefully get out of this. This is the timeline. For me, today, and to
really set us up for success for the future, it’s all about what I call ecosystem and experience. And we sort of need to wrangle
back the term storytelling to actual digital spaces. And I think that’s the
main thing we need to do. But before we get there, I was
talking about this yesterday. I think as an industry,
we’re sort of really bad in standing on the
shoulders of giants, right. Taking all of this
information and insight, and learning from back in the
day and building on top of it. We’re not quite the printing press. But there is about 25
to 30 years of actual insight into what digital storytelling is. And for me, you can sort of
define it in three main ages. One is this initial,
this initial explosion of creativity on the web,
where it really becomes an interactive tool. This moment we get bandwidth,
which is very exciting. And we start getting
film and game mechanics. And then where we really
sort of get what I think was the most unique version
of digital storytelling, when we started using APIs
and started personalizing. So, for everybody to put
their hands up about Flash, this is for you. (Wesley laughing) Enjoy. The 90s. So, this is mid 90s. Narrative UI. The idea that storytelling
is about the UI, the experience of the UI. I think we talk a lot about
storytelling and emotion. And because we think about
storytelling as film, we sort of default to
very heightened emotions. Did an ad make you cry? Did an ad make you laugh? Did it make you happy inside? I think emotions also,
there’s a feeling of magic as you use a thing. That’s motion as well. And that’s what we should be focusing on. And I think in this period, we show a lot of amazing experimentation. We all have to sort of contractually now say bad things about Flash. Remember, this is what internet
looked like, pre-Flash. And then, we got to do
these amazing animations. Look at that. (audience laughing) (Wesley laughing) And then suddenly, it
opened a creativity, right. We’ve got all these
amazing creative talents, and a few of them are speaking here today. I heard Gmunk, was gonna say, it was a huge inspiration
for us at Media Monks. And sometimes I think we
should actually take in some of the work that happened, right. Who remembers this piece of work, Eye4U? That’s like not knowing the Rembrandt, if you’re in like, a Rembrandt picture. If you’re in art history. So, this is the reason Media
Monks exists as a company. I saw this. It blew my mind. I illegally downloaded Flash. Sorry about that. I made up for it. I started playing around. But what’s really
interesting in this space, you look back at it now,
and it feels super dated. This idea of storytelling, true UI, UI as a guiding effect, UI as a narrative I think is actually really powerful. It is really, I think is
something that we’ll see a lot of today and in the near future. You go, There’s lots of experiments
around interaction. This time, everything is new, right. People are really finding their foot in what is digital interactivity? What is digital engagement? And you cannot do something like this and not mention too advanced. People talk a lot of
shit about pre-loaders. Well, people forget, this
was a narrative tool. Because you had to keep people engaged, while you were loading
something in the background. So, this wasn’t the
so-called Flash duration that people talk about. (Wesley laughing) Hard laugh. Thank you.
(audience laughing) This was narrative. It’s, I’m gonna load 200kbs,
and it’s gonna take 40 seconds. How do I keep somebody
engaged in 40 seconds? This is narrative. This is the original digital
storytelling technique. And when I think about
it, some of these things really had an impact, right. I still flashback to them,
like I would at rating moving or a paragraph in the book. So, we see this truly new
medium being invented, reinvented constantly. But if we look at today, think about what material designed eyes and what it does with
the idea of narrative UI. So, this is being codified
in material designed. Being codified in
Apple’s human guidelines. This is a huge part of how
we now think about digital. This idea of animation is a
really powerful tactile way to keep people involved. That’s digital storytelling. UIs with personality. This could’ve been Flash
work from 15 years ago. This idea that you have to tell story, two animation and narrative. We’re seeing that again and again in most of the voice work which of course is very well set up to sort
of do that type of stuff. We hit the 2000. We get bandwidth. It’s very exciting indeed. If Eye4U is the reason
Media Monks started, Photo Funk Futures by North Kingdom is the reason it almost ended,
’cause I looked at this work and went, I super suck. I’m never gonna be able to do that. So, I’m just gonna stop doing it. This was really the first
idea of using film techniques and actual film in digital work. And this is the citizen
Kane of all Flash websites. Get The Glass, also by North Kingdom. Gaming. So what you’re seeing the
moment we get bandwidth, we sort of do whatever new medium does. We go, cool, let’s do the thing that’s already being done. Let’s do film, let’s do games. And this isn’t weird. I think most people in this
room will have her the story about the first TV ad
just being a radio ad with a static image. That’s normal. That’s what happened. But what I really took away from that age is this lack of emotional resonance. One of my favorite gifs. So, there is something weird. We used to call it interactive film. Online, we used to always talk about, you you don’t want to
interrupt to interact. There is a weird thing
that happens with the film. The moment you take away agency, you actually sing with some
of the emotional resonance. I thought “Bandersnatch”
this year was such a great example of that. “Black Mirror”, really well done. Beautiful sort of
interactive production piece when you think about it. But it just didn’t impact. You take away something powerful and film when you sort of Frankenstein
it with this idea of interaction with a bit of agency. It’s immersion breaking, and it sort of doesn’t
leave an impression. So even though I really like this time from a production
perspective, because we did so many shiny things, very
few of those projects, I think actually had that
weight that some of the earlier work did that I think did
real digital storytelling. And then we hit sort of the 10s. And this is where they we
learn some really, really important things about
digital storytelling. I’m gonna show a piece of work. This’ll take about a minute. ‘Cause this was a real aha moment. This is called “The Wilderness
Downtown” done by B-Reel. Amazing company. And it is an interactive music video that uses personalization. And the personalization
is, please let us know the street that you grew up on. And it gets worked into
the musical video clip using Google Earth and street view. And just feel how interactively
specific this story, ♪ Now our lives are changing fast ♪ ♪ Hope that something pure can last ♪ ♪ Hope that something pure can last ♪ ♪ Ooh, we used to wait ♪ ♪ Ooh, we used to wait ♪ ♪ Ooh, we used to wait ♪ ♪ Sometimes it never came ♪ ♪ We used to wait ♪ ♪ Sometimes it never came ♪ ♪ We used to wait ♪ ♪ Still moving through the pain ♪ ♪ We used to wait ♪ – So much more interesting
than a linear piece of film. It uses data. It uses the browser in
really interesting ways. It uses APIs. Another really great
example was done by a tool in Json ad at the time. Take this lollipop,
which was a horror movie based on your own Facebook data. Very prescient when we think
about Facebook data nowadays. Sort of weirdly ahead of his time. And also for us, I think
we sort of caught on what made digital story
really interesting. There are two projects
we did during that time, that for me really sort of defined Media Monks as a company. And it defined it because it was doing these really specific things. It was taking a channel,
in this case YouTube, and shredding interactive components, specific to the channel. We’re using best practices
of gaming and film, and then it was personalizing. All those things together,
just felt uniquely digital. Really, one of my favorite pieces of work, “Night Walk in Marseille”,
and other piece of work we did during that time,
which really sort of pushes into what is a documentary, a really digital documentary look like? Can’t just be a linear piece of film. Has to be interactive. Has to explore. As have some type of vibe to
it that’s different than just looking at something in a linear fashion. So, all of these things combined, being we have this really
interesting moment in time. We have about 15 years, give or take, of really understanding
what digital interactivity and interfaces actually are. There’s lots of great work being done. We’ve gone through the phase of just mimicking film and gaming. But we’re definitely using
best practices, right. We’re going, this is why film
initially is interesting. This is why gaming
mechanics are interesting. And then we sort of add what makes things uniquely digital, which is APIs, data. And all those things come together. And some of the work that’s
happening at that time is truly stunning. It’s amazing. It’s sort of almost
ashamed that a lot of that is no longer online. It’s difficult to find. I had to download these really
low fi clips from YouTube. But this is a really exciting time. And then, literally
one more thing happens, which is the iPhone. And I’m sure they’ll be
historians that look back at the moment in time
and have a much broader thesis of what that meant. But for our industry, it
meant momentum stalled, right. Because we had to go
back to smaller screens, we had to rethink what
interaction actually meant. We lost a huge amount of
sort of ingrained knowledge. Processors, Flash dies. I know, I know. (audience laughing) We can huddle outside. (audience laughing)
Hug it out. So, all of these things are climaxing. One more thing happens and it stalls. So, how do we get from this
amazing sort of momentum of digital storytelling what
I call the darkest timeline? Because during that moment,
another thing happens which is actually amazing
news for our industry. It’s really, really exciting. Which is, we become an actual mass medium. People start spending a bunch
of money on ads, online. So, this line sort of
starts really pulling up around 2009, 2010. It’s exciting. If you validate company back
in 2001, it’s fun to advertise, convinced TV wouldn’t survive the decade. But this was the real inflection point, where we went, oh, okay. This is a real thing. But what happens is this. We start treating mobile
just has a smaller TV. Which is for most people
on their phone here, I blame cat videos. But most people on their phone here, you watch lots of video now. Lots and lots, I have a hard yes here. (Wesley laughing) You are examining your own life
choices there for a moment. It was very impressive.
(audience laughing) The introspection was beautiful. So can we start treating
mobile is a smaller TV, it is a really weird thing to do, because we know mobile user
behavior is a interactivity. We see that in new formats
like Tik Tok and Snapchat. Before we see it in the
growth of mobile gaming. It’s the perfect device for interactivity. Is it the perfect device towards video? Maybe. But it’s definitely
great for interactivity. But as Ad spend starts consolidating, Google and Facebook who
have most of the ad spend, just start creating
these very standardized linear film formats. So, the moment we sort
of become a mass medium, we also kill interactive advertising. No formats like you see, sort of support, bespoke interactive
thinking, mechanics, flows. All of that stuff. And again, this is weird
because I always look at the user behavior. Storytelling sort of
mapped itself the film. Gaming is by far the
biggest industry right now. It’s about interactivity. It’s about engagement. It’s about fun, its about play. You see none of that
user behavior reflected in how we think about online
storytelling or online ads. And then the worst thing
we do, which is I think, sort of the biggest dropped
ball in our collective industry, we understand that stuff that’s
data-driven is really fun. From Elf Yourself onward, this
idea of personal experiences using data and APIs in fun ways. We know it works. But what we do is, we take all
of that data and we turn it into this horrible dystopia
we are relentlessly re-target with a pair of pants you
looked at three weeks ago. Pro tip. Sit next to a colleague. Look at the weirdest
product you could find, they’ll be followed for about three weeks. So, this is weird again
because user behavior, we know people will pay more
for personalized experiences. We know people take
great enjoyment from it. We know it builds brand loyalty
to a level that is difficult to sort of get from other engagements. But we don’t do this anymore. We don’t use data in that way, which means we now have an
industry that’s full of gaps. Huge gaps. And when I talk about the biggest one, it’s this siloed mess that
we all now operate in, which is we have creative
which mostly does stuff that look and feel and function as film. Might be shorter film. Might be vertical, linear film. And then we have this huge gap, and then we have a media
industry that goes, just give me a bunch of
standardized toolkits or pictures. Love it. I’m gonna point there. (audience laughing) Nice. (laughing) So this is the area we
currently live in, right. Usually siloed. Huge gap. For me, storytelling is
the thing that happens between these things. So, what I want to spend some time on, is really looking at what,
for me are these five steps of next-generation digital storytelling. And to an extent, I hope
everybody in this room helps reclaim the term storytelling. It cannot just mean a piece of linear film in a digital environment. That isn’t digital storytelling. Digital storytelling, for
me starts with the insight that it’s a journey. It’s not a one linear moment
of advertising or messaging. And that’s literally the case, because that’s how we
all use digital channels. Just look at people going into some type of conversion funnel. More than 11 engagement
with a piece of content to get to an actual conversion. And this isn’t in one sitting. This is across multiple
channels, multiple events. So, it’s literally a journey. And if you think about that,
that’s why I so focused on really the term ecosystem experience, which is this idea that
you have to sort of improv around her ecosystem and try
and get amazing experiences that are in some way
connected in a single journey. So, age of ecosystem experience, this is where I have my
shameless Adobe plug. I am getting paid for this by the way. (Wesley laughing) That’s not true, sadly. So, Adobe went from, I think, facilitating a lot of understanding in digital storytelling with Flash. I think if you want to do it
now as a Creative or designer, yes, there’s Creative Cloud. There is lots of fun
stuff happening with Xd. But marketing cloud, experience manager, the tech stack part of it,
is actually really, really important to do digital
storytelling as a journey. This is not one moment. It’s not one piece of
film or even a micro site like it used to be back in the day. It’s how do we get people
come across ecosystem to stay connected to a single story? And you hear the term customer
decision journey a lot. We use that. I think there’s lots
of variations on this. The main thing is, how do
we connect all of these touch points and get a sense
of consistency in that story as you go across them? And I think it’s really
helpful the think about what a journey could look like. So this is a really quick example. We use variations on these. You have the initial encounter moments. Somebody encounters
your brand for business or product or service. You’re trying to get a yes
and moment into expiration. A yes and moment into conversion. And the better brand can sort
of own either enjoyment of it or the service support of it
if somebody isn’t enjoying it. And I know this can be a bit vague. So, I’m gonna show a
quick case that just shows how you fill that gap. So, Aeromexico a big
Latin American airline, one of our clients for
our Mexico City office. We started working with
them to do their app. And I travel quite a lot. I sort of, Most of those apps aren’t that good. So that’s an exciting
piece of work, right. You go, how do we make
this really really good? And part of the insight here is, especially for Aeromexico, lots of travel, families that travel between
Mexico and the US and back. Often, it’s not about
the place you’re going, it’s about the person you’re visiting. So, this insight sort of bubbled up, can we build people into
the app as a destination? And thinking about it,
we went, wait a minute. That’s actually a really nice message. Normally, if you look at the
siloed nature of the industry, that’s where we would’ve kept it, right. We would’ve done a nice shiny
piece of film that went, people or places. Book it Aeromexico. But here, we’re filling the gap. So yes, there is a piece of film. Yes there is an app? But what happens in between? Quick video to showcase. (“Carmen Suite No. 2:
Habanera” by Georges Bizet) – [Narrator] For more than 80 years, selling and buying airplane
tickets has always been a matter of geography. Flying from point A to
point B depending strictly on cities and countries. We change the game with a
very simple business idea. Instead of geography, we
focused on the people, turning everything single
person into a destination. We created a web platform
connected with Google technologies and major social media
tools fully integrated with our e-commerce backend. (keyboard clicking) Instead of using a geographic
destination to fly to, users can now also
directly choose the person they want to fly to wherever
this person is the world, and do it with Aeromexico. By completing their purchase online, users receive an eticket that
reflects this personalization. And that works like any boarding pass on any device at any airport. They also have the option of promoting themselves as a destination
three personalized video generated from their social data. We couldn’t change geography,
so we revamped it’s logic because Everybody is a destination. Aeromexico. (speaking in foreign language). People are in a place, The interesting thing with this is, it picks up a golden can. And I’ve been on the journey a few times. I think it picks up a gold
because almost see none of this work happen anymore. If you’re in Azure, your
mostly seeing video pieces or exporential pieces. Very few of these sort of
journeys and flows and mechanics. So normally, you would have a video piece and you would have product. We activate it online. We integrated with social APIs. We drive it all the way into product. That’s how to think
about digital journeys. So, digital storytelling is a journey, and it should be focused on the user, which sounds like this use open door. Of course it needs to
be focused on the user. But that’s not actually what we’re doing in today’s landscape. Today’s landscape has an
amazing amount of engineering. Facebook and Google have
built stunning technology but it’s being used with
very little to no empathy. This idea that just because
the technology’s there, we should relentlessly retarget people, stalk them across the web. Use their data in weird ways that aren’t quite easy to understand. This is where our industry
really sort of messed up, I find. It’s the idea of not adding
the to all of this engineering. And when we talk about this, what technology gives you is intent. I know that you’re interested in cars, or I know that you’re interested
in all the data online. Intent. But the only thing we do with intent, if we just retarget, we go, go to Hawaii, go to Hawaii,
go to Hawaii, go to Hawaii. That doesn’t make any sense. So for me, when you start
thinking about the user, you start thinking about
what we like to call these personal inflection points. Where is the value for the
user in the way we communicate? How can we be assistive. And I’m gonna use another case
here from one of our clients. I can never, I’m never quite sure how you
pronounce this in the US. It’s either Weber or Weber. Thank you. Very helpful. And this is the inflection point. The inflection point is, getting somebody from
a burger to a brisket. So when you buy a barbecue,
and you’re flipping burgers. You feel like a hero. But the moment you, (laughs)
the moment you start trying more difficult stuff and it fails, it sort of kills your
journey as grilling hero. And this was a deep insight,
because the moment somebody feels comfortable and has
success doing something more difficult, it changes
their complete landscape as a griller, which is
also usually valuable for the company of course. But it starts with how can we be assistive to this person using our product. And again, you start mapping the journey. So we have a very extensive one here. And it’s full of these inflection points. It’s how do we get people
to the next step or value? Which means, we’re
doing a lot of work here in the encounter, explore
and convert space. But I find it really interesting from an experience perspective. So, there’s lots of campaign work which is all about inspiration, get people excited to be a griller. And we do some really beautiful platform and e-commerce work,
where we’re actually using a lot of that narrative UI. A lot of this really tactile UI work that gets people excited
about the product. Gets people playing with the product. And then, this is really the value ad. So, the moment you buy these things, you have a connected device. That means we know, if
you want us to know, what you’re doing and
when you’re doing it, and how good you’re doing
and if you’re happy with it. You can use this type
of data in several ways. You can use it and be an ass. (Wesley laughing) Which seems to be the default state when it comes to data nowadays. Or you can go, cool,
let’s help this person be better at that thing. Help them along to be a better griller. And that’s closely what we’re doing. We’re just getting
people to the next step. Next step, next step, next step. And then, we build in a
bunch of innovation work. But I’ll get to that in a minute. So, the idea of a user journey in this way is to create this completely connected digital brand experience. Consistent brand, consistent product story on every single touch point. Doesn’t matter if you’re unsocial. If you’re on .com and
if you’re using product, if you’re in retail, it’s all connected. It’s all same story, same value. Because when you start thinking
about storytelling across the customer decision journey,
it’s about user first. Connecting touch points
through consistent narratives, I think this for me is
a really important one. You need to move from mass media because mass media is intent information. Just reach. And how do you create
these memorable moments? And again, because we think
of storytelling as film, we only think about heightened emotions where just memorable moments can mean UI. Can be in activation, can be
in product cases and usage. So we can go from that
relentless retargeting to being assistive. So, storytelling and digital spaces, journey, focus on the user. That creates a personal path. And this to me is really important. Adobe actually has a lot of
messaging around this as well. In this really, goes into
that idea of emotional, just being the heightened ones, right. It’s that idea that across that journey in all of these experiences,
there are just the small moments that create a weight of experience within an ecosystem. And to me, the most important
thing we do take away, is people want to feel heard. They don’t want to feel overheard. And I’m gonna show my
age with the next slide. I’m gonna do a hand count,
who recognizes this slide? ♪ Sometimes you want
to go where everybody ♪ – Not too bad. Half of the room is like, So “Cheers”, where
everybody knows your name. That’s cool. You go to that bar because it’s personal. You walk in everyday. Hey, Norm. It’s amazing to see you again. But this is not was happening, right. It’s personalized panic. What’s happening? Why is this thing happening? Do I want these pants? Who knows. (audience laughing) And the interesting
thing to me in this space is really that idea that
there’s also no worst way to spend your budget,
your ad budget on costly showing the person the same ad. It’s also a really dumb
way to spend your money. Because either that person has bought it. There’s this amazing
presentation I just recently where people were being re-targeted after having just bought a car. Like, do you want another car? No. I just bought one. (audience laughing)
Right. There is no journey thinking here. There is only intent. There is only technology. There’s no personalization
that makes sense. There’s no journey. So, one of my favorite quotes, VP of product at Netflix. Geography, age, gender, not
actually that important. Don’t really add value when
you’re personalizing it. And we’re seeing a lot of pushback on these things already, right. People are, what we sort of call the tech lash. People don’t trust big tech anymore. We’re seeing politics
pushback GDPR in Europe. Similar laws in California. Similar laws in Brazil. It’s just not gonna fly anymore. And if you’re creative and
you think about journeys, data needs to be something that adds value for the end-user. It needs to be something
that makes you go, wow, that’s amazing. I’m really happy that that happened. I’m gonna show a quick
case here that talks to this idea of personal path. Let me say, this is the
weirdest piece of work a Dutch company is ever done. We re-platformed Air, during the Obama years,
so it was still cool. (audience laughing) It’s LA, so you can say that. (Wesley laughing) So the idea here, this is a very complex stakeholder space. Very controlled agency. But this idea that you have
all these different people going to this type of website. It literally has a thousands
plus pages of data. People just get lost. They get the wrong message. There’s nothing there for them. And because of that, it
just feels really difficult to sort of get a conversion. So, this video explains the
personal path really well. We did this four or five years ago. So, it was slightly ahead of it’s time from technology protective. It is actually being re-platformed
to Adobe at the moment. But nice video to explain personal paths. (deep music) – [Narrator] Everyone of us is unique. And yet all sites are built to speak to everyone the same way. How can we help people
visiting find answers, explore a path,
and explore careers in a way that speaks just to them. We designed to
ask people about themselves, to learn about their
interests, their strengths, their priorities, their
plans for the future. And with everything the site
learned, the content changes with new images, new
headlines and new body copy. So everyone’s journey
through the site is personal and created just for them,
allowing the Air Force to help each person learn
more about who they are so they can discover a path that’s right for them and their future. It’s at that listens, a site that learns, a site that adapts. A site that makes everyone’s experience as unique as they are. – So, key stat is the
uptake and conversion rate. But there’s actually second
stat that isn’t in this video. People were spending
less time on the site, which traditionally is
sort of seen as a bad stat. You want people to spend
hours and hours on this thing. Oh, sorry. But, people were able
to find what they needed quicker to convert, right. So, it’s all about assistive. It’s all about getting
people to the next step, Yes and yes and yes and conversion. So, personal paths, When we talk about it, we
go personal paths needs to be interactive, adaptive. This is the difference between
film storytelling, right. Film storytelling is linear. It scripted. It starts, it ends. Personal paths, open to
your input and effort. It needs to be reflected. Ideally, it’s transparent. You can actually feel it
changing based on your input and you understand what’s happening. Data-driven and personal,
contextual and relevant. So, this is what we have so far, right. Digital storytelling is a journey, focused on the user and
creates a personal path. The fourth element is
this idea of something being driven by design
and create of distinction. And to me, this is one of the, This is the right sort of
place to talk about it. This is one of the misunderstood
parts of our industry, I think at a business level. So, when I talk to big
brands, or when I talk to CMOs or people in that sort
of market side of things, this idea that the experience with a brand or off-brand is more
important or at least equal to this very traditional
advertising notion of loving a brand. And I’m sure there are people
in this room that really, really, really love a brand. But it’s a very small subset of brands that get into that space. But that’s where most
traditional advertising sort of focuses on, right. Even a lot of the wording, love
marks at such and such uses, I’m not saying brand love doesn’t exist. I’m not saying sort of
loyalty of brands is dead. But I do think this idea of ecosystem, experience within that
ecosystem is usually powerful. I think this is gonna be a marketing case, that 25 years from now we’re
gonna look at and we go, that was actually really interesting. Should have spent some more time on that. So, this is Uber. And they’re sort of past this now. But let’s say about two years ago, they probably have one
of the worst nine months the PR I’ve ever seen a company have. Right? Going to do a hand raising. Who here deleted Uber? Who here thought about it? (Wesley laughing) So, this is an interesting thing. Uber, and I’m gonna delay
while this is happening. Uber is sort of being
positioned the Darth Vader of the sharing economy. And we have Lyfts in LA as well. And again, post IPO. A lot of this has changed. But Lyft is sort of Uber for millennials. Same drivers in the same cars bringing you to the same place
for the same amount of money. But they’re a friendlier brand. And I’ve always been
taught that millennials want to be connected to brands
that lift their passion, not lift their reflection of
what they think about culture. I asked all of my people. We have a bunch of millennials
and Gen Zs in our company. And I went, did you change? They went, no, too much work. (audience laughing) I tested it. It’s three 1/2 minutes of work, right. But they’re locked into an ecosystem, and within that ecosystem,
the experience is great. I would say, it’s
incrementally better than Lyft. It’s not a different service. The app is a bit better. I think a lot of the UI,
this idea of narrative UI have an impact on your experience is really powerful in Uber. They lock people into an
experience and ecosystem. I think people misunderstand
the power of that and how it really overrides
all of that traditional marketing thinking. We’re seeing some real
research around this now. This is sort of instinctively
what most people in this room will agree with. Design has business impact. McKenzie came out last
year, doubled the return on shareholder values for
companies that are seen as good at design. Forrester came out earlier this year. The impact of design is
the business difference in today’s landscape,
because everybody is sort of at the same level now. And this really harks back to,
it’s not just a linear story. You have to think about the
mental and emotional impact of your digital work, when
it comes to interfaces, when it comes to close,
when it comes to mechanics. This is some of my favorite research, which is this idea of perceived ownership. The idea that if you’re
touching something, it lowers the barrier to you
wanting to buy that thing. That’s the reason when
you go to buy a car, they try and get you in the car. When you go shopping for
clothes, they want to get you into the fit room, because
the moment that happens, in order barrier and
you go, I own this now. I must have it. Really interesting research. Just imagining that has exactly the same impact on your brain. So, you should be using
digital channels to mimic that idea of playing in
testing with products. But what happens, and this
is an example of us actually getting the client to get there. We often think about digital
in really narrow way. So this is Genesis, an electric car brand. We built what I think
is probably the coolest car configurator online. This thing almost died four
times because it didn’t load in two seconds, but it loaded and four. That’s the reason it was gonna get killed. This idea of the experience
not being is important as two extra seconds of waiting time. If you take it back to narrative UI, and you think back to preloader, that’s four seconds can
feel like two seconds, can feel like zero seconds
depending on how you build the story of your UI, right. This died again, and again and again. We finally got the client
to go, okay, show it. Test it. Outperformed by 400%. A traditional car configurator. More than that, there’s
a random thread on Reddit with people just going,
why is this thing so good? I have no idea, right. Because it’s magical, it’s
fun, and we’ve lost really the sense of what that
type of impact is in a lot of online advertising and
digital commercial work. So, digital storytelling,
journey, user focused, personal path, design and distinction which brings us to the last
part, which is really this idea the needs to be constantly
powered by innovation. There’s a lot of talk about
innovation as a constant. Now when I look at Media
Monks, we always ask ourselves the question, are we relevant? And if we relevant now,
will we be relevant X amount of time from now? The X is the thing that’s getting shorter and shorter, right. We used to be able to plan
ahead three to five years. You’re probably down to nine to 12 months. And it’s because you are sort
of being hit with these waves of innovation (mumbles). And I’m gonna hit three of these. And again, I think these
have a meeting to potential for digital storytelling. But only if we reclaim
this term storytelling and actually position it against
what they should be doing. So, I’m gonna talk about the realities, voice and assistance in
the area of intelligence. We have about 10, 15 minutes left. I’m gonna make sure we get
through this so there’s time for a few questions if
people want to ask them. Let’s start with the realities. This is VR AR, mixed reality. We use something we call the trend lens. Which is really, are we gonna put effort against the thing, right. So, we look for technology or platform that has a sort of level of maturity. It needs to answer real user
behavior and then there needs to be some type of scale
through distribution. I’m not gonna talk about VR. The only thing I want to say,
it is sort of doesn’t pass mustard when you look through this lens. Technology isn’t quite there yet. New Oculus sort of gets us there. User behavior is a real issue. Distribution is a mess. But then you start looking at AR, and you go, wait a minute. We have sort of four big players. We saw the news from
Adobe yesterday as well. We use four big players that
are driving AR forwards, and they have a very similar
idea about what AR is. They have very similar roadmaps. That’s exciting. ‘Cause then you can sort
of lock in a single view of what that technology
and user behavior is. More important, this. User behavior. These initials Snapchat lenses. People just went mental for these things. More importantly, this. This is Central Park,
three in the morning. People looking for a special Pokémon. I’m not saying it’s good user behavior, but it’s user behavior. There is actual interested
and intent and excitement, even in a very early
phase of the technology. Then you start looking at distribution. Most important thing. QR codes are cool if
you give them a color. So, we get to use them again now. But, distribution is scaling
up relatively quickly, and there’s a huge amount of focus on image recognition meets AR. So for me, when I look at
it through a trend lens, I go, okay, technology
platform is actually ahead of where I was expecting it to be. User behavior is off the charts. Distribution challenged,
but will get there. So, you start looking
at opportunities, right. You go, what are opportunities
within this journey for a consumer? My main focus here is, to an
extent this is the original intent of interactive. It’s not a linear medium. Narrative UI is going to be key. It needs to be on boarded. He wanted to feel intuitive, seamless. Narrative UI is gonna be really important. And scale to get there, retailers
are gonna be the a driver. If we can get it connected
to the journey within retail, that’s when people are
actually gonna spend money against it, which means
it gets space to breathe. And then you have to think about
what is a true story in AR? We’re doing some really
interesting work in this space. This is with Google, which
is a retail demo concept where the retail set,
you can sort of scan it and then it allows you to
interact with that whole retail environment in a digital space. This is some really fun work. It’s very piloty. It gets done in one or two stores. You’re really playing around with the narrative of this moment. But there is a huge amount
of potential around retail as people start getting used to, especially image
recognition connects to AR. And then, this is I think, a really beautiful piece over by Jam3. Amazing company. They launched in AR documentary. And that’s soft of the thing now, you have to start thinking about, right. You take a format and you go, well, what is the AR
version of that format? Instead of just doing a linear piece. So, lots of opportunities in the AR space. Probably the area, especially
with image recognition that I’m most excited about by, ’cause it’s such a logical journey moment. Voice assistance. So, there are some stats here. And they’re pretty interesting,
I think that that is, 42% of people that use a voice assistance, especially in the home,
would like that assistance to be a real person, which is strange. (audience laughing) But it just, It shows the weight, right. We talked about narrative
sort of embedding things in memory, emotional resonance. The reason this is happening
is that’s how we’re wired. So, the moment you start
talking to a thing, you imbue that thing with personality. It’s how your brain works. So, when you start
thinking about the impact of the story you’re telling in that space, it’s actually really, really powerful. There’s also a bunch of ethical questions. I love the discussion,
if kids should say please when they ask an assistant a thing. Should you teach them to
not be little assholes when they use these things?
(audience laughing) To all parents, yes you should. But there’s a really
interesting ethical questions, where I think, even if you are a designer, if you’re a creative, you have
to think about these things. Right. We didn’t think about these
things when data became a tool. And we end up in a really
bad spot because of it. And again, I love the
idea of just being wired to sort of give voice weight,
which I think that’s gonna be where a lot of the upside is. Storytelling opportunities. There’s so many use in business cases. I’m gonna show a use case in a moment that I think is really funny. But there’s so much there. You can be assistive. I think voice is this
perfect yes and moment, ’cause it can answer a quick question. It can give you an easy next step. It’s an amazing sort of improv moment within that retailing journey. What does it mean to
be optimized for voice? It shouldn’t be the case
that a bunch of companies built their own voice,
their own voice bots or tools or assistants. What’s gonna happen, future said, you’re gonna make a choice. You’re gonna choose Apple
or Google or Facebook or Amazon or Alibaba. And they’re gonna be your voice assistant. And you’re gonna ask your assistant. I’m gonna go tell A. I’m gonna go to Max. I want hotel, I was a restaurant. I want all of that stuff done. And then you assist will
communicate with a bunch of different computers and
get that information back. Gonna completely change how
we think about advertising. Because advertising is gonna
move to a live bidding layer between assistants and companies. Huge, existential sort of ask for, and for you to get used to. I think first still get rewarded here. So, do interesting stuff. We prototyped the Google
Home as a marriage counselor. (Wesley laughing) I’ve got a small snippet. – [Google Assistant] After
talking to the both of you, it seems to me that you
both have some feelings bottled up inside, and I
recommend you consider seeking professional human assistance. (audience laughing) (Wesley laughing) – But it’s interesting to start
thinking about these things. Right. What is voice when it’s
sort of ambient computing, always on, everywhere? What does it become, and how
does it fit that journey? I really like this example,
because it’s a bit, When I talk about first,
sometimes it’s just being first with a bit of a hack. So the great thing is, your
phones are gonna launch when I play this because Google
discontinued this prompt. But this is Burger King, sort of hacking peoples Google Home. – You’re watching a 15
second Burger King ad which is unfortunately
not enough time to explain all the fresh ingredients
in the water sandwich. But I got an idea. Okay Google, what is The Whopper burger? (woman laughing) (Wesley and audience laughing) – Can you sit in the middle? (audience laughing) (Wesley chuckles) But this is an amazing idea, right. Across the US, Google homes are going, the Whooper burger is uh. (audience laughing) Which I love that sort of insight. But it also opens up, good or bad, it opens up a load of ethical discussion about how to use this technology when it’s ambient and always on and in the air of intelligence, we’ll get through this quickly. We’re not here yet, right. It’s not Skynet. Robots aren’t quite taking over. But it is, it’s a weird
space at the moment. Deepfakes. Open AI which is the Elon
Musk-backed sort of AI, R&D team has a text generator. You can actually read the output,
that can pretty much argue in real time line, and
it’s perfectly written. It can write a chapter of a
book, based on two sentences. And the output is scary good, so they’re not even releasing the research because they’re pretty sure it will be used in the wrong way. There was a, I think this was in Germany. A company got scammed
out of the 250,000 euros, because they mimic the seals voice. Our lab scene just launched
something yesterday where they can mimic a whole conversation based on two lines of input. So, just you saying two
sentences allows us to re-create your voice seamlessly for anything. Scary stuff. Things for us to think about. When I talk about this, the
first thing we need to start understanding with journey perspective is, every brand now has unlimited
eyes, unlimited ears. What does that mean in that journey? What does that mean we are
telling stories online? And then one of my favorite things, because it’s a bit esoteric, this idea that you can
train your own talent. And I’m gonna explain this with the most LA use case of all time. This is a very handsome
man that play Superman. And he shot “Superman”, then had to shoot “Mission Impossible”, grew this amazing
mustache and now had to do “Superman” re-shoot. Couldn’t shave. So they had to take his
mustache out in post-production, scene by scene, frame by frame. The rumor is, that cost about $20 million. So, somebody saw that and
built a neural network to do it on the fly automatically. So to the right, we see
a shaved Henry Cavill through a neural network and to the left, we see the $200 million
movie post-produced version. So this idea of finding your own use cases and building your own talent, I think this is hugely interesting. Another insight is, do not invest in post
production companies. (audience laughing) Sorry about that. So, storytelling opportunities. Can you train your own talent? Think about what that means. Having your own sort of talent
you can put out there online. Transparent machine learning. Everybody on their phone here,
is influenced every single second that they use their
phone, by machine learning algorithms and nobody
understands was happening. I think transparency there
is such an interesting storytelling opportunity. The idea of mixing creativity and machines and collective action and databases. I’m gonna show an example of that. But first, when we talk
about training your own sort of tools, what our
team has been working on is a sort of machine
learning with creativity. And we’re working on a tool
that choreographed dances. So, it just has huge
amounts of dance input, and then based on some really
simple input by Creative, you get a complete dance out of it. So this idea of creatives
becoming curators of machine creativity, I think is
really, really interesting. And of course, Adobe does
a lot of work in that space which I think is pretty cool. And then a quick case,
when I think about data, this idea of opening up data,
making it a collective good instead of something that
happens behind the scenes, this is one of my favorite
cases that happened last year, or actually the beginning
of this year from Volvo. Take about a minute. (“Without You” by Lapalux
feat. Kerry Leatham) ♪ And your words are engraved in me ♪ ♪ So long as guilt resides here ♪ (car crashing) ♪ Guilt resides here ♪ – I just love this type
of reframing mass data as a thing for good. I think there is so much
work to be done there. So, the future of digital
journeys to end it. It is difficult to sort
of predict the future, but I think we can prepare for it, right. I think we prepare for it by reframing storytelling and digital spaces. We can’t just use the term
storytelling because it’s being used and misuse in very traditional ways. So, this is my first pass at it. Work in progress. Play with it, mess about with it. Digital storytelling is a
journey, focused on the user that creates a personal
path, driven by design and distinction, empowered by innovation. Thank you. (audience clapping) And I think we do have
time for some questions. Adobe also asked me to pull up the slide. You can tell me if I suck or not, and then regardless of your answer, you can still win something amazing. (audience laughing) Thank you everyone. And people want to ask
questions, we can do that or we can just hang out in, And we have a question here. – [Woman] For the U.S. Army
website that you created, some of the times when
things get too personalized, it gets votes on how many
versions you create or something? – Yeah. – [Woman] So I’m interested in knowing, or I’m curious in knowing how many versions of (speaking faintly)? – It’s a good question. And it’s actually, I think
apart were programmatic has struggled is you have
the power programmatic, but the ROI is gone because you have to do so much more work. So what we did here was,
we called it Satellite. On every page, we would
build three blocks, and we would go, if a person is here, they could go to for other spots that could be a yes and moment. And it was really just
getting people from one place to another place in the site. So the personalization was more
the assistive nature of it. And then we had a few
standard CTAs and images. But a lot of it were just journey. Just if you’re looking at this, but we saw you did these three things, we actually think you need to be there. So, it was more of a
recommendation engine, and then pretty standard
CTA update in each update. – [Woman] But at the end of the website there like multiple (speaking faintly). (woman speaking faintly) – Yeah. Yeah, we mapped against, We looked at, what are the
six, seven main stakeholders that use the site. And then based on the value
of those stakeholders, we would go, is just one
path or it’s 10 or 15. And then based on data,
what was quite interesting, I think a lot of segmentation is sort of marketing segmentation, right. You go, Peter likes
soccer, drives a minivan. But that’s marketing segmentation. So, you start there but
then the actual data allowed us to poke at much, It’s more Netflix. Much more diverse profiles that you could decide
to put content against. Optimizing it. It’s fun though. Oh, question. – [Man] Hola. I just had a question. (man speaking faintly) All right. You’re constantly being listen to now. (Wesley laughing) It’s a very comforting vibe. We’re seeing it, It’s the easiest if from a, If your client, if you’re involved in both advertising and product. And this is where the
silos sort of are an issue. The work I was shown,
was where clients were, we were able to do end to end. Then you can be on the hook
for just results and go, oh, if we do this, we think
we’re gonna of the results and we can show it. Vaber constantly results focus. It’s e-commerce. It’s very sort of easy to go,
this works and this doesn’t. But if it’s siloed and
advertising happens here, and platform and product happens here, it’s very, very difficult. But yeah, it’s end to end. It happens mostly on smaller clients because they’re less siloed. Oh, sorry. Those two guys. (audience laughing) Those two guys. It can be really broad. I think what we found, We want there to be, what I think sometimes happens
in our industry, we fragment. We go, somebody that thinks about strategy and then somebody takes on
UX, and then a designer looks at it and then the developer looks at it. That tends to be where
great work comes from. So we try and get more that
compressed and up front. Or we just have a more
diverse group of people spend some time together and think about it. For me, the most important thing is, I always want people to
tell me why something is gonna be good. What makes this interesting? What makes it special? So there’s also just definition. You have to define by
something is going to be good, instead of just going through the motions, if that makes sense. Yeah, I think that’s, When you talk about the
distinction, I think that’s, If you have any sort of app for a bank, all bank apps are the same, right. They’re also about the same level. So I think the story within
that is actually where you lock people into an ecosystem. I would switch, I would do the heavy
lifting or switching a bank or a credit card, which we
all know is sort of a mess if the app just gives me
a much better experience. So, think is a really powerful thing. But I know a lot of people focus on it. And that’s why think
that narrative UI thing, just a feeling of using
something in the mechanics of the flow, it is a
really powerful stuff. But yeah, it doesn’t happen enough. Oh, sorry. Start using Flash. (group laughing) Jokingly though, what was
interesting about that is, because it was early in the industry, people using Flash mostly did design, animation and development. So still to this day,
addressing that reflected in some of the speakers here,
some of the most interesting create a talent that we
have now started in Flash because you sort of had to
combine those three things. So I say jokingly, but I do
think it was this amazing breeding ground for really great creative. I talked to a group of
educators yesterday. We had the same conversation, where if I look at our hiring practice, I think there are two versions, right. Sometimes I think we over
index and we just go, we need, We’re looking for somebody
that’s very good at a thing. But when I look at careers, those people start off really well. You go, oh, that person had 20 tools. An amazing designer, amazing animator because that’s their practice
and that’s their craft. But they’re sort of where
those creators stop, because the people that are
broader at the beginning might actually have a bit more
difficulty getting the door. And I reflect on that myself,
where I think sometimes we don’t do that well enough. But when people come in commonly sort of think about four things. They might not be executionally
great in everything, but they tend to go further
because they can just think more freely about things. And this industry changes really quickly. So, just being good at a thing,
could be a four year career instead of a 40 year career. So, some of my best tires are people that think of it broader. I have, maybe one decently deep skill set, enough to get in the
door, but other interests. We look a lot at personal projects that show diversity of
thought and interests. So me, if you’re into Creative, areas being able to think about data, Like, if I see a Creative
portfolio now that has an angle on data or an idea of what
good voice interaction is, that’s sort of a direct
hire, ’cause they go, at least it’s different. People are thinking about it. Let’s get that person in. – [Woman] That has to
be your last question. (woman speaking faintly) – Yeah, I’m gonna hang out. You can also just email
me Wesley♪mediamonks. (audience laughing) I love email. It’s my favorite thing.
(audience chattering) Thank you. (audience clapping) (dramatic music)

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