(click) >> Welcome this special Cube conversation in the Intel Tech Lounge at the Sundance Film Festival. I'm John Furrier with The Cube. We are here with Ari Kuschnir, who is the founder and managing partner of Missing Pieces. Doing some really amazing work on the future of filmmaking. He's got a great entrepreneurial spirit. And creative desire to deliver great product. Welcome! >> Thank you, thank you. >> So, tell them about Missing Pieces and what's going on in your world. So, there's context. Take a minute to explain what you are working on. >> Well, the premise is to be at this intersection of storytelling technology. And to make stuff people actually want to watch. And VR and AR are parts of it. But not the whole. So, I know some of the conversation focus is on, is on VR, and we're just as excited about where storytelling is headed. In terms of what technology allows us to do. But the key for me is. I'm just passionate about, a new thing comes out. And I want to figure out how to make something really great. But meaningful, and powerful with that. >> We were talking before you came out about filmmaking, obviously trained in the discipline, obviously a variety of other things. But I want to get your perspective, we're on top of this new generation, what does that mean to you? When you hear that new generation, a new creative is coming? What does that mean to you? >> Yeah, I feel like I've ridden the wave of the thing as it's happened. And I mean, the company has too. So, I went to film school in the late 90s. And it was the first time you could buy like, first Final Cut, and the first wave of that. So you could make art little movies on the weekend, you no longer needed even to go to the school itself to borrow the equipment. That was revolutionary in 1999. And then 2005, when we started thinking about the company. You know, your Vimeo, YouTube, video i-Pod all come out within five months of each other. Towards the later part of the year. And it's a revolution. It's clear that with distribution, now not only can we make it and edit it in our laptops. But we can put it out, and millions of people could watch it. And that was the first time that was possible. And it was revolutionary. And I think it still is, to some degree. So, we've just, you know, as it evolves what I see is that, it's not, I've always felt like it's not enough to make the sausage as they say. You know, the directors, the talent that I sign now. Like the project we have now here at Sundance, young Jake. Jake is a great example of a creative who you can't fit in a box. He's an Internet artist, he's a rapper. He's an interactive video maker. He did an app called Emoji.Ink. And he does celebrity emoji portraits. He has a hundred thousand followers on Instagram. So, he can command his own audience. So, when a brand, or an agency comes to him. It's a very different approach than when they come for a very straight up work for hire, director's commercial kind of thing. That is the future, I mean. The future is about having a passionate audience, making things for that audience, understanding it. And being able to communicate with them on a daily basis, or a weekly basis in a powerful way, right? Through story. >> Yeah, I mean, you're riding the wave. And the waves are getting bigger. One of the things we do, we do a lot of tech coverage. And we see this in Cloud computing where software changed from Waterfall to Agile. And now the craft's coming back on the software side. But still now, software is eating the creative world. Because now a new wave is coming. So, speak to that, because you're, this is, you can almost look at the old ways. You mentioned the commercials and films. Almost like the Waterfall. You know, crafts, craft it up and you ship it. And you hope it works well. >> Ari: Yeah. >> But now, you have this new model of iteration. Where it's more Agile creative. How do you do Agile, like your artist, and not lose the craft? >> Yeah, well it's a challenge. Look, I've had so many opportunities in our 10 plus year career to kind of go in that direction of just like quantity over quality. And we could just never do it. I mean we're just not cut out for it. But at the same time, I'm not, I never ignore, how to optimize the content based on data, and based on what the landscape is looking like. So, an important thing for example that we consider in every project is context. Like what, how is this project going to be released? Oh, it turns out that, it's really a big social media push. It's not a TV thing. Or it turns out specifically it's Facebook versus Instagram. And that's a very different type of edit. And a very different type of way you start the video. 'Cause you've got a certain, even a different format, and a different way of looking at the content. So, you start to get into, and then you start to iterate, and look at the different ways in which you can repurpose, and rerelease the content, but customize it for each thing. So, you get into this really interesting place where the data is driving the story. And the feedback is driving the story. >> And the audience is part of the journey. >> Yes. And the comments, and the way in which people are taking the thing that you've made and re-interpreting it, is really interesting. And part of the story. >> You trigger a lot of emotion with me, when we're talking, because, you know, as an entrepreneur, I started media businesses turning into, and no-one has even seen this kind of media business before. But I have no media training of any kind. I did a science major. So, there's certain, and I've observed that there's dogma in the journalism business. And there's, but you know, how dare I challenge that, or others. You're doing the same thing. >> I love that by the way. >> So, I want to ask you. What is the dogma with the old world, 'cause the naysayers are usually the ones with the dogma. "Oh, it will never work!" >> Ari: Yeah. >> So, you're on the front end of this new trend. But you're going to have a visibility into what they're thinking, what is that? >> The dogma is, you know, the whole like, there's only big name directors, and you know, it's a certain caliber of work. And that craft is the ultimate thing. And that you just have to make the thing great. And it'll do the thing that is needs to do. Without any thinking in terms of context, or media buyer. How it can actually become a social, socially engaged piece. So, the thing that we're always fighting is some version of that. And then because we came from a scrappy place, but we're now, you know, a pretty legit thing, I think people, some people will still be like, well that's the kind of like, the problem solving sometimes gets interpreted as scrappy. Which is a word I really don't like. And I think-- >> It's a compliment on one hand. >> Yeah. >> But some people look at it as an insult. "Oh, he's just scrappy!" >> Well-- >> "He's not legit!" >> You never want to be the cheap solution. You want to be the solution that people call because nobody else can solve this problem for you. I think we, there's a strand of the company that's like, the kind of like, pick up the phone and we'll figure it out. And, the impossible project that nobody else can do. And then there's another strand where it's just like, you just want to make stuff people actually want to watch. How hard it that? The thing where you could just buy the media, and expect the results is trickier and trickier. >> I mean you could be different, and innovative, but that might not be good. But if you're good doing it, you're differentiated and you're innovating. >> Ari: That's right. >> What's the filmmaking track on that line. Because certainly there's a lot of innovation. And with innovation comes failure. But people are trying to be different. And being different actually is a good thing. What are some of the trends that you're seeing where people are having some success. And where people are stumbling. >> Yeah, that's a good. I mean what I see is, the things that do well take cultural context into account, and again speak to the people in that way. So, it's like a feedback loop that it's creating with its own audience. And we almost always, there's almost always a time in the process when we're dealing with an agency, or a brand where things start to go a little bit like, too, too much, and in that direction that you don't want it to take. Somebody, usually me, or someone will say, "Look, if we make these changes. "Or if we go in this direction. "We won't want to share it. "And if we don't want to share it, "nobody's going to want to share it." So, that becomes a key thing. Whereas before you could sort of away with some of that, now it's like, well, it has to pass this sort of, kind of litmus test in terms of like, are you comfortable with sharing this thing, because it speaks to you or not. >> So, I want to ask you the hard question, we're here at the Intel Tech Lounge, obviously Intel is doing a lot of tech things. They're trying to get all this new tech. And I see it on, whether you watch the NFL playoffs, with, you know, with the camera angles, the games, on basketball games. You see them using the power of technology-- >> We're actually working on an Intel Olympics VR related project that got a little tease ad, CES. So, I can just say that. >> Yeah I know, so what's the tech? What's the cool new game changer in your mind. As a tool that you need to be more successful, and other artists could use? >> Hmmm, well, you tend to, yeah I mean, I think we-- >> John: More horsepower, more compute, more-- >> No, I mean it's really the, What happened with the AR was really interesting, which was, everyone realized, oh, the phone's already in our pocket. While the headset needs to be something that really needs to be standalone. It needs to be $200. You know, like, you sort of, there's different kinds of headsets, of course. They do different kinds of things. But that's an extra hardware. The phone we already have in our pockets. So, everyone's started taking AR seriously. Including the big players. And what that allowed was a, a rethinking of what the possibilities with story would be. So, in some ways this last year has been a readjustment, and a rethinking of, well, what can you do with the phone that you've already got in your pocket. In terms of expanding the storytelling. Or placing a story in the middle of your living room, you know. A layer, using the phone as a window and a layer. But I'm equally as excited about what's coming in VR, interactive VR, room-scale VR, you know. The project that we have here is an interactive 360 project with a phone. >> What's that called? >> It's called On My Way. And the artist is young Jake. And the original conceit of it, is, it's Jake, there's four Jakes in a car. And every time you move the phone to a different Jake, it changes the Jake. So, as soon as it passes the quadrants. So, the four quadrant it kind of swaps the Jake. And that creates a really fun, and interesting thing. And he actually designed it for the phone, vertical. Because that's the way most people are going to experience it. >> John: That's awesome. >> But it's playing on a headset as well. >> Oh you're definitely a new creative. Love chatting with you. >> Thank you. >> Final, well, I have two questions, first one is, Sundance, what's the story this year? What's your report? If you had to go back and your friend asked you to give him a report, "Hey, what happened Ari, "what's going on at Sundance this year?" >> A combination of really interesting high-end VR projects. Some of them leaning into this kind of like more psychedelic less narrative driven stuff. Which I really like. Kind of like really embracing the fact that it's another world, and taking you there. And then the AR stuff. There's a thing called Tender, Ten Day R. Or Tendar. Which is a play on Tinder, by Tinder Claus. Which is, uses augmented reality, and emotion, and machine learning, everything that you could hope for in a really interesting way. So, that's kind of showing you where it's going. So, I think those two things. >> Psychedelic's interesting. I always, I mean this kind of tangent. But in, I've been seeing on The Cube interviews, I think we're going to have a digital hippy revolution. >> Ari: Definitely! >> And it's coming. I mean you can feel it. It's a different culture. >> When I was looking a lot of people, yeah, a lot of people are scared to, I mean, VR is a really great consciousness expanding way to go to get into other worlds. Without, you know-- >> And will all the crap going on in the world today you can almost look at this as a Sixties like movement in this modern era. Where it could be a major catalyst for massive change. >> Yeah, and there's a piece about, you know, this female shaman that grows through the tribe in Ecuador. And became the first ever female shaman for her tribe. And there's a piece called Chorus that, within it. Which is just super weird and trippy. And almost has no plot, but is amazing. >> All right Ari, you've got to run. Quick soundbite. What are you working on, what's exciting you these days? Share a little bit about what's happening. >> A variety of, again it's the full spectrum of storytelling, so it's not one thing. It's really pushing, experiential pushing, branded content pushing, original content that we're getting a lot more into that game. Long form series. VR series. Really, that's kind of the next wave for the company is to set foot, much stronger in the original space, and create our own original IP. Our own original content. >> Awesome, Ari Kuschnir managing partner and founder of Missing Pieces, check them out. Lot of great work. And again, it's a whole new game changing, from storytelling to the tech. The collision between technology and artistry, and creative, and it's happening. It's here at Sundance, at the Intel Tech Lounge. I'm John Furrier with The Cube conversation here at Sundance, which is part of our coverage. Was to look at the angle of Sundance 2018. Thanks for watching. (upbeat music)