WEBVTT 00:00:12.210 --> 00:00:16.860 Today I'm going to share ten ways to make better presentations, 00:00:16.860 --> 00:00:20.840 and these are the lessons I have garnered over the years 00:00:20.840 --> 00:00:23.481 from hanging out with storytellers. 00:00:23.951 --> 00:00:28.529 My job is I go around the world helping people with their presentations 00:00:28.529 --> 00:00:32.928 and especially in business, doing pitches and sharing ideas. 00:00:32.928 --> 00:00:38.641 I try to instill storytelling elements into their talks, 00:00:38.641 --> 00:00:41.638 but as you might know or have seen, 00:00:41.888 --> 00:00:45.200 there are a lot of boring presentations around the world. 00:00:45.920 --> 00:00:48.670 Has anyone here seen a boring presentation? 00:00:49.230 --> 00:00:50.921 I don't mean now, but ... 00:00:50.921 --> 00:00:51.929 (Laughter) 00:00:51.929 --> 00:00:53.059 Okay. 00:00:53.059 --> 00:00:56.204 So, this idea of going back - 00:00:56.204 --> 00:01:00.290 we can learn about the future by looking at the past. 00:01:00.290 --> 00:01:03.530 I think that when it comes to communication and visual communication, 00:01:03.530 --> 00:01:06.781 there are many lessons that we can garner from looking at the past. 00:01:06.781 --> 00:01:10.199 So one idea I mentioned two years ago was "kamishibai." 00:01:10.199 --> 00:01:11.489 That's just one example. 00:01:11.489 --> 00:01:13.219 A very visual method, 00:01:13.219 --> 00:01:15.299 it goes back maybe to emaki scrolls, 00:01:15.299 --> 00:01:20.763 but certainly in the 1920s and '30s and '40s, 00:01:20.763 --> 00:01:22.459 it was very popular. 00:01:22.459 --> 00:01:24.231 You have a storyteller; 00:01:24.231 --> 00:01:28.881 you have the visual with elements which are easy to see for that audience, 00:01:28.881 --> 00:01:31.010 and you have an engaged audience. 00:01:31.010 --> 00:01:34.420 This sort of beautiful three-part harmony; 00:01:34.420 --> 00:01:38.161 that's the way presentations should be today as well. 00:01:38.391 --> 00:01:42.421 And storytelling is what makes us human as part of our DNA; 00:01:42.421 --> 00:01:44.191 it's how we have evolved. 00:01:44.191 --> 00:01:48.562 Long before Homo sapiens could read, of course, we were telling stories. 00:01:48.562 --> 00:01:50.978 And children, long before they can read and write, 00:01:50.978 --> 00:01:53.930 of course, they're sharing information by telling stories 00:01:53.930 --> 00:01:57.792 and using storytelling elements even in explanatory narratives. 00:01:57.792 --> 00:02:00.791 No matter what type of narrative it is, 00:02:00.791 --> 00:02:04.190 we can use, at least, many story elements 00:02:04.190 --> 00:02:07.320 that will really help with the engagement of our talks. 00:02:07.320 --> 00:02:09.152 And of course, it increases the drama. 00:02:09.152 --> 00:02:12.051 (Dramatic music plays) 00:02:13.690 --> 00:02:18.411 We like to add a bit of drama into presentations whenever we can. 00:02:18.411 --> 00:02:22.791 So I and my wife and our family, we live in Nara, 00:02:22.791 --> 00:02:25.222 which is just down the street from here. 00:02:25.222 --> 00:02:30.749 And my project, our project is to raise two small children. 00:02:30.749 --> 00:02:34.242 So I am what they call in Japan "ikumen." 00:02:34.242 --> 00:02:35.621 (Laughter) 00:02:35.621 --> 00:02:37.951 My job is to take kids to school and pick them up 00:02:37.951 --> 00:02:39.960 and try to be a big part of their life, 00:02:39.960 --> 00:02:40.991 as much as a I can. 00:02:40.991 --> 00:02:44.289 So, the experts always say you shouldn't watch TV with little kids, 00:02:44.289 --> 00:02:47.891 and we don't watch TV, but we watch a lot of DVDs in English. 00:02:47.891 --> 00:02:50.130 It's a kind of "isseki-nicho": 00:02:50.300 --> 00:02:51.561 we can have entertainment, 00:02:51.561 --> 00:02:53.860 but we can also learn English at the same time. 00:02:53.860 --> 00:02:57.680 And we have watched every Pixar film ever made, 00:02:57.770 --> 00:02:59.620 dozens and dozens of times. 00:02:59.620 --> 00:03:01.060 So perhaps I should call this: 00:03:01.060 --> 00:03:03.258 "Ten ways to make better presentations: 00:03:03.258 --> 00:03:06.381 Lessons I have learned from watching too many Pixar films." 00:03:06.381 --> 00:03:07.929 (Laughter) 00:03:07.929 --> 00:03:09.301 So, let's get started. 00:03:09.301 --> 00:03:11.321 The first one that great presenters do, 00:03:11.321 --> 00:03:16.539 as all the presenters you will see today and at past TEDxKyoto events, 00:03:16.539 --> 00:03:18.041 is they turn off the computer. 00:03:18.041 --> 00:03:20.511 Even if they are going to use technology, 00:03:20.511 --> 00:03:22.300 they know, as John Cleese said, 00:03:22.300 --> 00:03:24.651 we don't know where great ideas come from exactly, 00:03:24.651 --> 00:03:27.760 but we do know that they do not come from the laptop. 00:03:27.760 --> 00:03:29.351 So turn off your smartphones, 00:03:29.351 --> 00:03:32.909 turn off all technology in the preparation stage. 00:03:32.909 --> 00:03:34.310 This is key. 00:03:34.310 --> 00:03:35.910 Do not start here. 00:03:35.910 --> 00:03:38.830 If you went into Google, certainly if you went into Apple - 00:03:38.830 --> 00:03:40.827 where I used to work many years ago - 00:03:40.827 --> 00:03:45.050 technology companies, but you'll see paper and whiteboards everywhere 00:03:45.050 --> 00:03:47.405 because paper is still very, very useful - 00:03:47.405 --> 00:03:48.760 such as Post it Notes - 00:03:48.760 --> 00:03:50.431 to get your ideas down, 00:03:50.431 --> 00:03:54.792 and then you can go to technology if you want to use multimedia. 00:03:54.792 --> 00:03:56.931 One of my students sent me this: 00:03:57.291 --> 00:03:59.550 best use of a Windows PC ever. 00:03:59.550 --> 00:04:00.950 (Laughter) 00:04:00.950 --> 00:04:03.021 I'm just kidding; I love Bill Gates. 00:04:04.181 --> 00:04:06.759 Alright, number two is the audience comes first. 00:04:06.759 --> 00:04:09.037 So put the audience first, of course. 00:04:09.037 --> 00:04:11.341 So I always say - because people always ask me: 00:04:11.341 --> 00:04:13.141 "I want to tell my story, 00:04:13.141 --> 00:04:15.130 so how can I connect with the audience?" - 00:04:15.130 --> 00:04:19.150 just remember that your story is really their story 00:04:19.150 --> 00:04:20.728 if you approach it right. 00:04:20.728 --> 00:04:23.940 The plot, what you say and the description of your events 00:04:23.940 --> 00:04:25.245 are unique to you, 00:04:25.245 --> 00:04:28.870 but the theme is universal, so they can relate to it. 00:04:28.870 --> 00:04:31.219 Later I'll show an example of that. 00:04:31.219 --> 00:04:33.379 Andrew Stanton, from Pixar, 00:04:33.379 --> 00:04:37.028 he directed and wrote "[Finding] Nemo" and many others, 00:04:37.028 --> 00:04:38.700 he spoke in a TED talk about this. 00:04:38.700 --> 00:04:42.028 He said you've got to make the audience care. 00:04:42.028 --> 00:04:45.049 Whether it's a monomyth, a true story, 00:04:45.049 --> 00:04:46.551 or it's a lecture, 00:04:46.551 --> 00:04:47.989 make the audience care. 00:04:47.989 --> 00:04:49.331 As he says, "Make me care. 00:04:49.331 --> 00:04:54.360 Please - emotionally, intellectually, aesthetically - just make me care." 00:04:54.360 --> 00:04:55.662 That's half the battle. 00:04:55.662 --> 00:04:58.870 So if you show empathy for your audience in the preparation stage, 00:04:58.870 --> 00:05:00.989 that will make all the difference. 00:05:00.989 --> 00:05:03.701 Number three is to have a solid structure. 00:05:03.701 --> 00:05:06.149 One of my favorite filmmakers is Billy Wilder. 00:05:06.149 --> 00:05:10.031 As he says, "[Story] needs architectural structure, 00:05:10.031 --> 00:05:12.689 which is completely" lost - 00:05:12.689 --> 00:05:16.329 you don't see it when you see the actual movie, 00:05:16.329 --> 00:05:18.380 and it's the same with presentations. 00:05:18.380 --> 00:05:19.899 The structure is there; 00:05:19.899 --> 00:05:21.450 the audience isn't aware of it 00:05:21.450 --> 00:05:24.168 because they're just listening, and they're understanding, 00:05:24.168 --> 00:05:25.850 and they're engaged with your talk. 00:05:25.850 --> 00:05:28.429 So there is sort of a basic shape to story, right? 00:05:28.429 --> 00:05:29.630 You've heard this before: 00:05:29.630 --> 00:05:33.091 there's a beginning and a middle and an end. 00:05:33.091 --> 00:05:34.391 And that's somewhat useful, 00:05:34.391 --> 00:05:37.760 but a wiener dog has a beginning, a middle and an end. 00:05:38.030 --> 00:05:40.321 So in and of itself, that's not too useful. 00:05:40.321 --> 00:05:41.390 But it's really true. 00:05:41.390 --> 00:05:43.491 There is the beginning, which is exposition 00:05:43.491 --> 00:05:46.400 where you make it clear what the stakes are, what's at risk; 00:05:46.400 --> 00:05:47.840 and then there's the conflict, 00:05:47.840 --> 00:05:50.210 the problems in the middle, the rising tension; 00:05:50.210 --> 00:05:52.199 and some sort of resolution at the end. 00:05:52.199 --> 00:05:54.272 So that's a good basic structure. 00:05:54.272 --> 00:05:56.590 Now, in the real world, a business, 00:05:56.590 --> 00:05:59.369 I use this model, but we focus on solutions 00:05:59.369 --> 00:06:03.360 because companies are usually selling an idea or a product 00:06:03.360 --> 00:06:05.568 to help with this problem. 00:06:05.568 --> 00:06:07.409 So this is one activity 00:06:07.409 --> 00:06:10.320 that I do with college students and with entrepreneurs. 00:06:10.320 --> 00:06:14.348 I have them first use a structure like this: 00:06:14.348 --> 00:06:19.640 Think about the ideal world versus the actual world, reality; 00:06:19.640 --> 00:06:23.079 what is the problem that causes that reality that we have? 00:06:23.079 --> 00:06:26.329 And then what is the solution that you provide for that? 00:06:26.329 --> 00:06:27.749 So that's a good basic model. 00:06:27.749 --> 00:06:29.570 And then the students storyboard that. 00:06:29.570 --> 00:06:31.578 Really quickly, they put it up on the wall; 00:06:31.578 --> 00:06:34.981 they can show it to others, and then we can refine it. 00:06:34.981 --> 00:06:36.089 We can ask questions. 00:06:36.089 --> 00:06:38.010 They get their ideas down. 00:06:38.010 --> 00:06:40.589 Then, later, they can go back to the whiteboard 00:06:40.589 --> 00:06:42.869 and really plot out their ideas. 00:06:42.869 --> 00:06:45.937 But there's this basic structure, which the audience doesn't see, 00:06:45.937 --> 00:06:50.911 but this really helps the entrepreneur or the student get their ideas down. 00:06:50.911 --> 00:06:52.879 Next is to have a clear theme. 00:06:52.879 --> 00:06:54.519 And theme basically means message. 00:06:54.519 --> 00:06:55.530 What's your point? 00:06:55.530 --> 00:06:59.153 Have you ever seen a presentation where you weren't sure what the point was? 00:06:59.803 --> 00:07:01.531 Not this one, I hope. 00:07:02.161 --> 00:07:03.652 So what is your message? 00:07:03.652 --> 00:07:04.772 So here's an example. 00:07:04.772 --> 00:07:08.240 This is Megumi, a filmmaker who spoke last year - 00:07:08.240 --> 00:07:10.061 if you haven't seen it, check it out - 00:07:10.061 --> 00:07:14.101 and my friend Patrick who's now teaching at USC in Los Angeles - 00:07:14.101 --> 00:07:15.481 he gave a great presentation. 00:07:15.481 --> 00:07:18.013 Both of these presentations were fabulous, 00:07:18.013 --> 00:07:20.670 but they are very different - the plots are different. 00:07:20.670 --> 00:07:26.130 You have a young, female filmmaker talking about growing up as a hāfu, 00:07:26.130 --> 00:07:28.120 as a Japanese and an American, 00:07:28.120 --> 00:07:31.622 and then Patrick talking about what it's like to be a gay man 00:07:31.622 --> 00:07:33.701 and having to hide that, 00:07:33.701 --> 00:07:37.381 and then being able to come out later and actually marry the love of his life, 00:07:37.381 --> 00:07:40.420 and to be totally open about that - it's a great transformation. 00:07:40.420 --> 00:07:43.121 Very different content, very different plot, 00:07:43.121 --> 00:07:45.281 but they're both talking about the same thing, 00:07:45.281 --> 00:07:46.781 which is about being different. 00:07:46.781 --> 00:07:49.600 And both of these talks really resonated with the audience 00:07:49.600 --> 00:07:52.651 because most people in the audience are not hāfu, 00:07:52.651 --> 00:07:55.128 most people in the audience were not gay, 00:07:55.128 --> 00:07:58.391 but they can relate to the struggle and insecurities 00:07:58.391 --> 00:08:01.050 and all these types of universal themes. 00:08:01.050 --> 00:08:04.781 So your story is really their story, 00:08:04.781 --> 00:08:08.190 and if you approach it this way, it can make all the difference. 00:08:08.190 --> 00:08:11.194 Number five is to remove the nonessential. 00:08:11.194 --> 00:08:13.020 So if you're a playwright - 00:08:13.020 --> 00:08:16.220 anyone who writes a film script knows of Chekhov's gun. 00:08:16.220 --> 00:08:20.839 It goes like this: "Remove everything that has no relevance to the story." 00:08:20.839 --> 00:08:22.350 As he says, for example, 00:08:22.350 --> 00:08:26.722 "If you say in the first chapter that there is a rifle hanging on the wall, 00:08:26.722 --> 00:08:30.589 in the second or third chapter it absolutely has to go off." 00:08:30.589 --> 00:08:33.462 So you never include anything that is superfluous; 00:08:33.462 --> 00:08:35.180 everything has a reason. 00:08:35.180 --> 00:08:37.188 Number six: hook them early. 00:08:37.188 --> 00:08:38.701 Wasn't George great? 00:08:38.701 --> 00:08:40.649 Did you like that talk? 00:08:40.649 --> 00:08:44.038 How many people were here live for that in the spring? 00:08:44.038 --> 00:08:45.489 It was amazing to see it live. 00:08:45.489 --> 00:08:48.590 But he came out, there was no formalities - 00:08:48.590 --> 00:08:51.960 no thank you, I'd like to thank my mother; I'd like to thank my father; 00:08:51.960 --> 00:08:53.861 I'd like to thank the Prime Minister - 00:08:53.861 --> 00:08:54.989 none of that. 00:08:54.989 --> 00:08:58.120 He just got started with this line: 00:08:58.120 --> 00:09:01.189 "I'm a veteran of the Starship Enterprise." 00:09:01.349 --> 00:09:03.620 And right away, he had the audience, 00:09:03.620 --> 00:09:05.969 and he had them in [his] hand for that 20 minutes. 00:09:05.969 --> 00:09:07.450 It was amazing. 00:09:07.450 --> 00:09:09.870 Have that connection, sort of break the ice, 00:09:09.870 --> 00:09:12.820 and then he goes on with this great narrative, 00:09:12.820 --> 00:09:15.108 this great journey that he took us on; 00:09:15.108 --> 00:09:16.572 it's a wonderful example. 00:09:16.572 --> 00:09:19.199 Number seven: show a clear conflict. 00:09:19.199 --> 00:09:20.321 What is the problem? 00:09:20.321 --> 00:09:22.180 This is a book called "Story Proof," 00:09:22.180 --> 00:09:25.381 that looks at the scientific reasons why story works. 00:09:25.381 --> 00:09:26.840 In his definition, he says, 00:09:26.840 --> 00:09:28.575 "A character-based narration 00:09:28.575 --> 00:09:31.740 of a character's struggles to overcome obstacles 00:09:31.740 --> 00:09:33.440 and reach an important goal." 00:09:33.440 --> 00:09:35.189 So that is story. 00:09:35.189 --> 00:09:41.040 The key: character struggles to overcome some obstacle to reach a goal. 00:09:41.280 --> 00:09:43.070 There it is again: character, 00:09:43.070 --> 00:09:44.221 struggle, 00:09:44.221 --> 00:09:46.380 obstacles and goal. 00:09:46.380 --> 00:09:50.609 So you can think of these three, character, struggles and goal - 00:09:50.609 --> 00:09:52.131 well, we can apply it here. 00:09:52.131 --> 00:09:56.152 So you'll forgive me for this very juvenile animation; 00:09:56.152 --> 00:09:58.073 I had a four-year-old help me with this. 00:09:58.073 --> 00:10:00.368 So there you are, our protagonist, walking around 00:10:00.368 --> 00:10:01.532 and there's an obstacle. 00:10:01.532 --> 00:10:04.219 Suddenly there's a wall, and he struggles with it, 00:10:04.219 --> 00:10:05.761 and it's not working. 00:10:05.761 --> 00:10:06.911 In the business world, 00:10:06.911 --> 00:10:11.101 perhaps we can offer some solution to try to help him. 00:10:11.101 --> 00:10:13.930 So we give, metaphorically, we give a rope. 00:10:13.930 --> 00:10:15.839 And our protagonist struggles some more, 00:10:15.839 --> 00:10:17.690 but he's doing better. 00:10:17.690 --> 00:10:20.361 There's still struggle; there's still rising tension: 00:10:20.361 --> 00:10:22.701 Will he make it? Will he make it? Will he make it? 00:10:22.701 --> 00:10:25.360 Yes, and he's transformed. 00:10:25.360 --> 00:10:28.489 So you could apply this to many types of presentations, obviously. 00:10:28.489 --> 00:10:30.340 I can see you're thinking about this. 00:10:30.340 --> 00:10:33.189 Character, struggle and goal. 00:10:33.189 --> 00:10:36.660 Alright. Number eight: demonstrate a clear change. 00:10:36.660 --> 00:10:38.540 Again, showing a wonderful example, 00:10:38.540 --> 00:10:42.550 this is Alex Kerr last year, talking about his great work 00:10:42.920 --> 00:10:48.401 where he redoes, reforms, these old - 300 years or older - houses in Iya, 00:10:48.401 --> 00:10:49.410 for example. 00:10:49.410 --> 00:10:51.631 This is a great example; it's very visceral - 00:10:51.631 --> 00:10:54.350 sort of what Al Gore used to do with "Inconvenient Truth - 00:10:54.350 --> 00:10:55.690 show before, after. 00:10:55.690 --> 00:10:57.941 That really hits people at an intellectual level 00:10:57.941 --> 00:10:59.322 but also at a visceral level. 00:10:59.322 --> 00:11:03.321 This is before, and this is after; it shows a very clear change. 00:11:03.321 --> 00:11:06.430 And of course, life is change; life is all about change. 00:11:06.430 --> 00:11:09.839 Our cells are changing constantly; nothing stays the same. 00:11:09.839 --> 00:11:11.690 And every time we get on stage, 00:11:11.690 --> 00:11:13.911 every time we give a lecture or presentation 00:11:13.911 --> 00:11:15.840 we're talking about some kind of change. 00:11:15.840 --> 00:11:17.621 If you're not talking about a change, 00:11:17.621 --> 00:11:20.389 there's probably no reason to actually be on stage. 00:11:20.389 --> 00:11:24.370 Next is to show or do something unexpected. 00:11:24.370 --> 00:11:26.701 This is a book I often recommend: "Made to Stick." 00:11:26.701 --> 00:11:29.578 It also has a Japanese translation. 00:11:29.578 --> 00:11:34.720 One of the key ways to make an idea stick is to do something unexpected. 00:11:34.720 --> 00:11:37.208 So, do you remember "The Empire Strikes Back"? 00:11:37.208 --> 00:11:39.028 "Star Wars: The Empire Strikes Back," 00:11:39.028 --> 00:11:42.698 a long time ago - I saw it live before, you know, before video. 00:11:42.698 --> 00:11:44.181 But remember when Darth Vader - 00:11:44.181 --> 00:11:48.538 that shocking moment when he says, "No, Luke. I am your father"? 00:11:48.538 --> 00:11:51.108 You remember where you were when that happened, right? 00:11:51.108 --> 00:11:54.080 So you've probably seen this meme on the internet: 00:11:54.080 --> 00:11:56.800 what would happen when a cat sees this for the first time? 00:11:56.800 --> 00:12:00.789 (Video) No, I am your father. 00:12:07.120 --> 00:12:08.389 No! 00:12:09.119 --> 00:12:10.999 It's not true. 00:12:12.359 --> 00:12:13.972 Garr Reynolds: So, shocking. 00:12:13.972 --> 00:12:18.070 So what can you do to make your audience feel like this cat? 00:12:18.070 --> 00:12:21.760 Somehow, you have to put the unexpected in there. 00:12:21.760 --> 00:12:24.370 Number ten is to make them feel something. 00:12:24.370 --> 00:12:25.710 Yes, you need data. 00:12:25.710 --> 00:12:26.940 Yes, you need evidence. 00:12:26.940 --> 00:12:31.099 But often or almost always that is not enough to work. 00:12:31.099 --> 00:12:34.011 So again, we'll look at an example from last year, 00:12:34.011 --> 00:12:36.860 but this is a book I want to recommend, by Stephen Denning. 00:12:36.860 --> 00:12:38.935 Stephen Denning used to be with World Bank, 00:12:38.935 --> 00:12:40.561 had a long career with World Bank, 00:12:40.561 --> 00:12:41.809 very analytic, 00:12:41.809 --> 00:12:44.419 very so-called left brain, all numbers, 00:12:44.419 --> 00:12:46.928 but as he says here: time and time again, 00:12:46.928 --> 00:12:50.961 the only thing that would work when you wanted to get people to change, 00:12:50.961 --> 00:12:52.760 to actually change their behavior 00:12:52.760 --> 00:12:54.810 or to get excited about your idea 00:12:54.810 --> 00:12:56.938 was through story. 00:12:56.938 --> 00:12:59.610 Of course, they have data; of course, they have evidence, 00:12:59.610 --> 00:13:01.709 but that alone wouldn't work. 00:13:01.709 --> 00:13:03.670 So this is John Gathright. 00:13:03.670 --> 00:13:05.681 He was the final presenter last year. 00:13:05.681 --> 00:13:08.539 He has an amazing project where he helps kids 00:13:08.539 --> 00:13:12.901 who have horrible physical challenges and emotional challenges, 00:13:12.901 --> 00:13:14.679 and he takes them up into trees, 00:13:14.679 --> 00:13:16.500 sometimes very high into trees. 00:13:16.500 --> 00:13:20.120 And he showed in his presentation, through data and evidence, 00:13:20.120 --> 00:13:24.689 that trees have a healing effect, physically and emotionally. 00:13:24.899 --> 00:13:28.059 But it was this last example, perhaps you recall, of Nana, 00:13:28.059 --> 00:13:29.120 where he showed her - 00:13:29.120 --> 00:13:32.980 she never smiles; she can't control her body and her facial expressions, 00:13:32.980 --> 00:13:35.438 and they didn't know if she could make it. 00:13:35.438 --> 00:13:38.108 And he's telling this narrative along with these visuals, 00:13:38.108 --> 00:13:41.309 and when she got up there, she changed, and she's smiling. 00:13:41.309 --> 00:13:44.920 John said that the mother said, "I've never seen this face before; 00:13:44.920 --> 00:13:50.000 smiling - that's my little girl smiling for the first time because of trees." 00:13:50.000 --> 00:13:54.140 Now, again, John showed the data behind it, 00:13:54.140 --> 00:13:58.931 but when you also put in the visual, this is transformation, 00:13:58.931 --> 00:14:01.141 and this hits people at an emotional level too. 00:14:01.141 --> 00:14:02.479 And on that day, 00:14:02.479 --> 00:14:05.170 I remember there were many people crying in the audience, 00:14:05.170 --> 00:14:08.180 and they're going to remember that presentation for a long time. 00:14:08.180 --> 00:14:09.969 So I said ten, but there's one more. 00:14:09.969 --> 00:14:12.428 Number 11 is to be authentic. 00:14:12.428 --> 00:14:15.780 Well, then people say, "Well, great, authentic. How do I be authentic? 00:14:15.780 --> 00:14:18.810 Everyone says be authentic. What's the magic formula?" 00:14:18.810 --> 00:14:22.069 And the formula is to be vulnerable, 00:14:22.069 --> 00:14:24.649 to allow yourself vulnerability, 00:14:25.119 --> 00:14:26.420 to take a risk. 00:14:26.420 --> 00:14:30.389 Often our school system in Japan doesn't encourage that type of thinking, 00:14:30.389 --> 00:14:31.750 but great communicators, 00:14:31.750 --> 00:14:35.450 all the Japanese presenters we've had over the last two years 00:14:35.450 --> 00:14:36.760 have all taken a risk, 00:14:36.760 --> 00:14:39.329 and they've allowed themselves to be vulnerable 00:14:39.329 --> 00:14:42.179 as they put themselves up here on stage. 00:14:42.179 --> 00:14:45.770 So it's been a great two years: 2012, 2013. 00:14:45.770 --> 00:14:48.341 What follows will also be amazing. 00:14:48.341 --> 00:14:51.981 So the question then is "What's your story?" 00:14:51.981 --> 00:14:53.888 The world is waiting to hear it. 00:14:53.888 --> 00:14:55.637 So please enjoy the rest of the day, 00:14:55.637 --> 00:14:59.500 and then we hope to see you back here on this stage next year. 00:14:59.500 --> 00:15:01.650 Thank you very much. 00:15:01.650 --> 00:15:03.450 (Applause)