WEBVTT - Big Data's Big Date with the Movies

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<v Speaker 1>Brought to you by Toyota. Let's go places. Welcome to

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<v Speaker 1>Forward Thinking. Hey there, and welcome to Forward Thinking, the

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<v Speaker 1>podcast that looks at the future and says everything is awesome.

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<v Speaker 1>I'm Jonathan Strick like online bum, and I'm Joe McCormick,

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<v Speaker 1>and today you are going to be hearing a very

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<v Speaker 1>special comparing performance treat from us. It will be our

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<v Speaker 1>second attempt at this podcast, because the first one was

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<v Speaker 1>was well recorded and vanished mysteriously under dubious circumstances. We

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<v Speaker 1>think it was stolen by the Russians. I always suspect

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<v Speaker 1>the Russians. I think it's a good bad guy, the Russians.

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<v Speaker 1>Um which is which is actually really appropriate because today

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<v Speaker 1>we are talking about movies. Yeah, we're gonna talk about

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<v Speaker 1>scifically big data and the movies, both with the Oscars,

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<v Speaker 1>which here in the United States they were just recently

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<v Speaker 1>that that award ceremony was just recently held, and also

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<v Speaker 1>just with movies in general, and how how big data

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<v Speaker 1>is shaping the movies or at least or may shape

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<v Speaker 1>or may misshape the movies as the case may be.

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<v Speaker 1>As I said last time when we recorded this OSCAR

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<v Speaker 1>season is a time when you're gonna hear me getting

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<v Speaker 1>on my high horse and and just allow me to

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<v Speaker 1>ug please, man, I can't stand awards ceremonies. Something about

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<v Speaker 1>the whole enterprise of it just seems so wrong and

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<v Speaker 1>stupid to me. Like You're going to put these movies

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<v Speaker 1>next to each other and say which one was better?

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<v Speaker 1>What was better Selma or the Grand Budapest Hotel? And

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<v Speaker 1>I'm like, why are you comparing them? Like what what

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<v Speaker 1>would even cause you to do that? And I think

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<v Speaker 1>some things you can, like in the grand scheme of things,

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<v Speaker 1>if you were to take all movies, Sure, there are

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<v Speaker 1>movies we can point to and say these are really

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<v Speaker 1>good movies, and there are movies that we can point

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<v Speaker 1>to and say these are really bad movies. But when

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<v Speaker 1>you get to the point where you're talking about contenders

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<v Speaker 1>for something like the Oscars, presumably all of these films

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<v Speaker 1>are representative of of excellence in some manner. And once

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<v Speaker 1>you get to that point, it's really a matter of

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<v Speaker 1>subjectivity which one is quote unquote the best picture, right,

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<v Speaker 1>but being nominated it really kind of is in a way,

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<v Speaker 1>because I mean, how do you how do you judge

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<v Speaker 1>how do you judge a killer comedy, like something that

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<v Speaker 1>genuinely makes you laugh and you have a great time

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<v Speaker 1>and you truly enjoy it and everything's done well. Very

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<v Speaker 1>serious historical drama about something tragic or or just or

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<v Speaker 1>just a heartwarming story that tugs at your heart strings.

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<v Speaker 1>I mean, if any of these things, if they're really

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<v Speaker 1>effective at what they're supposed to do, then they are

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<v Speaker 1>great movies. Right, So how can you tell what what

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<v Speaker 1>which one is better than the other. But that's all

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<v Speaker 1>kind of beside the point. And also I need to

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<v Speaker 1>point out that what's really important in art is winning.

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<v Speaker 1>You know, it's funny that we're pointing out the problem

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<v Speaker 1>here is the subjectivity that comes into evaluating things like movies.

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<v Speaker 1>But the fact that their subjectivity doesn't mean you can't

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<v Speaker 1>get nasty and just quantify it by brute force. Well,

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<v Speaker 1>and that brings us back to our to our topic

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<v Speaker 1>big data. In the movie. It's actually kind of crazy

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<v Speaker 1>because you do think, like when you think of something

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<v Speaker 1>like art, you think of that as being a very

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<v Speaker 1>human endeavor, right, something that is not necessarily quantifiable, something

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<v Speaker 1>that has has an element that goes beyond what we

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<v Speaker 1>can achieve with an artificial construct, That an artificial machine

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<v Speaker 1>of some sort could not create or appreciate art the

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<v Speaker 1>way we can. Uh, And therefore you wouldn't expect to

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<v Speaker 1>be able to use these machines to evaluate that art

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<v Speaker 1>and then come up with a good guess as to

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<v Speaker 1>which one deserves an award. However, you'd be wrong. This

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<v Speaker 1>is the weird thing. But then in a way, it's

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<v Speaker 1>it's more about figuring out how people think rather than

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<v Speaker 1>the quality the quality of the art itself. That's I

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<v Speaker 1>think a distinction we have to make. So we're really

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<v Speaker 1>talking here in this specific part about big data and

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<v Speaker 1>the movies and how big data can help a sophisticated

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<v Speaker 1>system predict which movies are most likely to win awards. Okay,

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<v Speaker 1>so what do we mean when we say big data. Well,

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<v Speaker 1>so we we generated a lot of information every single

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<v Speaker 1>day right about everything. We generate it, we we analyze it,

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<v Speaker 1>We come up with new figures based upon the analysis

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<v Speaker 1>of the old figures that joins the data. Because everything

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<v Speaker 1>that we do online is in some way quantifiable. Even

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<v Speaker 1>if no one is tracking it, probably someone's tracking it.

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<v Speaker 1>That's probably being recorded somewhere. It's being anything useful or

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<v Speaker 1>otherwise is being done with it. Is that's another question. Yeah, exactly.

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<v Speaker 1>So we get this these mountains of data, and if

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<v Speaker 1>you figure out a good way to analyze that data,

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<v Speaker 1>you might be able to make something meaningful from it. Now,

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<v Speaker 1>some of that data is already categorized in some way,

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<v Speaker 1>which makes it a little easier to analyze. Some of

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<v Speaker 1>it is quote unquote loose data that doesn't have any

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<v Speaker 1>categorization or any other meta analysis that attached to it.

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<v Speaker 1>So it's still valuable, but it's harder to incorporate into

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<v Speaker 1>a system or an algorithm. But there are a lot

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<v Speaker 1>of companies that are rising up around the challenge of

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<v Speaker 1>analyzing big data for the benefit of other entities. So,

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<v Speaker 1>for example, market analysis huge with big data. Right, So,

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<v Speaker 1>if you're a company and you're looking to launch a product,

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<v Speaker 1>you might you might end up consulting a big data

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<v Speaker 1>analysis company to find out things like what sort of

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<v Speaker 1>aesthetic a roach you need to take with your product,

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<v Speaker 1>what sort of advertising strategy should you incorporate? Lots of

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<v Speaker 1>different bits and pieces that would go into the determination

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<v Speaker 1>of how you would go forward to give yourself the

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<v Speaker 1>best chance of success. Uh yeah, Or if you just

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<v Speaker 1>want to place bets on Oscar winners and make some

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<v Speaker 1>money off of your friends. Uh there's companies for that. Yeah, well,

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<v Speaker 1>I mean I'm not encouraging gambling. Well, I guess what

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<v Speaker 1>I said was just encouraging. But well, well, let's say,

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<v Speaker 1>for example, I've got a friend who throws an oscar

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<v Speaker 1>party every year, and one of the things she does

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<v Speaker 1>is she hands out ballots and you go and you

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<v Speaker 1>pick your choices for who's going to win what, and

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<v Speaker 1>then the person who has the most correct answers wins

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<v Speaker 1>whatever the prize happens to me, And usually it's one

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<v Speaker 1>of those things that says most soulless hack, usually that

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<v Speaker 1>T shirt that sounds like a great T shirts opinion

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<v Speaker 1>brought to you. But so uh no, it's it's usually

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<v Speaker 1>in our case, it's you really like you throw two

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<v Speaker 1>bucks into the bedding pool, and whoever gets a wins

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<v Speaker 1>the kiddie or whatever. Uh So, yeah, it's kind of

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<v Speaker 1>a fun little exercise. Although I didn't participate this year,

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<v Speaker 1>I had threatened that I was going to take the

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<v Speaker 1>information from one of these companies and and put it

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<v Speaker 1>to use. So we wanted to talk a little bit

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<v Speaker 1>about the ways that big data has or that that

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<v Speaker 1>marketing firms have used big data to try and do

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<v Speaker 1>things like predict oscar winners. Now, keep in mind, this

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<v Speaker 1>was not for business purposes, right, It wasn't or a

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<v Speaker 1>lot directly for business purposes. It's not like there are

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<v Speaker 1>companies that are in business of predicting the oscars and

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<v Speaker 1>that's how they make money. This is probably more just

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<v Speaker 1>to show off what they can do exactly, and it's

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<v Speaker 1>a fun way to say, like, hey, look, we're real

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<v Speaker 1>good at crunching numbers, right right. If if we get

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<v Speaker 1>a certain number of our guess is correct, then you

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<v Speaker 1>know that our methodology is really reliable, and therefore you

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<v Speaker 1>should hire us to do whatever else we do. And

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<v Speaker 1>I have a personal caveat about that, but I'll wait

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<v Speaker 1>until the end, all right. So the first one I

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<v Speaker 1>wanted to talk about, the one that I first looked

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<v Speaker 1>at when I was looking into this whole idea, is

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<v Speaker 1>a company called far Site, which started making predictions in

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<v Speaker 1>two thousand thirteen, and I was looking to see if

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<v Speaker 1>they made any for this past year, but didn't find

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<v Speaker 1>any information on that. Fourteen they did, and I think

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<v Speaker 1>I know why they might have stopped. In fourteen, they

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<v Speaker 1>predicted they made six predictions right of the big categories

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<v Speaker 1>in UM in the Oscars, like Best Picture, Best Director,

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<v Speaker 1>Best Actor, Actress, that kind of thing. I think Supporting

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<v Speaker 1>Actor and supporting Actress were the last two, and they

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<v Speaker 1>got all but one correct in two be director, that's right,

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<v Speaker 1>that's right. And then in two fourteen they got all

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<v Speaker 1>six correct, which is why I think they might have stopped,

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<v Speaker 1>because why they were like, well, yah see, let's just

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<v Speaker 1>let's just stop exactly why risk my risk a bad year?

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<v Speaker 1>And and granted this is me guessing they may have

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<v Speaker 1>had other very valid reasons. This is just a wild

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<v Speaker 1>guess on my part. But at any rate, they did

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<v Speaker 1>get six out of six, which sounds pretty impressive. You know,

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<v Speaker 1>I do wonder how would a company make a prediction

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<v Speaker 1>like that, since these evaluations are supposed to be subjective.

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<v Speaker 1>You know, it's hard to watch a an actor's performance

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<v Speaker 1>in one scene, then watch a different actor perform a

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<v Speaker 1>different scene and put a number on which one is

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<v Speaker 1>more likely to win, right, And and if this were

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<v Speaker 1>a pure experience where every single person in the academy

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<v Speaker 1>was completely unaffected by anything on the outside of it,

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<v Speaker 1>and furthermore, the voting process was more straightforward right. If

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<v Speaker 1>all of that were true, I think it'd be very

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<v Speaker 1>difficult for any algorithm to truly predict what would happen. However,

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<v Speaker 1>we live in a world where this voting process is

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<v Speaker 1>a little more complicated and it is very much wound

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<v Speaker 1>up in the Hollywood politics, and Hollywood politics can include

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<v Speaker 1>things like the buzz that a film gets, things that

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<v Speaker 1>like scandals, can affect which movies or actors or directors

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<v Speaker 1>may or may not win that year, Things that are

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<v Speaker 1>outside of just the quality of the film or performance itself.

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<v Speaker 1>So ultimately, that's another reason why oscars feel a little silly,

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<v Speaker 1>because you can never truly be sure that the award

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<v Speaker 1>is going to be the best and maybe going to

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<v Speaker 1>someone for reasons that are on top of the quality

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<v Speaker 1>of their performance. And keep in mind, like we said,

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<v Speaker 1>if if a film is up for nomination, chances are

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<v Speaker 1>it's reached a certain level of quality. So it's not

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<v Speaker 1>like these are necessarily bad movies, but maybe it's not

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<v Speaker 1>the best movie or best performance. I'd like to point

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<v Speaker 1>to Return of the King. I'm a huge Lord of

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<v Speaker 1>the Rings fan. Don't get me wrong, love it, but

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<v Speaker 1>I get a feeling like a lot of the awards

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<v Speaker 1>that went to Return of the King that year were

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<v Speaker 1>because the previous entries of the Lord of the Ring

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<v Speaker 1>series were largely overlooked by the oscars, and this was

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<v Speaker 1>the last chance, I think, so, I think that really

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<v Speaker 1>was part of it. One year, Leonardo DiCaprio may win

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<v Speaker 1>an Oscar for some for not his best role, but

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<v Speaker 1>people just kind of think, right, he like, why doesn't

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<v Speaker 1>even Oscar already? Yeah, this performance he did, uh, you know,

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<v Speaker 1>and and the the reboot of the uh Ernest Goes

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<v Speaker 1>to Camp series, we gotta give it to him for something.

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<v Speaker 1>I would watch that movie. Yeah, that's kind of great.

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<v Speaker 1>I was. I was literally just grasping at straws there.

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<v Speaker 1>But I'm glad you like it. So anyway, farst sight,

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<v Speaker 1>their algorithm actually took a lot of these other elements

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<v Speaker 1>into consideration, these things like industry buzz stuff that again

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<v Speaker 1>that would seem really kind of weird to quantify. So

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<v Speaker 1>they would identify trends and biases that were in the

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<v Speaker 1>media about all of the different nominees. Uh. It took

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<v Speaker 1>into account news events, and so it took all this

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<v Speaker 1>stuff and they quantified it in a way that they

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<v Speaker 1>have not completely revealed because of course they're not going

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<v Speaker 1>to do that. Yeah they want, they want, Yeah, they

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<v Speaker 1>want people to say, oh, well, you have the secret sauce, right,

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<v Speaker 1>that makes this work. So therefore you're not going to

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<v Speaker 1>share the secret sauce because then it's not secret anymore,

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<v Speaker 1>and then anyone could do it. So at any rate,

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<v Speaker 1>it worked really well. Now, some people would say, and

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<v Speaker 1>by some people I mean like some media journalists people

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<v Speaker 1>who cover this stuff for a living, would say that

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<v Speaker 1>a lot of these approaches do very little, that than

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<v Speaker 1>a little more than what pundits do on a regular basis,

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<v Speaker 1>that essentially, this is the same stuff that the people

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<v Speaker 1>who analyze this, like human beings who just watch and

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<v Speaker 1>analyze this, they do the same thing. Yeah. Well, well,

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<v Speaker 1>but the whole point is that, um, you know, you

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<v Speaker 1>don't have to be an industry expert. You can just

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<v Speaker 1>hire a company like this to be your industry sure,

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<v Speaker 1>And and they're able to take in way more data

0:13:09.280 --> 0:13:11.720
<v Speaker 1>than a person could write. They were factoring in things

0:13:11.760 --> 0:13:15.160
<v Speaker 1>like the betting odds in Vegas over which nominee was

0:13:15.200 --> 0:13:18.840
<v Speaker 1>most likely to win, So, you know, taking all of

0:13:18.840 --> 0:13:22.480
<v Speaker 1>that and making it makes sense in a streamlined fashion.

0:13:22.840 --> 0:13:25.240
<v Speaker 1>That's a real challenge even for someone who watches the

0:13:25.280 --> 0:13:28.400
<v Speaker 1>industry closely, right, but for a machine that can crunch

0:13:28.440 --> 0:13:31.920
<v Speaker 1>all that and way the different factors, look at previous

0:13:32.559 --> 0:13:35.800
<v Speaker 1>OSCAR ceremonies and who won, and kind of look at

0:13:35.800 --> 0:13:39.240
<v Speaker 1>the different criteria and say, which of these seems to

0:13:39.360 --> 0:13:43.640
<v Speaker 1>matter the most. Let's build our algorithm to give those

0:13:43.720 --> 0:13:48.240
<v Speaker 1>the most. Uh, wait for the predictions. And that's what's

0:13:48.240 --> 0:13:50.679
<v Speaker 1>going to guide our choices. And it seemed to work.

0:13:51.640 --> 0:13:54.200
<v Speaker 1>Now they're not the only company that's in this. And

0:13:54.240 --> 0:13:56.600
<v Speaker 1>I've got some other ones to mention for this that's

0:13:56.720 --> 0:14:00.600
<v Speaker 1>past year. Uh that when we you know, finally got

0:14:00.640 --> 0:14:03.560
<v Speaker 1>to see the Oscars in two thousand fifteen, uh, and

0:14:03.679 --> 0:14:06.640
<v Speaker 1>kind of didn't watch who won. I was watching w

0:14:06.800 --> 0:14:09.000
<v Speaker 1>w E fast Lane, actually, so I missed out the

0:14:09.000 --> 0:14:12.720
<v Speaker 1>Oscars too. So hul Cogan won the Oscars. Hogan was

0:14:12.760 --> 0:14:16.040
<v Speaker 1>not at ww E fast Like. Man, you're just uninformed

0:14:16.040 --> 0:14:20.040
<v Speaker 1>about professional wrestling and uninformed about the Oscars. Joe, Come on,

0:14:20.120 --> 0:14:22.400
<v Speaker 1>what were you doing that Sunday. I'm pretty sure hul

0:14:22.480 --> 0:14:25.480
<v Speaker 1>Cogan was was a wrestler at any rate. Some of

0:14:25.520 --> 0:14:28.760
<v Speaker 1>the other companies that got into this have acknowledged that

0:14:28.760 --> 0:14:32.560
<v Speaker 1>it's tricky to make predictions about who's going to win

0:14:32.600 --> 0:14:34.760
<v Speaker 1>the Oscars. For one thing, you're working with a much

0:14:34.880 --> 0:14:38.280
<v Speaker 1>smaller data sample than than you would with some of

0:14:38.360 --> 0:14:41.800
<v Speaker 1>the other market analysis these firms would typically do. Right,

0:14:41.840 --> 0:14:45.120
<v Speaker 1>So we are generally talking about data analysis and it's

0:14:45.120 --> 0:14:49.080
<v Speaker 1>not even necessarily all that big of a data question.

0:14:49.200 --> 0:14:51.920
<v Speaker 1>Sometimes it's kind of medium data. Yeah. Yeah, if you're

0:14:51.920 --> 0:14:55.240
<v Speaker 1>talking about trying to predict what six thousand, six hundred

0:14:55.320 --> 0:14:57.960
<v Speaker 1>or so people are going to vote on, that's that's

0:14:58.000 --> 0:15:01.240
<v Speaker 1>really not when we talk about big data. That's not

0:15:01.440 --> 0:15:06.280
<v Speaker 1>that huge the grand scheme of things UM and hypothetically

0:15:06.280 --> 0:15:09.400
<v Speaker 1>the members of the Academy are largely anonymous. That so

0:15:09.480 --> 0:15:13.480
<v Speaker 1>it's you know, you can't you can't pull the individual people.

0:15:13.960 --> 0:15:18.720
<v Speaker 1>So one company UM called Exponential what that their approach

0:15:18.840 --> 0:15:21.400
<v Speaker 1>was They wanted to get a group of web users

0:15:21.440 --> 0:15:26.720
<v Speaker 1>together that they thought would reflect the academy's overall uh

0:15:26.840 --> 0:15:30.160
<v Speaker 1>you know, uh philosophies and biases, that sort of thing.

0:15:30.440 --> 0:15:33.160
<v Speaker 1>So they actually ended up they had something like thirty

0:15:33.160 --> 0:15:36.600
<v Speaker 1>two thousand people that they looked at to create kind

0:15:36.600 --> 0:15:39.680
<v Speaker 1>of a sample academy. And they even went so far

0:15:39.680 --> 0:15:43.120
<v Speaker 1>as to say, oh, well, these people are really in

0:15:43.160 --> 0:15:45.720
<v Speaker 1>this sample are really super liberal, and that doesn't reflect

0:15:45.720 --> 0:15:48.360
<v Speaker 1>the Academy, because the Academy is not super liberal. It's

0:15:48.440 --> 0:15:50.600
<v Speaker 1>it's a little liberal, but not as liberal as these guys.

0:15:50.680 --> 0:15:53.240
<v Speaker 1>So we can't use these guys as our predictor group.

0:15:53.800 --> 0:15:55.920
<v Speaker 1>Like and they would even make say say things like

0:15:55.920 --> 0:15:59.200
<v Speaker 1>people who really liked such and such politician would be

0:15:59.240 --> 0:16:01.280
<v Speaker 1>most likely to vote for such and such movie. But

0:16:01.520 --> 0:16:03.880
<v Speaker 1>because that doesn't reflect the Academy, we're going to ignore that.

0:16:03.920 --> 0:16:06.600
<v Speaker 1>And I'm just like, wow, okay, so you're they were

0:16:06.600 --> 0:16:11.240
<v Speaker 1>finding weird correlations based upon philosophies and movie preferences at

0:16:11.240 --> 0:16:14.880
<v Speaker 1>any rate. Once they managed to get their uh, their

0:16:14.920 --> 0:16:19.160
<v Speaker 1>representative group that they felt reflected the Academy, they discovered

0:16:19.520 --> 0:16:22.200
<v Speaker 1>that it was either going to be Birdman or the

0:16:22.200 --> 0:16:25.640
<v Speaker 1>Imitation Game that would take home the best Picture. Oscar

0:16:25.720 --> 0:16:29.280
<v Speaker 1>and Birdman did um, although pundits were also saying that

0:16:29.360 --> 0:16:32.320
<v Speaker 1>Birdman was going to so take that with a grain

0:16:32.320 --> 0:16:36.000
<v Speaker 1>as salt. Another company called predict Wise analyzes information from

0:16:36.040 --> 0:16:39.520
<v Speaker 1>production markets and award histories. It also predicted Birdman would win.

0:16:40.200 --> 0:16:43.000
<v Speaker 1>But not all of them were so flawless. There was

0:16:43.000 --> 0:16:46.000
<v Speaker 1>a company, there's a company called movie Graph and their

0:16:46.040 --> 0:16:48.920
<v Speaker 1>approach was very different. They looked at the tonal elements

0:16:49.080 --> 0:16:53.040
<v Speaker 1>of the actual films. They looked at recent Oscar winners

0:16:53.480 --> 0:16:55.560
<v Speaker 1>and the movies that won the Oscars, and said, what

0:16:55.640 --> 0:16:57.920
<v Speaker 1>are the elements that that have won Oscars in the

0:16:57.960 --> 0:17:01.520
<v Speaker 1>past few years, because that's indicated trends that people find

0:17:01.840 --> 0:17:06.560
<v Speaker 1>to be really noteworthy and award worthy. And based upon

0:17:06.600 --> 0:17:10.440
<v Speaker 1>that they said, um well, according to to that analysis,

0:17:10.440 --> 0:17:13.720
<v Speaker 1>American Sniper is going to win. Totally did not win.

0:17:14.640 --> 0:17:18.760
<v Speaker 1>Um So not every method works equally. You know, I

0:17:18.800 --> 0:17:21.639
<v Speaker 1>haven't seen American Snipers, so I can't actually judge it.

0:17:21.680 --> 0:17:23.760
<v Speaker 1>But by the title, it does sound like one of

0:17:23.760 --> 0:17:29.680
<v Speaker 1>those directed DVD Tom Bringer movies. Yeah, no comment. Uh

0:17:29.720 --> 0:17:32.919
<v Speaker 1>So again the l A Times, which obviously you know,

0:17:32.960 --> 0:17:36.720
<v Speaker 1>it's right there in the heart of the film industry.

0:17:36.840 --> 0:17:39.720
<v Speaker 1>Uh pointed out that many of these predictions were made

0:17:39.760 --> 0:17:44.040
<v Speaker 1>by media journalists who had been just watching the the

0:17:44.400 --> 0:17:48.919
<v Speaker 1>the awards ceremonies unfold over time and kind of just

0:17:48.960 --> 0:17:51.560
<v Speaker 1>the trends that were going on in Hollywood and have

0:17:51.720 --> 0:17:55.200
<v Speaker 1>suggested that perhaps while some of these stories, like like

0:17:55.359 --> 0:17:58.720
<v Speaker 1>uh the earlier ones might seem really impressive to get

0:17:58.800 --> 0:18:04.160
<v Speaker 1>six out of six predictions, correct, it's not necessarily the

0:18:04.280 --> 0:18:08.960
<v Speaker 1>hard science that some of these companies might be presenting. Okay,

0:18:09.600 --> 0:18:11.239
<v Speaker 1>can I have a Lauren rent Time? Now? You can

0:18:11.480 --> 0:18:13.640
<v Speaker 1>absolutely a Lauren rant about can we have the intry

0:18:13.720 --> 0:18:19.679
<v Speaker 1>music and everything? All right, Lauren rent Time? All right?

0:18:19.720 --> 0:18:22.399
<v Speaker 1>So I do think that it's really cool that we

0:18:22.440 --> 0:18:24.800
<v Speaker 1>are making computers that are as smart as humans and

0:18:24.880 --> 0:18:27.639
<v Speaker 1>making these predictions. I I do genuinely think that that

0:18:27.760 --> 0:18:32.160
<v Speaker 1>is an impressive feat. However, a word about the Academy.

0:18:32.320 --> 0:18:35.520
<v Speaker 1>Al right, So, though yes, the Academy does keep its

0:18:35.600 --> 0:18:39.600
<v Speaker 1>membership list private, several researchers have seted out a majority

0:18:39.680 --> 0:18:43.040
<v Speaker 1>of its membership and found that it's over white, over

0:18:43.080 --> 0:18:46.480
<v Speaker 1>seventy mail, and has a median age of over sixty years.

0:18:47.359 --> 0:18:50.360
<v Speaker 1>With that kind of skew, Odd posit that it's perhaps

0:18:50.680 --> 0:18:54.080
<v Speaker 1>not the hardest thing to determine the winners that these

0:18:54.119 --> 0:18:57.199
<v Speaker 1>people are choosing, right, Yeah, Diversity is not one of

0:18:57.240 --> 0:19:05.080
<v Speaker 1>the Academy's many um uh facets. Lets say, um yeah,

0:19:05.119 --> 0:19:07.960
<v Speaker 1>there there a lot of people have pointed out over

0:19:08.320 --> 0:19:10.520
<v Speaker 1>you know, recently and actually you know, throughout the entire

0:19:10.600 --> 0:19:13.960
<v Speaker 1>history the Academy. People have pointed out the flaws in

0:19:14.040 --> 0:19:17.920
<v Speaker 1>the in the Academy. Uh hasn't stopped the Oscars from

0:19:17.960 --> 0:19:22.679
<v Speaker 1>being portrayed as this incredibly glamorous and prestigious awards ceremony.

0:19:22.720 --> 0:19:25.520
<v Speaker 1>But I keep hoping that with the increased amount of

0:19:25.520 --> 0:19:28.480
<v Speaker 1>attention and focus that we will start to see a

0:19:28.520 --> 0:19:33.320
<v Speaker 1>better representation of a broader spectrum of people, so that

0:19:33.480 --> 0:19:37.760
<v Speaker 1>films that are legitimately awesome but rarely get that kind

0:19:37.760 --> 0:19:41.199
<v Speaker 1>of consideration are grouped in with the ones that you

0:19:41.240 --> 0:19:44.040
<v Speaker 1>know you would as soon as you see the trailer

0:19:45.640 --> 0:19:48.879
<v Speaker 1>is coming out this year exactly and involves a volleyball

0:19:48.960 --> 0:19:52.400
<v Speaker 1>and whatever soon overcoming adversity and injury and that kind

0:19:52.400 --> 0:19:55.240
<v Speaker 1>of thing. A tragedy, personal tragedy. Gotta have that in there.

0:19:55.600 --> 0:19:59.719
<v Speaker 1>I think it's generally a crime. The lack of films

0:19:59.760 --> 0:20:02.600
<v Speaker 1>where presented at the Academy that have the word chainsaw

0:20:02.640 --> 0:20:05.920
<v Speaker 1>in the title. I think they're really missing on the

0:20:06.040 --> 0:20:09.679
<v Speaker 1>important leather face demographic there. There are a lot of

0:20:09.680 --> 0:20:12.680
<v Speaker 1>people who are wearing human skin out there, and they're

0:20:12.680 --> 0:20:17.560
<v Speaker 1>really not being represented. You know, speaking no, no, no, no, no, no.

0:20:17.600 --> 0:20:20.600
<v Speaker 1>We're not segue yet, Joe, Joe, you are obsessed with this,

0:20:20.680 --> 0:20:22.679
<v Speaker 1>all right. So here's a little peek behind the curtain. Folks.

0:20:23.080 --> 0:20:26.200
<v Speaker 1>Joe and I are working on on an upcoming episode

0:20:26.200 --> 0:20:29.520
<v Speaker 1>of tech Stuff, and Joe has been pitching really, really

0:20:29.520 --> 0:20:31.640
<v Speaker 1>hard that I should do a full text of episode

0:20:31.640 --> 0:20:35.760
<v Speaker 1>on Chainsaws. So the fact that it also has spilled

0:20:35.800 --> 0:20:38.080
<v Speaker 1>over into fourth thinking tells me that he's truly passionate

0:20:38.119 --> 0:20:41.200
<v Speaker 1>about this. I need to reconsider my original. Heck, no,

0:20:42.760 --> 0:20:45.960
<v Speaker 1>Chainsaw technology, I'm curious more interesting than you think. No,

0:20:46.119 --> 0:20:48.880
<v Speaker 1>I don't think about Chainsaws night and day, just all

0:20:48.920 --> 0:20:54.560
<v Speaker 1>of two days. That's fair. Okay. So we've talked about

0:20:54.600 --> 0:20:58.760
<v Speaker 1>how you can perhaps use quantitative analysis stated by computers

0:20:59.240 --> 0:21:04.800
<v Speaker 1>to predict how humans would evaluate art and entertainment. But

0:21:04.880 --> 0:21:07.520
<v Speaker 1>what about going at the art and entertainment from the

0:21:07.560 --> 0:21:12.600
<v Speaker 1>other direction. What if we used computer aided quantitative analysis

0:21:12.680 --> 0:21:17.560
<v Speaker 1>and maybe even some aspects resembling big data to determine

0:21:17.600 --> 0:21:21.280
<v Speaker 1>how we make the movies in the first place. So,

0:21:21.280 --> 0:21:25.080
<v Speaker 1>so like talking about a computer writer, like someone's a

0:21:25.119 --> 0:21:28.800
<v Speaker 1>computer writing a screenplay, Well, you know, obviously we can't

0:21:28.800 --> 0:21:31.240
<v Speaker 1>do anything like that yet, but we've had whole episodes

0:21:31.280 --> 0:21:35.879
<v Speaker 1>about that. Yeah, it's kind of unpleasant to realize how

0:21:35.920 --> 0:21:39.399
<v Speaker 1>close we are to that in some ways. Now I

0:21:39.480 --> 0:21:43.200
<v Speaker 1>want to give a little analogy here. If you work

0:21:43.200 --> 0:21:48.720
<v Speaker 1>in creating content, you've heard of content, Yeah, creating content

0:21:48.920 --> 0:21:52.680
<v Speaker 1>for the web, you will know that there are certain

0:21:53.600 --> 0:21:56.320
<v Speaker 1>things you can look at in your data analytics. You

0:21:56.359 --> 0:22:00.200
<v Speaker 1>might look at Google Analytics for your website and come

0:22:00.280 --> 0:22:04.600
<v Speaker 1>up with uh tips for how you create new content. So,

0:22:04.680 --> 0:22:07.840
<v Speaker 1>for example, you might look at the thousand articles you

0:22:07.880 --> 0:22:10.840
<v Speaker 1>have so far and say, Huh, whenever we do a

0:22:11.080 --> 0:22:15.960
<v Speaker 1>list article, ones that start with an even number get

0:22:16.040 --> 0:22:19.520
<v Speaker 1>this percentage fewer clicks than ones that start with an

0:22:19.560 --> 0:22:23.760
<v Speaker 1>odd number. So maybe when we create new content that

0:22:23.920 --> 0:22:26.120
<v Speaker 1>is list based, we should always start it with an

0:22:26.119 --> 0:22:30.600
<v Speaker 1>odd number. Or maybe we use this word in the title,

0:22:30.600 --> 0:22:33.520
<v Speaker 1>and when when we use this word, it gets this

0:22:33.680 --> 0:22:37.159
<v Speaker 1>percentage fewer clicks than when we use a synonym for

0:22:37.200 --> 0:22:40.080
<v Speaker 1>the word that's this other word. You can get into

0:22:40.200 --> 0:22:43.000
<v Speaker 1>really minute analysis. Oh yeah yeah. And and if that

0:22:43.080 --> 0:22:46.080
<v Speaker 1>sounds a little bit too cold and calculating, I mean

0:22:46.240 --> 0:22:48.600
<v Speaker 1>we we do at a certain point here. It has

0:22:48.600 --> 0:22:52.480
<v Speaker 1>to works, uh, use that kind of information to guide

0:22:52.960 --> 0:22:55.840
<v Speaker 1>what kind of information we put out. Like for example,

0:22:55.840 --> 0:22:57.679
<v Speaker 1>on one of our video shows, brain Stuff, we we

0:22:57.760 --> 0:23:00.440
<v Speaker 1>look at we look at the videos that we watched

0:23:00.480 --> 0:23:03.960
<v Speaker 1>the most often and we say once about animals are

0:23:04.000 --> 0:23:07.119
<v Speaker 1>getting less attention than one's about the human body, So

0:23:07.200 --> 0:23:09.040
<v Speaker 1>let's do more about the human body, because that's what

0:23:09.080 --> 0:23:11.439
<v Speaker 1>people seem to like. But the kind of concerns that

0:23:11.520 --> 0:23:15.560
<v Speaker 1>go into how you say title content for the web

0:23:15.680 --> 0:23:19.440
<v Speaker 1>to have better traffic performance, that's a fairly small concern.

0:23:20.119 --> 0:23:23.120
<v Speaker 1>You're not like writing the article based on this. It's

0:23:23.200 --> 0:23:25.879
<v Speaker 1>just you know, you're you're doing something about how you

0:23:25.960 --> 0:23:29.800
<v Speaker 1>phrase the title or the pagination structure or something like that.

0:23:30.440 --> 0:23:33.960
<v Speaker 1>It's really presentation. Yeah, you can apply the same thing

0:23:34.080 --> 0:23:37.400
<v Speaker 1>to movies, and it's really up to you how far

0:23:37.640 --> 0:23:40.600
<v Speaker 1>you want to go with this, with this you know,

0:23:40.760 --> 0:23:45.359
<v Speaker 1>scrambling of elements. Yeah, it's so. First of all, it

0:23:45.480 --> 0:23:50.240
<v Speaker 1>is not unusual and and the screenwriting world to have

0:23:50.440 --> 0:23:53.720
<v Speaker 1>a writer turn in a screenplay. Uh, it's been attached

0:23:53.720 --> 0:23:56.600
<v Speaker 1>to a production and director has been attached. And then

0:23:57.000 --> 0:24:00.520
<v Speaker 1>for the either the movie studio, the director or producer

0:24:00.800 --> 0:24:03.439
<v Speaker 1>someone involved in the production to decide, you know, the

0:24:03.480 --> 0:24:05.919
<v Speaker 1>screenplay needs to be punched up a bit. It can't.

0:24:06.240 --> 0:24:08.720
<v Speaker 1>It's it's not quite where we need need it to

0:24:08.760 --> 0:24:10.680
<v Speaker 1>be in order to make the movie we want to make.

0:24:11.080 --> 0:24:13.919
<v Speaker 1>You ever get to the credits in a movie that

0:24:14.160 --> 0:24:17.120
<v Speaker 1>really wasn't all that great, and then you see written

0:24:17.200 --> 0:24:21.920
<v Speaker 1>by and they're like six names yelp, and there's probably

0:24:21.920 --> 0:24:25.320
<v Speaker 1>another six or seven that got left off for some reason. Right, yeah,

0:24:25.400 --> 0:24:28.600
<v Speaker 1>this is this is where you get people doctoring a

0:24:28.760 --> 0:24:31.640
<v Speaker 1>screenplay in order to try and uh and make it

0:24:31.760 --> 0:24:36.120
<v Speaker 1>more appealing or more more marketable, whatever it is. You're

0:24:36.160 --> 0:24:40.320
<v Speaker 1>just better, just more punchy. Times, sometimes it means removing

0:24:40.320 --> 0:24:43.000
<v Speaker 1>an entire character from a story. You might look in

0:24:43.080 --> 0:24:45.360
<v Speaker 1>and say, well, this character superfluous. Let's remove them, give

0:24:45.400 --> 0:24:47.000
<v Speaker 1>some of the lines to some of these other characters,

0:24:47.000 --> 0:24:50.000
<v Speaker 1>cut the rest and move forward, or adding another character,

0:24:50.040 --> 0:24:51.679
<v Speaker 1>like in Silent Hill when they realized that they were

0:24:51.720 --> 0:24:54.880
<v Speaker 1>literally no men in the movie other than pyramid Head,

0:24:56.760 --> 0:25:02.480
<v Speaker 1>and then Sean Bean happen to a wild ghost movie.

0:25:02.720 --> 0:25:09.040
<v Speaker 1>He actually doesn't. It's like the one movie series that happens. No,

0:25:09.280 --> 0:25:13.240
<v Speaker 1>he's just left in in this bleak, gray solitude forever. Alright.

0:25:13.240 --> 0:25:18.840
<v Speaker 1>Well that's well at any rates. So normally we assign

0:25:19.000 --> 0:25:24.000
<v Speaker 1>humans the task of doctoring screenplays. However, there have been

0:25:24.040 --> 0:25:26.320
<v Speaker 1>a couple of companies that have come out and suggested

0:25:26.359 --> 0:25:31.280
<v Speaker 1>that they have some algorithms that can help analyze the screenplay.

0:25:31.440 --> 0:25:35.520
<v Speaker 1>See what elements would really uh supposedly at any rate

0:25:36.000 --> 0:25:39.880
<v Speaker 1>um uh do really well with audiences, which ones might

0:25:39.920 --> 0:25:44.399
<v Speaker 1>fall flat? And therefore you could follow the very cold

0:25:44.440 --> 0:25:48.200
<v Speaker 1>algorithm and doctor your screenplay so that it has the

0:25:48.240 --> 0:25:50.960
<v Speaker 1>best potential to be a big hit. Right, So we're

0:25:50.960 --> 0:25:53.800
<v Speaker 1>talking about taking a process that used to be done

0:25:54.000 --> 0:25:59.119
<v Speaker 1>more on the say the perhaps well informed intuitions of

0:25:59.200 --> 0:26:01.280
<v Speaker 1>somebody in char charge. They look at a script and

0:26:01.320 --> 0:26:03.760
<v Speaker 1>say this, and right, we need to make some changes.

0:26:04.520 --> 0:26:08.000
<v Speaker 1>Now we can actually base this on data. Yeah, and

0:26:08.119 --> 0:26:12.600
<v Speaker 1>you can say, well, we've analyzed seven thousand movies over

0:26:12.640 --> 0:26:16.080
<v Speaker 1>the past, however, and and movies that had this element

0:26:16.520 --> 0:26:19.520
<v Speaker 1>didn't do as well as movies that substituted it for

0:26:19.560 --> 0:26:24.280
<v Speaker 1>this other element. Therefore, we can recommend the following script changes. Yeah.

0:26:24.400 --> 0:26:29.320
<v Speaker 1>Worldwide Motion Pictures Group UH introduced an algorithmic that the

0:26:29.320 --> 0:26:31.600
<v Speaker 1>company said that it could evaluate a script based upon

0:26:31.840 --> 0:26:35.480
<v Speaker 1>past films successes and failures. Were largely talking about box

0:26:35.520 --> 0:26:39.000
<v Speaker 1>office success here, so not necessarily awards consideration, but or

0:26:39.040 --> 0:26:41.399
<v Speaker 1>like rotten Tomatoes score. But yeah, right right, you know

0:26:41.480 --> 0:26:44.000
<v Speaker 1>they're literally looking at how many tickets were sold. That's

0:26:44.040 --> 0:26:47.520
<v Speaker 1>the mark of success as far as they're concerned, not

0:26:47.800 --> 0:26:51.560
<v Speaker 1>artistic success, nothing like that. It's specifically how many butts

0:26:51.600 --> 0:26:54.240
<v Speaker 1>did you put in seats. We're not running a charity here.

0:26:54.320 --> 0:26:58.560
<v Speaker 1>Shakespeare got to get paid son. Okay, So it could

0:26:58.560 --> 0:27:02.360
<v Speaker 1>actually analyze script elements and have historically derived audience reaction

0:27:02.560 --> 0:27:05.280
<v Speaker 1>to those elements. So let's say that you're writing your

0:27:05.320 --> 0:27:07.920
<v Speaker 1>screenplay and you want to incorporate a sweet old lady

0:27:07.920 --> 0:27:11.119
<v Speaker 1>who dispenses pithy advice, and then you would check the

0:27:11.160 --> 0:27:14.040
<v Speaker 1>algorithm to see how such characters had resonated with past

0:27:14.080 --> 0:27:18.160
<v Speaker 1>audiences in various other movies. If this sounds horribly mechanical

0:27:18.280 --> 0:27:22.760
<v Speaker 1>and uninspiring, you're pretty much right. I want to give

0:27:22.760 --> 0:27:25.280
<v Speaker 1>a few examples. For there was a New York Times

0:27:25.320 --> 0:27:31.120
<v Speaker 1>piece from covering what this Worldwide Motion Pictures Group did,

0:27:31.800 --> 0:27:35.520
<v Speaker 1>and they explained their services by saying, okay, here's an

0:27:35.520 --> 0:27:39.240
<v Speaker 1>example in movies with demons. You remember a while back,

0:27:39.400 --> 0:27:44.000
<v Speaker 1>demon movies were really big activity all, and they said

0:27:44.040 --> 0:27:51.040
<v Speaker 1>that quote targeting demons unquote do better than quote summoned demons.

0:27:51.480 --> 0:27:54.639
<v Speaker 1>So if you have a scene where you've got characters

0:27:54.680 --> 0:27:56.920
<v Speaker 1>who are using a weigia board or they draw a

0:27:56.960 --> 0:27:59.720
<v Speaker 1>big pentagram on the ground and bring demons up out

0:27:59.720 --> 0:28:02.840
<v Speaker 1>of how Those are not as good as demons that

0:28:02.920 --> 0:28:05.919
<v Speaker 1>show up from out of nowhere and harass you of

0:28:05.960 --> 0:28:10.200
<v Speaker 1>their own agency. Right, So they have they have chosen,

0:28:10.760 --> 0:28:13.879
<v Speaker 1>They have chosen to torment you for reasons that the

0:28:13.920 --> 0:28:16.120
<v Speaker 1>demon is aware of, but the character may or may

0:28:16.119 --> 0:28:20.040
<v Speaker 1>not be. They certainly weren't summoned. So if you write

0:28:20.040 --> 0:28:22.679
<v Speaker 1>a horror screenplay where the characters get out the Wigi

0:28:22.760 --> 0:28:25.120
<v Speaker 1>board to get in contact with the demon and that's

0:28:25.119 --> 0:28:28.440
<v Speaker 1>how it all starts, these guys will tell you no, no, no, no, no,

0:28:28.440 --> 0:28:30.960
<v Speaker 1>no no, you're gonna lose money on this. You've got

0:28:30.960 --> 0:28:32.560
<v Speaker 1>to get rid of the Weiji board and just have

0:28:32.640 --> 0:28:36.160
<v Speaker 1>the demons show up. Yeah, you might start to think, hey,

0:28:36.160 --> 0:28:38.920
<v Speaker 1>this suggests that it doesn't matter how how good the

0:28:38.960 --> 0:28:41.840
<v Speaker 1>writing is. It just matters which elements you put into

0:28:41.880 --> 0:28:44.280
<v Speaker 1>the movie. And there in lies one of the problems.

0:28:44.920 --> 0:28:47.360
<v Speaker 1>I want to cover a few more examples they give.

0:28:47.400 --> 0:28:49.560
<v Speaker 1>Also mentioned in the New York Times piece was that

0:28:49.680 --> 0:28:56.200
<v Speaker 1>quote guardian heroes do better than quote cursed heroes. Because

0:28:56.400 --> 0:28:59.360
<v Speaker 1>that Star Wars movie did so poorly. I'm so glad

0:28:59.400 --> 0:29:04.080
<v Speaker 1>that they've put it this out. I guess it all

0:29:04.120 --> 0:29:08.120
<v Speaker 1>depends on what how they are defining guardian versus curse. Okay,

0:29:08.160 --> 0:29:11.040
<v Speaker 1>all right, that's fair. This the same company was also

0:29:11.160 --> 0:29:12.840
<v Speaker 1>covered in a piece I'm going to talk about in

0:29:12.880 --> 0:29:15.000
<v Speaker 1>the second that was a marketplace piece on this type

0:29:15.000 --> 0:29:19.400
<v Speaker 1>of business, and they said that, for example, in slasher

0:29:19.480 --> 0:29:23.400
<v Speaker 1>films where there are killings, the killings should be random

0:29:23.640 --> 0:29:27.640
<v Speaker 1>rather than motivated by a quote something rational like revenge

0:29:27.640 --> 0:29:31.720
<v Speaker 1>your money. One last one the Worldwide Motion Pictures Group people.

0:29:31.760 --> 0:29:34.040
<v Speaker 1>They said that in a film that's based on a

0:29:34.080 --> 0:29:37.160
<v Speaker 1>true story, you've got to stick to the facts. They

0:29:37.200 --> 0:29:40.240
<v Speaker 1>said that films that deviate from the facts pretty far

0:29:40.360 --> 0:29:42.320
<v Speaker 1>in a quote based on a true story don't do

0:29:42.360 --> 0:29:46.000
<v Speaker 1>as well. Because they give this explanation, the audience will

0:29:46.080 --> 0:29:49.280
<v Speaker 1>google the story when they leave the theater. More than

0:29:49.320 --> 0:29:52.760
<v Speaker 1>half the audience. They said, Yeah, I don't know where

0:29:52.760 --> 0:29:55.240
<v Speaker 1>they get that, which is weird because you would think, like,

0:29:55.600 --> 0:29:58.400
<v Speaker 1>when they're leaving the theater, they've already bought the ticket

0:29:58.480 --> 0:30:01.040
<v Speaker 1>to see the movie. Don't matter one way. Well, but

0:30:01.080 --> 0:30:06.640
<v Speaker 1>they could tell their friends. Yea. So this company likes

0:30:06.720 --> 0:30:10.440
<v Speaker 1>to emphasize, or let's say, liked because we have some

0:30:10.640 --> 0:30:13.440
<v Speaker 1>news about how they end up. Yeah, they liked to

0:30:13.480 --> 0:30:17.680
<v Speaker 1>emphasize that the decisions and the suggestions made for changing

0:30:17.720 --> 0:30:21.440
<v Speaker 1>these screenplays are not made by machines. They don't like

0:30:22.200 --> 0:30:25.600
<v Speaker 1>run the document of the screenplay through a computer program

0:30:25.600 --> 0:30:28.480
<v Speaker 1>and the computer tells you what to do. Instead, it's

0:30:28.720 --> 0:30:33.120
<v Speaker 1>humans aided by data. So it's humans who are using data,

0:30:33.160 --> 0:30:37.120
<v Speaker 1>and that is, you know, like obviously computer aided machine

0:30:37.120 --> 0:30:41.200
<v Speaker 1>generated data, but the humans, humans are making the recommendation.

0:30:41.480 --> 0:30:43.680
<v Speaker 1>So I think of it kind of like imagine the

0:30:43.800 --> 0:30:48.200
<v Speaker 1>earliest days of Pandora, where you would, uh, you know,

0:30:48.240 --> 0:30:50.960
<v Speaker 1>they get a piece of music and they would start

0:30:51.000 --> 0:30:53.640
<v Speaker 1>to analyze it and add all these meta tags to

0:30:53.720 --> 0:30:57.560
<v Speaker 1>that music to identify the various components of it, and

0:30:57.600 --> 0:31:00.360
<v Speaker 1>then uh, they would start to map the those to

0:31:00.520 --> 0:31:02.920
<v Speaker 1>other pieces of music that shared at least a certain

0:31:03.040 --> 0:31:05.560
<v Speaker 1>number of those same qualities. And therefore, when you would

0:31:05.800 --> 0:31:08.920
<v Speaker 1>build a Pandora radio station based off a particular song,

0:31:09.360 --> 0:31:12.040
<v Speaker 1>you would get other songs that had elements at least

0:31:12.560 --> 0:31:16.000
<v Speaker 1>of that first song in common. Uh. And I think

0:31:16.000 --> 0:31:18.840
<v Speaker 1>of it similarly to that, like they're looking at all

0:31:18.840 --> 0:31:22.240
<v Speaker 1>this accumulated information that they have stored in some form

0:31:22.280 --> 0:31:25.360
<v Speaker 1>of database, but that it's a person who's actually going

0:31:25.400 --> 0:31:29.840
<v Speaker 1>through and reading the screenplay to identify them exactly. Um,

0:31:29.960 --> 0:31:33.600
<v Speaker 1>and the company, Uh, this particular company isn't it doesn't

0:31:33.640 --> 0:31:36.800
<v Speaker 1>isn't around anymore. It imploded in two thousand and fourteen.

0:31:37.560 --> 0:31:42.320
<v Speaker 1>The company was in debt and controversially, a whole bunch

0:31:42.360 --> 0:31:45.880
<v Speaker 1>of folks were either fired or left the company, and

0:31:46.000 --> 0:31:49.200
<v Speaker 1>some of the big players immediately formed another company called

0:31:49.240 --> 0:31:52.360
<v Speaker 1>C four and then bought up all the previous companies

0:31:52.760 --> 0:31:57.080
<v Speaker 1>intellectual property assets. Um. So, would you say it was

0:31:57.080 --> 0:32:02.920
<v Speaker 1>a heroic implosion or a guardian employer cursed guarding? Yeah,

0:32:03.600 --> 0:32:06.160
<v Speaker 1>I think it was a I think it was a

0:32:07.240 --> 0:32:11.520
<v Speaker 1>random slasher implosion maybe, but at any rate, Yeah. So,

0:32:11.560 --> 0:32:14.360
<v Speaker 1>the the idea behind this was just to check and

0:32:14.440 --> 0:32:17.440
<v Speaker 1>see if there there are elements within a script that

0:32:17.440 --> 0:32:19.320
<v Speaker 1>could be tweaked. So it wasn't meant to be like

0:32:19.400 --> 0:32:24.320
<v Speaker 1>a here are the twenty different things, uh the perfect

0:32:24.440 --> 0:32:27.479
<v Speaker 1>movie script should have in it, because if you did that,

0:32:27.520 --> 0:32:29.560
<v Speaker 1>you would probably end up with a movie very similar

0:32:29.600 --> 0:32:33.000
<v Speaker 1>to the that music we talked about with the songs

0:32:33.040 --> 0:32:36.320
<v Speaker 1>that were generated by all the elements people identified as

0:32:36.320 --> 0:32:41.600
<v Speaker 1>either being wonderful or awful. Remember those? Um, we all

0:32:41.640 --> 0:32:44.600
<v Speaker 1>agreed that the worst song was way more interesting than

0:32:44.680 --> 0:32:48.000
<v Speaker 1>the best one. I still sing that song to myself

0:32:48.040 --> 0:32:51.520
<v Speaker 1>sometimes do all your shopping at Walmart. Uh yeah, so,

0:32:55.840 --> 0:32:57.959
<v Speaker 1>but yeah, you wanted to talk about this other company

0:32:58.040 --> 0:33:00.200
<v Speaker 1>to write Joe, Well, just that there was an other

0:33:00.240 --> 0:33:04.440
<v Speaker 1>company who did a similar service that were called epagogics,

0:33:05.280 --> 0:33:08.760
<v Speaker 1>and they style themselves with the capitalized decks at the end,

0:33:08.760 --> 0:33:11.320
<v Speaker 1>I believe, But they do a similar kind of thing.

0:33:11.400 --> 0:33:14.920
<v Speaker 1>They have analysts that read a script and they've got

0:33:15.440 --> 0:33:19.560
<v Speaker 1>a computer enhanced algorithm that sort of compares the script

0:33:19.600 --> 0:33:23.520
<v Speaker 1>elements against data that they've collected about what what elements

0:33:23.560 --> 0:33:28.000
<v Speaker 1>perform well, and they make recommendations. It's a similar idea.

0:33:28.560 --> 0:33:30.760
<v Speaker 1>They can actually go through a script and give it

0:33:30.840 --> 0:33:34.800
<v Speaker 1>a score that is aided by this data, and then

0:33:34.840 --> 0:33:38.280
<v Speaker 1>they feed that score through their computer algorithm and it

0:33:38.320 --> 0:33:41.680
<v Speaker 1>makes a prediction about how much money this script would

0:33:41.680 --> 0:33:46.560
<v Speaker 1>make at the box office given some kind of error bar. Obviously,

0:33:46.720 --> 0:33:51.320
<v Speaker 1>they would claim that they they offer a very valuable service.

0:33:51.880 --> 0:33:54.200
<v Speaker 1>It's hard to know the level of quality in the

0:33:54.240 --> 0:33:57.440
<v Speaker 1>services these kinds of companies provide, especially because I'm I'm

0:33:57.440 --> 0:34:01.360
<v Speaker 1>sure lots of customers who use their services are not

0:34:01.520 --> 0:34:05.600
<v Speaker 1>super forthcoming about that fact. Yeah, and also I mean

0:34:05.680 --> 0:34:08.920
<v Speaker 1>without being able to see what the product was before

0:34:09.440 --> 0:34:12.200
<v Speaker 1>versus after, it's impossible for us to make any determination

0:34:12.239 --> 0:34:16.399
<v Speaker 1>at all right now. On one hand, I can see how,

0:34:16.560 --> 0:34:21.680
<v Speaker 1>especially as time goes on, services like this could get

0:34:21.719 --> 0:34:24.759
<v Speaker 1>more and more accurate and effective. Like I I don't

0:34:24.880 --> 0:34:29.520
<v Speaker 1>doubt that you can probably get some pretty good predictions

0:34:29.560 --> 0:34:33.680
<v Speaker 1>online just by analyzing script elements about what kinds of

0:34:33.680 --> 0:34:38.080
<v Speaker 1>things will make money. But personally I hate this idea.

0:34:38.920 --> 0:34:41.600
<v Speaker 1>I'm not a big fan either. Well, there's there's nothing

0:34:41.680 --> 0:34:44.799
<v Speaker 1>saying that plugging in a little puzzle piece like this

0:34:45.360 --> 0:34:48.840
<v Speaker 1>making a change. Like for example, this epico jics company

0:34:49.000 --> 0:34:51.920
<v Speaker 1>UM did a did a piece with with NPRS Marketplace

0:34:52.200 --> 0:34:56.400
<v Speaker 1>a while back and told a story about one movie

0:34:56.480 --> 0:34:59.439
<v Speaker 1>that they that they went in to help doctor and

0:34:59.719 --> 0:35:02.799
<v Speaker 1>they recommended cutting down the roles of one of the

0:35:03.160 --> 0:35:06.839
<v Speaker 1>one of the supporting characters. And the head you know,

0:35:06.880 --> 0:35:10.399
<v Speaker 1>the person that they were talking to, laughed and said like, oh,

0:35:10.440 --> 0:35:12.839
<v Speaker 1>that's great. You just saved me like twelve million bucks

0:35:12.840 --> 0:35:15.759
<v Speaker 1>because I realized that, uh, this big actress that I

0:35:15.760 --> 0:35:17.840
<v Speaker 1>was going to get for this big supporting role, I

0:35:17.880 --> 0:35:20.560
<v Speaker 1>don't need her anymore I can, I can hire someone cheaper,

0:35:20.680 --> 0:35:22.520
<v Speaker 1>right because now now this, if this role is not

0:35:22.560 --> 0:35:24.960
<v Speaker 1>going to be that prominent, then why would I spend

0:35:24.960 --> 0:35:27.919
<v Speaker 1>the money on someone huge a huge name for that.

0:35:28.160 --> 0:35:30.960
<v Speaker 1>But but you know, there's nothing saying that that role

0:35:31.000 --> 0:35:35.360
<v Speaker 1>that would have gone to Angelina Jolie wouldn't be better

0:35:35.400 --> 0:35:39.319
<v Speaker 1>served by having a different actress there. Uh. And just

0:35:39.400 --> 0:35:42.919
<v Speaker 1>to remind again, this is not a process that's new.

0:35:43.040 --> 0:35:47.480
<v Speaker 1>Script doctoring has been around. We're just talking about applying new,

0:35:47.640 --> 0:35:51.200
<v Speaker 1>newly quantitative methods to it. Instead of going on the

0:35:51.239 --> 0:35:55.600
<v Speaker 1>intuitions of somebody in charge, we're going on data that

0:35:55.680 --> 0:35:58.399
<v Speaker 1>we have, what we can compare a script. Right, This

0:35:58.480 --> 0:36:00.640
<v Speaker 1>is this is you know the for you might think

0:36:00.640 --> 0:36:02.880
<v Speaker 1>of script doctoring as something in the screenplay is just

0:36:02.920 --> 0:36:06.520
<v Speaker 1>not working. Something is it's clunky, or the story seems

0:36:06.520 --> 0:36:08.680
<v Speaker 1>to get bogged down in the second act, something along

0:36:08.680 --> 0:36:12.280
<v Speaker 1>those lines. Whereas in this approach, you're thinking you should

0:36:12.360 --> 0:36:17.359
<v Speaker 1>change this, uh, this old lady character into a young

0:36:17.440 --> 0:36:21.640
<v Speaker 1>man character, because young men male characters in this particular

0:36:21.760 --> 0:36:25.279
<v Speaker 1>role end up selling x number more tickets than if

0:36:25.280 --> 0:36:27.120
<v Speaker 1>you were to use an old lady character in this

0:36:27.120 --> 0:36:30.600
<v Speaker 1>particular type of role within your story and that'specially if

0:36:30.600 --> 0:36:33.319
<v Speaker 1>they're played by an actor named Corey. And that's when

0:36:33.320 --> 0:36:35.920
<v Speaker 1>it starts to that's when it really starts to feel

0:36:36.160 --> 0:36:39.080
<v Speaker 1>like this is getting a little too weird and cold

0:36:39.120 --> 0:36:43.160
<v Speaker 1>and calculated and less like art. Right, it's I don't know,

0:36:43.280 --> 0:36:45.560
<v Speaker 1>like like to to too Devil's advocate and I love

0:36:45.640 --> 0:36:49.560
<v Speaker 1>making that noun a verb. Uh. You know, I would

0:36:49.600 --> 0:36:53.719
<v Speaker 1>still argue that it's up to the the artists, even

0:36:53.760 --> 0:36:57.839
<v Speaker 1>if they are working off of cold data, It's up

0:36:57.840 --> 0:37:00.400
<v Speaker 1>to the artists to do what they will with that

0:37:00.480 --> 0:37:02.719
<v Speaker 1>data and go like, oh, no, you're right, like like

0:37:02.760 --> 0:37:06.040
<v Speaker 1>this young man character could could be an amazing character,

0:37:06.080 --> 0:37:08.600
<v Speaker 1>and maybe that voice would be a really interesting voice.

0:37:08.640 --> 0:37:11.799
<v Speaker 1>And and maybe the reason I don't know, I mean,

0:37:11.840 --> 0:37:13.360
<v Speaker 1>you know, it's what you make of it, is all

0:37:13.400 --> 0:37:15.040
<v Speaker 1>I'm saying. I can see that. But I can also

0:37:15.080 --> 0:37:18.600
<v Speaker 1>see as a writer, someone writing something and you create,

0:37:18.719 --> 0:37:20.560
<v Speaker 1>you create a vision and you write it down and

0:37:20.560 --> 0:37:22.880
<v Speaker 1>then having a producer come in and say, yeah, this

0:37:22.960 --> 0:37:26.120
<v Speaker 1>character that you create, the strong young female character needs

0:37:26.160 --> 0:37:31.080
<v Speaker 1>to be a strong male character, because yeah, and that

0:37:31.120 --> 0:37:34.120
<v Speaker 1>would really upset me. So I mean, these are the

0:37:34.120 --> 0:37:37.440
<v Speaker 1>sort of things and also, like the other objections here, Again,

0:37:37.960 --> 0:37:41.080
<v Speaker 1>this is looking at specific story elements, not necessarily the

0:37:41.120 --> 0:37:44.319
<v Speaker 1>execution of those elements, but just whether they're they're or

0:37:44.320 --> 0:37:47.759
<v Speaker 1>not right. So, I mean, obviously you can't tell by

0:37:47.800 --> 0:37:51.680
<v Speaker 1>looking into script what kind of star power or or

0:37:51.719 --> 0:37:54.200
<v Speaker 1>just presence the actors are going to bring, or just

0:37:54.280 --> 0:37:57.279
<v Speaker 1>how well written the part is. Right, Yeah, you can't

0:37:57.280 --> 0:37:59.680
<v Speaker 1>even tell about the I guess maybe the quality or

0:37:59.719 --> 0:38:02.239
<v Speaker 1>the dial of the dialogue. Yeah, if you if all

0:38:02.280 --> 0:38:05.600
<v Speaker 1>you're doing is doing the meta data approach, saying, uh,

0:38:05.640 --> 0:38:09.160
<v Speaker 1>it's you know, the demographic information of whatever element it is,

0:38:09.239 --> 0:38:11.640
<v Speaker 1>or you know, you know this movie is set in Seattle,

0:38:11.719 --> 0:38:14.400
<v Speaker 1>and film set in Seattle, blah blah blah, you should

0:38:14.400 --> 0:38:17.240
<v Speaker 1>really set this movie, uh, you know over in Portland

0:38:17.239 --> 0:38:19.520
<v Speaker 1>instead or something along those lines. And you'll be like, well,

0:38:19.960 --> 0:38:24.040
<v Speaker 1>you know, it's it seems so arbitrary. But also it's

0:38:24.040 --> 0:38:26.920
<v Speaker 1>all based upon past data, and that suggests that you

0:38:26.960 --> 0:38:30.240
<v Speaker 1>can't do anything original because it has to be weighed

0:38:30.280 --> 0:38:33.520
<v Speaker 1>against things that have already happened. And it could be

0:38:34.000 --> 0:38:36.160
<v Speaker 1>that there's a lot of really crappy movies that have

0:38:36.200 --> 0:38:38.920
<v Speaker 1>been made, but you've created a really cool idea that

0:38:38.960 --> 0:38:42.160
<v Speaker 1>could be a huge hit. But because all the other

0:38:42.200 --> 0:38:44.960
<v Speaker 1>movies in that space have been crappy. You don't even

0:38:45.000 --> 0:38:47.200
<v Speaker 1>get the chance. So the example I gave it's a

0:38:47.239 --> 0:38:50.080
<v Speaker 1>bad example. But let's say that you want write a

0:38:50.120 --> 0:38:53.359
<v Speaker 1>dinosaur movie, and you know, let's imagine the Jurassic Park

0:38:53.440 --> 0:38:56.840
<v Speaker 1>never happened, but uh, Tammy and the t Rex and

0:38:56.920 --> 0:39:00.880
<v Speaker 1>Theodore Rex both happened, and they are terrible movies. So

0:39:00.920 --> 0:39:02.719
<v Speaker 1>then you write a movie where there are humans and

0:39:02.719 --> 0:39:05.520
<v Speaker 1>dinosaurs it together. And because you've got these these other

0:39:05.600 --> 0:39:09.200
<v Speaker 1>pieces that are poisoning the well, the data comes back

0:39:09.200 --> 0:39:12.120
<v Speaker 1>and says, there's no way the audiences don't respond well

0:39:12.160 --> 0:39:14.160
<v Speaker 1>to this kind of movie. And then we never would

0:39:14.200 --> 0:39:17.480
<v Speaker 1>have gotten Carnosaur. Yeah, and that would have been a

0:39:17.520 --> 0:39:22.799
<v Speaker 1>shame because that that dinosaur was adorably vicious. But yeah,

0:39:22.920 --> 0:39:25.480
<v Speaker 1>the real the real point here is that it doesn't.

0:39:25.600 --> 0:39:30.560
<v Speaker 1>It discourages people from trying to go in innovative directions

0:39:30.640 --> 0:39:34.560
<v Speaker 1>because there's not data supporting whether or not that would succeed.

0:39:34.640 --> 0:39:36.520
<v Speaker 1>And then producers are saying, well, I'm not gonna put

0:39:36.560 --> 0:39:38.840
<v Speaker 1>money into something where I don't expect to get a

0:39:38.880 --> 0:39:42.120
<v Speaker 1>payback on my investment. Right, Well, this is a thing

0:39:42.160 --> 0:39:46.520
<v Speaker 1>that's common in all kinds of businesses where people want

0:39:46.560 --> 0:39:49.719
<v Speaker 1>a safe bet. Yeah. You know, in a lot of cases,

0:39:49.840 --> 0:39:52.239
<v Speaker 1>the person at the top of a business, they're they're

0:39:52.239 --> 0:39:54.560
<v Speaker 1>looking at a film as an investment. They have to

0:39:54.600 --> 0:39:57.319
<v Speaker 1>spend money to make the film, and they'd rather be

0:39:57.520 --> 0:40:00.960
<v Speaker 1>sure they're get going to get a pretty decent return

0:40:01.160 --> 0:40:04.520
<v Speaker 1>on a film then take a risk. Might you might

0:40:04.560 --> 0:40:06.720
<v Speaker 1>pay off big or it might be a total flop.

0:40:06.840 --> 0:40:10.200
<v Speaker 1>And movies are expensive, Yeah, And so they're looking at

0:40:10.239 --> 0:40:13.080
<v Speaker 1>it as an investment. And and they're saying, well, you know,

0:40:14.320 --> 0:40:16.759
<v Speaker 1>if if I make something that nobody has ever seen

0:40:16.840 --> 0:40:19.120
<v Speaker 1>before and I can't compare it to things that have

0:40:19.200 --> 0:40:22.400
<v Speaker 1>been successful in the past, I'm taking more of a risk.

0:40:22.480 --> 0:40:25.160
<v Speaker 1>I'm putting more of my money on the line, and

0:40:25.560 --> 0:40:28.080
<v Speaker 1>I can't be sure about what I'm going to get back.

0:40:28.960 --> 0:40:32.600
<v Speaker 1>And that's I can understand that from a business perspective.

0:40:32.640 --> 0:40:35.839
<v Speaker 1>I can sympathize with that in terms of making an investment,

0:40:36.160 --> 0:40:38.440
<v Speaker 1>but it is kind of sad that that results in

0:40:39.200 --> 0:40:42.200
<v Speaker 1>fewer movies that take those risks that turn out to

0:40:42.239 --> 0:40:44.880
<v Speaker 1>be the movies we love. I mean, almost all of

0:40:44.920 --> 0:40:47.760
<v Speaker 1>the movies we really love are the kinds of movies

0:40:47.800 --> 0:40:49.880
<v Speaker 1>that do something new. They take a risk they do

0:40:49.960 --> 0:40:54.319
<v Speaker 1>something you've never seen before. I don't know how well

0:40:54.440 --> 0:40:57.800
<v Speaker 1>movies like that would do when compared against the data

0:40:57.920 --> 0:41:02.080
<v Speaker 1>of past hits and Blockbuster Now. Fortunately, I think that

0:41:02.360 --> 0:41:05.640
<v Speaker 1>while we we will continue to see the companies like

0:41:05.680 --> 0:41:09.239
<v Speaker 1>this provide a service to movie studios, I also don't

0:41:09.320 --> 0:41:13.000
<v Speaker 1>think that it's ultimately going to be the thing that

0:41:13.080 --> 0:41:16.839
<v Speaker 1>defines the industry as a whole. So, you know, we

0:41:16.840 --> 0:41:19.640
<v Speaker 1>were painting a lot of doom and gloom, but really, honestly,

0:41:19.719 --> 0:41:21.960
<v Speaker 1>we're not thinking that this is going to happen all

0:41:22.000 --> 0:41:25.359
<v Speaker 1>the time. Always sure, Sure, And also I think there's

0:41:25.360 --> 0:41:28.640
<v Speaker 1>a huge space to uh to come to some kind

0:41:28.680 --> 0:41:31.120
<v Speaker 1>of happy medium with looking at this kind of data

0:41:31.280 --> 0:41:35.759
<v Speaker 1>and and also allowing new ideas to blossom, like like

0:41:35.760 --> 0:41:38.560
<v Speaker 1>like the way that Netflix models its original series. This

0:41:38.640 --> 0:41:41.560
<v Speaker 1>is really cool. So Netflix, you know, they pay people

0:41:41.680 --> 0:41:44.600
<v Speaker 1>to watch Netflix, and then those people what they're doing

0:41:44.719 --> 0:41:48.439
<v Speaker 1>is they are they're essentially creating the tags, very much

0:41:48.440 --> 0:41:51.839
<v Speaker 1>like the Pandora example I gave earlier, critically acclaimed movies

0:41:51.880 --> 0:41:55.040
<v Speaker 1>starring strong female characters that like coffee. Right, Yeah, but

0:41:55.280 --> 0:41:59.640
<v Speaker 1>if you've ever really dug through Netflix where it has

0:41:59.719 --> 0:42:03.520
<v Speaker 1>the very aus categories, sometimes those categories get really hysterical,

0:42:03.960 --> 0:42:08.440
<v Speaker 1>like they can sometimes just the categories all the entertainment

0:42:08.440 --> 0:42:09.919
<v Speaker 1>you need. You don't even need to watch a movie.

0:42:09.960 --> 0:42:12.360
<v Speaker 1>You just look at what the category name is. But

0:42:12.960 --> 0:42:15.200
<v Speaker 1>it's yeah. This comes out of the fact that there

0:42:15.200 --> 0:42:17.440
<v Speaker 1>are people who are tagging these movies and they say, oh,

0:42:17.719 --> 0:42:20.920
<v Speaker 1>you know, this is related to these other films in

0:42:20.960 --> 0:42:23.600
<v Speaker 1>these different ways, so you get you know, you can

0:42:23.600 --> 0:42:26.399
<v Speaker 1>do an analysis. You can compare to films or two

0:42:26.440 --> 0:42:30.160
<v Speaker 1>TV series with Netflix whatever against one another and see

0:42:30.200 --> 0:42:32.399
<v Speaker 1>how how well they match up as far as those

0:42:32.400 --> 0:42:34.960
<v Speaker 1>meta tags go. And this is kind of how Netflix

0:42:35.000 --> 0:42:38.840
<v Speaker 1>creates that recommendation engine, so that if you watch, let's say,

0:42:39.320 --> 0:42:43.760
<v Speaker 1>for instance, I just watched an independent, uh foreign horror

0:42:43.800 --> 0:42:47.080
<v Speaker 1>film last night, and so based upon that, I will

0:42:47.120 --> 0:42:51.240
<v Speaker 1>probably get other recommendations of other independent foreign horror films,

0:42:51.560 --> 0:42:54.359
<v Speaker 1>which is that's exactly what I want. So that's fantastic.

0:42:54.560 --> 0:42:57.480
<v Speaker 1>But they're also using it to guide their decisions. Like

0:42:57.520 --> 0:43:00.879
<v Speaker 1>you said, Lauren, with their original series. Net produces its

0:43:00.920 --> 0:43:05.400
<v Speaker 1>own films and TV shows, and by looking to see

0:43:05.440 --> 0:43:08.400
<v Speaker 1>what people are watching, they get an idea of which

0:43:09.040 --> 0:43:11.279
<v Speaker 1>elements people are most interested in, and then they can

0:43:11.280 --> 0:43:13.880
<v Speaker 1>say all right, Let's develop a show that caters to

0:43:13.960 --> 0:43:16.520
<v Speaker 1>this audience. Yeah, let's let's green light a show. And

0:43:16.600 --> 0:43:20.440
<v Speaker 1>the terrific thing about Netflix's green lighting process is that

0:43:20.760 --> 0:43:23.719
<v Speaker 1>they don't uh, let someone do a pilot and then

0:43:23.840 --> 0:43:27.080
<v Speaker 1>have that pilot sinker swim. That they have someone create

0:43:27.080 --> 0:43:29.719
<v Speaker 1>an entire first season yea, when they release it all

0:43:29.760 --> 0:43:31.759
<v Speaker 1>at once. Yeah, which is so giving to the to

0:43:31.800 --> 0:43:35.799
<v Speaker 1>the creators. Sure, I totally agree. I'm just wondering that

0:43:35.960 --> 0:43:38.680
<v Speaker 1>how come No matter what I watch on Netflix, it

0:43:38.760 --> 0:43:40.960
<v Speaker 1>tells me that the thing I should watch next is

0:43:41.239 --> 0:43:44.440
<v Speaker 1>teenage Mutant Ninja Turtles three Turtles in Time, because it

0:43:44.560 --> 0:43:48.439
<v Speaker 1>knows you, because that is what you should watch next

0:43:48.480 --> 0:43:50.560
<v Speaker 1>to Joe's Surprise. It's not just all the films that

0:43:50.640 --> 0:43:53.759
<v Speaker 1>have the word chainsaw in them. No, Actually, I think

0:43:53.800 --> 0:43:57.640
<v Speaker 1>what it thinks I like is uh, violent mind bending

0:43:57.760 --> 0:44:01.760
<v Speaker 1>thrillers with a strong female lead. That's actually a category

0:44:01.800 --> 0:44:04.520
<v Speaker 1>that I get. Yeah, yeah, I occasionally get that as well.

0:44:05.400 --> 0:44:08.959
<v Speaker 1>So another way we're seeing big data affect the film

0:44:08.960 --> 0:44:12.239
<v Speaker 1>industries through marketing. When a film gets released in one

0:44:12.320 --> 0:44:14.919
<v Speaker 1>part of the world, they might see what types of

0:44:15.719 --> 0:44:18.640
<v Speaker 1>approaches are working or not working, and therefore they can

0:44:18.680 --> 0:44:22.400
<v Speaker 1>actually tweak how they market a film and other regions

0:44:22.480 --> 0:44:25.719
<v Speaker 1>to try and maximize that marketing effect. You know, keep

0:44:25.719 --> 0:44:30.279
<v Speaker 1>in mind, a film's budget is almost nearly matched by

0:44:30.400 --> 0:44:33.920
<v Speaker 1>the marketing budget to kind of push that film out there.

0:44:33.920 --> 0:44:36.560
<v Speaker 1>So if you hear that a film cost like two

0:44:36.920 --> 0:44:39.920
<v Speaker 1>million dollars to make, it probably was another hundred hundred

0:44:39.960 --> 0:44:43.080
<v Speaker 1>fifty million to market. It's crazy how much money is

0:44:43.120 --> 0:44:45.400
<v Speaker 1>going into this, and they of course wanted to be

0:44:45.440 --> 0:44:48.840
<v Speaker 1>as effective as possible. For instance, I've seen uh previews

0:44:48.840 --> 0:44:50.880
<v Speaker 1>for a film that made it look like it was

0:44:50.960 --> 0:44:53.680
<v Speaker 1>kind of a comedy, and later on seeing previews for

0:44:53.719 --> 0:44:55.719
<v Speaker 1>the same film that make it look like it's a

0:44:55.760 --> 0:44:59.719
<v Speaker 1>you know, a nail biting thriller. I think, like, what

0:45:00.239 --> 0:45:02.520
<v Speaker 1>which movie am I going to actually see? What? It

0:45:02.560 --> 0:45:06.160
<v Speaker 1>couldn't be a third third trailer will play up the romance,

0:45:06.200 --> 0:45:08.440
<v Speaker 1>And there was one recently. I wish I could remember

0:45:08.440 --> 0:45:10.319
<v Speaker 1>what film it was, but I remember when I saw

0:45:10.320 --> 0:45:12.760
<v Speaker 1>the preview, I thought, this seems like a totally different

0:45:12.800 --> 0:45:15.439
<v Speaker 1>movie than the previews I saw like four months ago,

0:45:16.120 --> 0:45:17.480
<v Speaker 1>But I can't remember off the top of my head

0:45:17.520 --> 0:45:20.360
<v Speaker 1>where it was so good story Jonathan Um. It's also

0:45:20.680 --> 0:45:25.879
<v Speaker 1>telling us more about how people consume content. So, uh,

0:45:25.920 --> 0:45:29.960
<v Speaker 1>Netflix releasing all those episodes, like releasing a full season

0:45:30.040 --> 0:45:32.799
<v Speaker 1>on one day, as opposed to having each episode come

0:45:32.800 --> 0:45:35.880
<v Speaker 1>out week by week. It's there. You know. That's because

0:45:36.360 --> 0:45:40.200
<v Speaker 1>Netflix has seen people will sit down and binge watch

0:45:40.480 --> 0:45:43.160
<v Speaker 1>a show. That's how they like to consume stuff. They

0:45:43.160 --> 0:45:45.600
<v Speaker 1>don't want to necessarily have to wait for a full

0:45:45.640 --> 0:45:49.279
<v Speaker 1>week for the next segment of that story. And so

0:45:49.520 --> 0:45:53.440
<v Speaker 1>that's why Netflix, when they greenlit their series, they say,

0:45:53.480 --> 0:45:56.120
<v Speaker 1>all right, we're gonna fund the whole thing, and then

0:45:56.120 --> 0:45:58.280
<v Speaker 1>we're releasing it all at once and people can choose

0:45:58.320 --> 0:46:00.359
<v Speaker 1>to watch it all at that same time more, they

0:46:00.360 --> 0:46:02.520
<v Speaker 1>can parse it out however long, however much they want,

0:46:02.800 --> 0:46:06.400
<v Speaker 1>or they can leave their houses sometimes. Yeah. Sorry, I

0:46:06.719 --> 0:46:09.960
<v Speaker 1>say that, you know, having completely done the like seven

0:46:10.080 --> 0:46:14.040
<v Speaker 1>or eight episode benders. Yeah, when the Arrested Development season

0:46:14.120 --> 0:46:18.160
<v Speaker 1>came out, I pretty much consumed it in two days.

0:46:18.239 --> 0:46:23.480
<v Speaker 1>I haven't Orange is the New Black problem. Yeah, that's understandable. Um,

0:46:23.600 --> 0:46:27.320
<v Speaker 1>So the question now is where's this going in the future.

0:46:27.360 --> 0:46:30.120
<v Speaker 1>I mean, we have said that we're probably going to

0:46:30.160 --> 0:46:33.040
<v Speaker 1>continue to see this sort of doctoring approach to at

0:46:33.080 --> 0:46:35.600
<v Speaker 1>least get an idea of you know, is this script

0:46:35.640 --> 0:46:39.560
<v Speaker 1>actually marketable or is it not marketable? But beyond that,

0:46:39.640 --> 0:46:42.920
<v Speaker 1>are we going to start seeing things like a computer

0:46:43.080 --> 0:46:46.359
<v Speaker 1>actually write a story taking all these elements, And are

0:46:46.440 --> 0:46:49.920
<v Speaker 1>we going to get like the most disjointed, weird story

0:46:49.960 --> 0:46:53.239
<v Speaker 1>with all the fantastic elements crammed into it. Man, I

0:46:53.320 --> 0:46:55.799
<v Speaker 1>kind of hope, so I would. I would go that

0:46:55.800 --> 0:47:00.560
<v Speaker 1>sounds like a goofy wonderful thing. Sounds like being turtles

0:47:00.600 --> 0:47:06.400
<v Speaker 1>in time. You just see like superhero superheroes, robotic figures

0:47:06.440 --> 0:47:10.520
<v Speaker 1>writing dinosaurs which may or may not also be super robotic.

0:47:11.800 --> 0:47:14.799
<v Speaker 1>You know, I'm wondering how long it's going to take

0:47:14.920 --> 0:47:17.680
<v Speaker 1>us to get to that thing we were worried about

0:47:17.680 --> 0:47:21.680
<v Speaker 1>at the beginning, where we've actually pretty much got computers

0:47:21.840 --> 0:47:27.120
<v Speaker 1>writing the scripts for us, and other computers playing the

0:47:27.200 --> 0:47:30.640
<v Speaker 1>characters for us, and other computers watching it. People have

0:47:30.719 --> 0:47:34.480
<v Speaker 1>just completely been taken out of the equation. We're simply

0:47:34.560 --> 0:47:37.839
<v Speaker 1>thrown on top of the furnace to fuel all the computers.

0:47:39.080 --> 0:47:43.160
<v Speaker 1>Um went to that dark place, that's yeah, yeah, I

0:47:43.200 --> 0:47:46.719
<v Speaker 1>mean that's pretty likely. But you know, before we get

0:47:46.719 --> 0:47:49.400
<v Speaker 1>to that point when humans are still watching the movies

0:47:49.440 --> 0:47:51.680
<v Speaker 1>and still acting in the movies, are we going to

0:47:51.760 --> 0:47:53.960
<v Speaker 1>get to a point where, you know, it's easier if

0:47:53.960 --> 0:47:56.759
<v Speaker 1>we just cut out the middleman, because we're getting to

0:47:56.800 --> 0:47:58.960
<v Speaker 1>the point where there's too much data for these human

0:47:59.000 --> 0:48:01.400
<v Speaker 1>analysts to mess with. We just need to have a

0:48:01.440 --> 0:48:05.680
<v Speaker 1>program that can generate a script that they know has

0:48:05.800 --> 0:48:09.040
<v Speaker 1>all the right, you know, money making elements. It doesn't

0:48:09.080 --> 0:48:12.719
<v Speaker 1>have any of these low scoring elements like the old

0:48:12.800 --> 0:48:16.680
<v Speaker 1>lady who dispenses pithy advice. You know, can that that

0:48:16.800 --> 0:48:20.000
<v Speaker 1>lady right? Don't even bother? Why waste your time with

0:48:20.040 --> 0:48:22.319
<v Speaker 1>a draft that has that when you can just have

0:48:22.440 --> 0:48:25.760
<v Speaker 1>the program create a storyline for you. I could certainly

0:48:25.800 --> 0:48:30.480
<v Speaker 1>see this being done as an experiment, like, yeah, the

0:48:30.680 --> 0:48:37.080
<v Speaker 1>way that algorithm based poetry is sometimes beautiful, Yeah it's

0:48:37.160 --> 0:48:39.719
<v Speaker 1>sometimes it's sometimes beautiful in a kind of just sort

0:48:39.760 --> 0:48:43.200
<v Speaker 1>of odd alien way. But and I imagine a film

0:48:43.239 --> 0:48:46.520
<v Speaker 1>that would probably at least the first few incarnations of

0:48:46.520 --> 0:48:48.320
<v Speaker 1>the sort of thing would be similar like one of

0:48:48.360 --> 0:48:51.000
<v Speaker 1>those things where like this feels like someone who almost

0:48:51.120 --> 0:48:54.359
<v Speaker 1>understands all humans thing but doesn't quite go the whole way.

0:48:54.400 --> 0:48:55.960
<v Speaker 1>Would make a movie, I don't know. I would want

0:48:55.960 --> 0:48:58.160
<v Speaker 1>a double feature of like that, like you know, starring

0:48:58.200 --> 0:49:00.960
<v Speaker 1>some like like good people who have good senses of

0:49:01.040 --> 0:49:03.480
<v Speaker 1>humor about it, and you know, it could really play

0:49:03.520 --> 0:49:05.520
<v Speaker 1>it up and I would totally see a double feature

0:49:05.520 --> 0:49:07.600
<v Speaker 1>of like that, and like whatever Michael Bay is doing this.

0:49:10.719 --> 0:49:14.719
<v Speaker 1>I've got so many comments and they all pretty much

0:49:14.760 --> 0:49:16.719
<v Speaker 1>say that I'm guessing the Bay movie would be the

0:49:16.760 --> 0:49:20.960
<v Speaker 1>one I'd hate. But uh, yeah, well, I'd certainly see

0:49:21.040 --> 0:49:24.200
<v Speaker 1>this as an experiment I'm talking about. Oh no, the

0:49:24.200 --> 0:49:28.680
<v Speaker 1>whole industry. I don't see it becoming the norm, partially

0:49:28.800 --> 0:49:33.000
<v Speaker 1>because if you are taking this approach where you're trying

0:49:33.040 --> 0:49:37.000
<v Speaker 1>to make all of your decisions based upon past outcome popularity,

0:49:37.239 --> 0:49:40.239
<v Speaker 1>then ultimately all your stories are going to end up

0:49:40.280 --> 0:49:44.120
<v Speaker 1>being incredibly formulaic and similar to one another. And it

0:49:44.160 --> 0:49:48.040
<v Speaker 1>turns out you don't need computers for that. Our friend

0:49:48.040 --> 0:49:51.279
<v Speaker 1>Michael Bay has really mastered this particular Yeah, I'm like,

0:49:51.320 --> 0:49:53.799
<v Speaker 1>the terrible dystopia you guys are talking about is the

0:49:53.800 --> 0:49:55.680
<v Speaker 1>one we are living in right now. Well, there's there

0:49:55.760 --> 0:49:58.839
<v Speaker 1>was an episode, you know, And I know Joe has

0:49:58.880 --> 0:50:02.600
<v Speaker 1>seen some of the re letter media videos um that

0:50:02.840 --> 0:50:05.239
<v Speaker 1>they do a lot of film criticism, and they do

0:50:05.280 --> 0:50:07.200
<v Speaker 1>it in in a very snarky way, but they do they

0:50:07.640 --> 0:50:10.840
<v Speaker 1>make legitimate, you know, film criticism. Fun Yeah, they have

0:50:10.960 --> 0:50:12.960
<v Speaker 1>some smart things to say. The warning if you go

0:50:13.080 --> 0:50:15.759
<v Speaker 1>check them out, they're not exactly family friendly, that's true.

0:50:15.800 --> 0:50:18.680
<v Speaker 1>It is adult content, but yeah, but give it a listen.

0:50:18.760 --> 0:50:21.680
<v Speaker 1>They are they are very insightful and very funny and

0:50:21.800 --> 0:50:24.560
<v Speaker 1>very inappropriate at times. But one of the things they did,

0:50:24.760 --> 0:50:26.640
<v Speaker 1>and it was kind of as a gag as the

0:50:26.680 --> 0:50:30.000
<v Speaker 1>fourth Transformer film was coming out, was they put all

0:50:30.040 --> 0:50:34.399
<v Speaker 1>of the first three Transformer films on concurrently and sat

0:50:34.440 --> 0:50:37.399
<v Speaker 1>down on a couch to watch three televisions as they

0:50:37.440 --> 0:50:40.800
<v Speaker 1>all played out, and they saw that these three movies

0:50:40.880 --> 0:50:45.520
<v Speaker 1>had the same beats, like within within thirty seconds of

0:50:45.520 --> 0:50:49.400
<v Speaker 1>each other. They were identical as far as big action sequence,

0:50:49.800 --> 0:50:53.960
<v Speaker 1>stupid character moment, terrible comedy relief and yeah, and like

0:50:54.040 --> 0:50:56.200
<v Speaker 1>not the same way that people say that Pink Floyd

0:50:56.280 --> 0:51:00.520
<v Speaker 1>matches up with uh with a Wizard of Oppositive Yeah,

0:51:00.560 --> 0:51:03.200
<v Speaker 1>but like actually yeah, like the way that if you

0:51:03.200 --> 0:51:05.839
<v Speaker 1>play Nickelback songs at the same time, they have all

0:51:05.840 --> 0:51:08.440
<v Speaker 1>the same changes. Yeah, very similar to that, very similar

0:51:08.440 --> 0:51:11.239
<v Speaker 1>to that. And it was actually pretty and and you

0:51:11.280 --> 0:51:14.200
<v Speaker 1>hear them like they start laughing because they see, like, look, now,

0:51:14.239 --> 0:51:16.279
<v Speaker 1>these two are in the same moment, because it wasn't

0:51:16.280 --> 0:51:18.719
<v Speaker 1>always all three. I think at one point one of

0:51:18.760 --> 0:51:22.480
<v Speaker 1>the film's got like they lagged behind because they ended

0:51:22.560 --> 0:51:25.120
<v Speaker 1>up either pausing it or something excellently. But at then

0:51:25.120 --> 0:51:27.879
<v Speaker 1>you rate they just they talked about how frequently they

0:51:27.920 --> 0:51:29.800
<v Speaker 1>matched up, and it just showed that there was a

0:51:29.880 --> 0:51:32.759
<v Speaker 1>very formulaic approach. So this is something that's happening already.

0:51:33.040 --> 0:51:34.880
<v Speaker 1>I just suggest that if we were to move to

0:51:34.920 --> 0:51:38.560
<v Speaker 1>an area where computers were making these decisions and they

0:51:38.560 --> 0:51:41.920
<v Speaker 1>were basically purely on past experience, we would see way

0:51:41.960 --> 0:51:46.040
<v Speaker 1>more formulaic films. They would that would be the majority

0:51:46.320 --> 0:51:49.960
<v Speaker 1>if that was like how they were being generated. And uh,

0:51:50.000 --> 0:51:53.000
<v Speaker 1>because we haven't reached a point where we can create

0:51:53.160 --> 0:51:56.719
<v Speaker 1>a computer that not only can draw from past experience,

0:51:56.760 --> 0:52:00.359
<v Speaker 1>but innovate from that create something more brand new. That

0:52:00.640 --> 0:52:05.239
<v Speaker 1>is is paradigm shifting. I think we're a lot closer

0:52:05.280 --> 0:52:09.560
<v Speaker 1>to a computer that can write a basic story than

0:52:09.600 --> 0:52:12.680
<v Speaker 1>a computer that could actually generate a script with dialogue

0:52:12.719 --> 0:52:15.239
<v Speaker 1>and stuff. And I think that those kind of like

0:52:15.320 --> 0:52:18.000
<v Speaker 1>human textual elements would still have to be filled in

0:52:18.040 --> 0:52:22.640
<v Speaker 1>by So this would be like the actual beats like this,

0:52:22.640 --> 0:52:24.880
<v Speaker 1>this is what happens in this scene. This is what

0:52:24.880 --> 0:52:26.680
<v Speaker 1>happens in the scene. And then I can you imagine

0:52:26.800 --> 0:52:30.200
<v Speaker 1>dialogue very easily a computer telling you, maybe even today,

0:52:30.280 --> 0:52:33.719
<v Speaker 1>if somebody spent time working on creating this program, that

0:52:33.800 --> 0:52:36.200
<v Speaker 1>you need to have these types of characters, you need

0:52:36.239 --> 0:52:38.640
<v Speaker 1>to have these types of events in the movie, and

0:52:38.640 --> 0:52:40.600
<v Speaker 1>they need to come in this order. And then then

0:52:40.640 --> 0:52:47.120
<v Speaker 1>Diesel needs to race buy in a car super high speed. Um.

0:52:47.440 --> 0:52:49.640
<v Speaker 1>There's there's a film that I wanted to bring up

0:52:50.040 --> 0:52:53.319
<v Speaker 1>that came out in ten called The Congress. I don't

0:52:53.360 --> 0:52:55.640
<v Speaker 1>believe it's scene wide release yet, um, but I managed

0:52:55.640 --> 0:52:58.040
<v Speaker 1>to catch it at the Atlanta Film Festival. Uh. It

0:52:58.080 --> 0:52:59.880
<v Speaker 1>was starring Robin Wright and it was directed and written

0:52:59.880 --> 0:53:02.480
<v Speaker 1>for screened by Ari Fullman, based on a novel by

0:53:02.640 --> 0:53:05.040
<v Speaker 1>Stanis law Lem which I would like to nominate as

0:53:05.120 --> 0:53:09.160
<v Speaker 1>the best name, um Stanis law anyway. Uh yeah, yeah.

0:53:09.160 --> 0:53:13.120
<v Speaker 1>The Congress is about this near future wherein movie studios

0:53:13.200 --> 0:53:18.720
<v Speaker 1>just upload actors basically and uh and then create films

0:53:19.040 --> 0:53:22.840
<v Speaker 1>by computer algorithm. And it's a really really beautiful piece,

0:53:23.040 --> 0:53:26.400
<v Speaker 1>um that explores these kind of tropes of what happens

0:53:26.440 --> 0:53:29.400
<v Speaker 1>to the human element when you've taken the human element

0:53:29.400 --> 0:53:32.880
<v Speaker 1>out of art. I highly recommend getting ahold of it

0:53:32.920 --> 0:53:36.120
<v Speaker 1>if you can, um, because it's it's it's just so

0:53:36.640 --> 0:53:41.080
<v Speaker 1>beautiful and creative and impossible to imagine having come from

0:53:41.080 --> 0:53:44.640
<v Speaker 1>a computer. So uh So, yeah, if you're if you're

0:53:44.640 --> 0:53:47.080
<v Speaker 1>interested in this and interested in seeing a creative portrayal

0:53:47.120 --> 0:53:48.759
<v Speaker 1>of it, then yeah, I can definitely see. I mean,

0:53:48.800 --> 0:53:52.239
<v Speaker 1>you guys, remember when the commercials were coming out where

0:53:52.280 --> 0:53:57.080
<v Speaker 1>they were digitally uh inserting you know, dance whoever they want. Yeah,

0:53:57.560 --> 0:54:00.200
<v Speaker 1>it's usually for vacuums. I remember those in particular or

0:54:00.800 --> 0:54:05.040
<v Speaker 1>um like Fred Astaire or Gene Kelly or something like that. Uh,

0:54:05.120 --> 0:54:07.080
<v Speaker 1>And that raised a bunch of like people were starting

0:54:07.120 --> 0:54:10.160
<v Speaker 1>to say, oh, are we moments away from being able

0:54:10.200 --> 0:54:12.880
<v Speaker 1>to cast like the Dream film where you can get

0:54:13.160 --> 0:54:16.600
<v Speaker 1>young Marlon Brando in a film, Uh, you know, with

0:54:16.760 --> 0:54:21.160
<v Speaker 1>actors and actresses that would not have been alive or

0:54:21.239 --> 0:54:25.680
<v Speaker 1>not have been participate right or at the peak of

0:54:25.719 --> 0:54:28.719
<v Speaker 1>their performing potential or any of that at the same

0:54:28.760 --> 0:54:30.680
<v Speaker 1>time you could put them all together. Of course, we're

0:54:30.680 --> 0:54:34.239
<v Speaker 1>still far away from that too. Uh. It will be

0:54:34.280 --> 0:54:36.680
<v Speaker 1>interesting to see how this develops. I'm sure we will

0:54:36.680 --> 0:54:38.880
<v Speaker 1>see a lot of experiments come out about this. I mean,

0:54:38.920 --> 0:54:41.960
<v Speaker 1>this seems like the sort of thing that artificial intelligence

0:54:42.040 --> 0:54:44.759
<v Speaker 1>labs would do as a means of kind of just

0:54:44.840 --> 0:54:47.400
<v Speaker 1>a you know, just an experiment. See what happens if

0:54:47.440 --> 0:54:50.520
<v Speaker 1>you can do this. Uh, I don't expect it to

0:54:50.560 --> 0:54:54.239
<v Speaker 1>be necessarily, at least at the beginning, anymore successful than that,

0:54:54.400 --> 0:54:56.120
<v Speaker 1>you know, the greatest song ever written in the worst

0:54:56.120 --> 0:55:00.320
<v Speaker 1>song ever written. Uh. Projects were which were again in interesting,

0:55:00.440 --> 0:55:05.160
<v Speaker 1>but um not not something that you would necessarily want

0:55:05.239 --> 0:55:07.520
<v Speaker 1>on your on your NB three player. Although I do

0:55:07.600 --> 0:55:11.200
<v Speaker 1>have the worst song online. Yeah, yeah, no, it's good. Um,

0:55:11.239 --> 0:55:14.520
<v Speaker 1>I know I totally encourage someone to go make this

0:55:14.640 --> 0:55:17.319
<v Speaker 1>if if any of you guys listening are our filmmakers,

0:55:17.719 --> 0:55:20.360
<v Speaker 1>please like, like, I'll if you need a bad actor,

0:55:20.400 --> 0:55:24.239
<v Speaker 1>I'll come acting in this experiment. That sounds beautiful. Yeah.

0:55:24.239 --> 0:55:27.279
<v Speaker 1>I only agree to do it if I can be

0:55:27.640 --> 0:55:30.800
<v Speaker 1>the best boy. I don't want to be the second

0:55:30.800 --> 0:55:33.960
<v Speaker 1>best boy. I don't want to be the worst boy.

0:55:34.280 --> 0:55:36.000
<v Speaker 1>I got to be the best boy. Jonathan, you're my

0:55:36.160 --> 0:55:41.360
<v Speaker 1>key grip like, oh you're so close, You're so close. Uh.

0:55:41.680 --> 0:55:45.279
<v Speaker 1>Before we make tons of other jokes about gaffers and

0:55:45.400 --> 0:55:49.200
<v Speaker 1>uh and and other people who are absolutely key to

0:55:49.280 --> 0:55:54.040
<v Speaker 1>getting a video or film or television shoot done. Uh,

0:55:54.200 --> 0:55:56.040
<v Speaker 1>let's wrap some of them are so key it's in

0:55:56.080 --> 0:55:59.120
<v Speaker 1>their name. It is. Let's wrap this up. So you know,

0:55:59.239 --> 0:56:01.399
<v Speaker 1>this was a fun time, big to talk about. And

0:56:01.840 --> 0:56:03.920
<v Speaker 1>you know, we've been doing a lot of episodes that

0:56:04.000 --> 0:56:08.239
<v Speaker 1>have been um inspired by listeners who have written in,

0:56:08.920 --> 0:56:11.719
<v Speaker 1>and we're looking for more of that because we love

0:56:11.800 --> 0:56:14.560
<v Speaker 1>hearing from you. Guys. We've got We've received so many

0:56:14.719 --> 0:56:17.840
<v Speaker 1>cool suggestions. We can't wait to tackle them all. But

0:56:18.400 --> 0:56:20.799
<v Speaker 1>don't let that stop you send in more. And you

0:56:20.840 --> 0:56:23.320
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0:56:23.400 --> 0:56:26.680
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0:56:26.760 --> 0:56:29.320
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0:56:29.360 --> 0:56:31.840
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0:56:32.280 --> 0:56:34.640
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0:56:36.480 --> 0:56:43.320
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