The following is an excerpt from the just-released book, 'Tell to Win':
Once you’ve got your hero, what gets the emotion moving? What holds us spellbound, begging for more? Michael Jackson taught me in no uncertain terms, the answer is drama.
Back in 1991, Jackson already was a force to be reckoned with. After renewing his contract with Sony for a record-setting $65 million, he released his eighth album, "Dangerous¸" with the singles “Black or White” and “Remember the Time,” both of which dominated the pop charts. As CEO of Sony Pictures, I’d sat in on the studio production of that album and was overwhelmed sa pamamagitan ng Michael’s creative intensity and perfectionism.
His ambition knew no bounds. But when Sony’s most important musical asset invited me to his tahanan in Encino to discuss his plans to get into pelikula and television, I was taken aback. Michael had proven he knew everything there was to know about pop music, but pelikula were a different animal. He wanted to produce as well as act. That meant telling stories. Could he do it?
I didn’t even have to ask the question. “In both films and music,” Michael said, “you have to know where the drama is and how to present it.” He gave me a long, intense stare and abruptly stood up. “Let me ipakita you.”
He led me upstairs to the hallway outside his bedroom, where we stopped in front of a huge glass terrarium. “This,” he said, “is Muscles.”
Inside, a massive snake was coiled around a puno branch. His head was tracking something in the opposite corner of the terrarium.
Michael pointed with his finger at the object of Muscles’ obsession. A little white mouse was trying to hide behind a pile of wood shavings.
I sinabi hopefully, “Are they friends?”
“Do they look it?”
“No. The mouse is trembling.”
Michael said, “We have to feed Muscles live mice, otherwise he won’t eat. Dead ones don’t get his attention.”
“So why doesn’t he just go ahead and eat it?”
He said, “Because he enjoys the game. First he uses fear to get the mouse’s attention, then he waits, building tension. Finally, when the mouse is so terrified it can’t move, Muscles will close in.”
That snake had the attention of that mouse, and that mouse had the attention of that snake -- and Michael Jackson had my attention.
“That’s drama,” he said.
“It sure is!” I said. “This story has everything -- stakes, suspense, power, death, good and evil, innocence and danger. I can’t stand it. And I can’t stop watching.”
“Exactly,” he said. “What’s going to happen next? Even if you know what it is, you don’t know how or when.”
“Maybe the mouse will escape.”
Michael let out one of his high, strange laughs. “Maybe.”
If I’d had the slightest doubt about Jackson’s command as a teller of stories, it evaporated that day. His telling to win profoundly and clearly taught me that nothing grabs our attention faster than the need to know what happens next?
Back at UCLA, I asked Dan Siegel to help me understand from his perspective as a neuroscientist why people are so enthralled sa pamamagitan ng drama. Siegel pointed out that emotions don’t occur spontaneously. Nor, as any actor knows, can they be summoned at will. Emotions have to be aroused. “And arousal gets heightened,” Siegel said, “when you realize, I don’t know if the mountain lion’s still there; I don’t know if the spaceship is going to get back; I’m not sure he’s going to win the race. You have to have tension between expectation and uncertainty. Emotional tension drives you to think it might go this way, but it might go that way, and that makes you wonder, what will happen next?”
The madami you wonder what will happen next, the madami you pay attention. And the madami attention you pay, the madami you hear, notice, and retain.
One reason I was so helplessly enthralled as I watched Michael Jackson’s mouse and snake was that they were enacting a story of primal desire and dread. Somewhere deep in our DNA, we all have this story lurking because, at some stage of our evolution, if not in our madami immediate existence, we lived this story. We were the weaker prey that hid trembling inside the cave from the saber-tooth lurking outside.
Of course, most business storytellers don’t need to set dramatic stakes as high as death or survival. But even business stories are told best if they trigger the conflict between dread and desire. Desire is a core human need which in business may translate as landing a job, motivating employees, keeping an account, impressing a boss, successfully launching a product, or securing a brand. The madami we desire something, the greater our fear of not achieving it. And that emotional tension engages your audience because it makes them feel “what’s in it for them.”
Once you’ve got your hero, what gets the emotion moving? What holds us spellbound, begging for more? Michael Jackson taught me in no uncertain terms, the answer is drama.
Back in 1991, Jackson already was a force to be reckoned with. After renewing his contract with Sony for a record-setting $65 million, he released his eighth album, "Dangerous¸" with the singles “Black or White” and “Remember the Time,” both of which dominated the pop charts. As CEO of Sony Pictures, I’d sat in on the studio production of that album and was overwhelmed sa pamamagitan ng Michael’s creative intensity and perfectionism.
His ambition knew no bounds. But when Sony’s most important musical asset invited me to his tahanan in Encino to discuss his plans to get into pelikula and television, I was taken aback. Michael had proven he knew everything there was to know about pop music, but pelikula were a different animal. He wanted to produce as well as act. That meant telling stories. Could he do it?
I didn’t even have to ask the question. “In both films and music,” Michael said, “you have to know where the drama is and how to present it.” He gave me a long, intense stare and abruptly stood up. “Let me ipakita you.”
He led me upstairs to the hallway outside his bedroom, where we stopped in front of a huge glass terrarium. “This,” he said, “is Muscles.”
Inside, a massive snake was coiled around a puno branch. His head was tracking something in the opposite corner of the terrarium.
Michael pointed with his finger at the object of Muscles’ obsession. A little white mouse was trying to hide behind a pile of wood shavings.
I sinabi hopefully, “Are they friends?”
“Do they look it?”
“No. The mouse is trembling.”
Michael said, “We have to feed Muscles live mice, otherwise he won’t eat. Dead ones don’t get his attention.”
“So why doesn’t he just go ahead and eat it?”
He said, “Because he enjoys the game. First he uses fear to get the mouse’s attention, then he waits, building tension. Finally, when the mouse is so terrified it can’t move, Muscles will close in.”
That snake had the attention of that mouse, and that mouse had the attention of that snake -- and Michael Jackson had my attention.
“That’s drama,” he said.
“It sure is!” I said. “This story has everything -- stakes, suspense, power, death, good and evil, innocence and danger. I can’t stand it. And I can’t stop watching.”
“Exactly,” he said. “What’s going to happen next? Even if you know what it is, you don’t know how or when.”
“Maybe the mouse will escape.”
Michael let out one of his high, strange laughs. “Maybe.”
If I’d had the slightest doubt about Jackson’s command as a teller of stories, it evaporated that day. His telling to win profoundly and clearly taught me that nothing grabs our attention faster than the need to know what happens next?
Back at UCLA, I asked Dan Siegel to help me understand from his perspective as a neuroscientist why people are so enthralled sa pamamagitan ng drama. Siegel pointed out that emotions don’t occur spontaneously. Nor, as any actor knows, can they be summoned at will. Emotions have to be aroused. “And arousal gets heightened,” Siegel said, “when you realize, I don’t know if the mountain lion’s still there; I don’t know if the spaceship is going to get back; I’m not sure he’s going to win the race. You have to have tension between expectation and uncertainty. Emotional tension drives you to think it might go this way, but it might go that way, and that makes you wonder, what will happen next?”
The madami you wonder what will happen next, the madami you pay attention. And the madami attention you pay, the madami you hear, notice, and retain.
One reason I was so helplessly enthralled as I watched Michael Jackson’s mouse and snake was that they were enacting a story of primal desire and dread. Somewhere deep in our DNA, we all have this story lurking because, at some stage of our evolution, if not in our madami immediate existence, we lived this story. We were the weaker prey that hid trembling inside the cave from the saber-tooth lurking outside.
Of course, most business storytellers don’t need to set dramatic stakes as high as death or survival. But even business stories are told best if they trigger the conflict between dread and desire. Desire is a core human need which in business may translate as landing a job, motivating employees, keeping an account, impressing a boss, successfully launching a product, or securing a brand. The madami we desire something, the greater our fear of not achieving it. And that emotional tension engages your audience because it makes them feel “what’s in it for them.”
Certain items found in the room where Michael Jackson died could help shape Dr. Conrad Murray's defense -- namely, that other docs were medicating Michael.
Sources connected with the case tell TMZ ... evidence in the room suggests certain potent drugs were "prescribed and prepared" for MJ to self-medicate.
As we first reported, Dr. Murray's team will not challenge the L.A. County Coroner's finding that Jackson died of a massive Propofol overdose. But as we told you, Murray's team will present evidence in the doc's manslaughter case that Michael awakened, then gave himself the fatal dose of Propofol when Murray left the room.
We're told Murray's team hasn't decided if it will use the evidence found in the room to implicate other doctors in Jackson's death. But we do know Murray's legal team will present evidence during the trial that the fruits of Jackson's notorious doctor shopping over two decades wore his body down.
The rep for Dr. Murray's lawyer refused comment.
Sources connected with the case tell TMZ ... evidence in the room suggests certain potent drugs were "prescribed and prepared" for MJ to self-medicate.
As we first reported, Dr. Murray's team will not challenge the L.A. County Coroner's finding that Jackson died of a massive Propofol overdose. But as we told you, Murray's team will present evidence in the doc's manslaughter case that Michael awakened, then gave himself the fatal dose of Propofol when Murray left the room.
We're told Murray's team hasn't decided if it will use the evidence found in the room to implicate other doctors in Jackson's death. But we do know Murray's legal team will present evidence during the trial that the fruits of Jackson's notorious doctor shopping over two decades wore his body down.
The rep for Dr. Murray's lawyer refused comment.
● I ► is for↔ Inspiration
● C ► is for↔ Creative
● H ► is for↔ Hero
● A ► is for↔ Amazing
● E ► is for↔ Excellent
● L ► is for↔ Lovable
● J ► is for↔ Joyful
● A ► is for↔ Amazing
● C ► is for↔ Caring
● K ► is for↔ Kind
● S ► is for↔ Sweet
● O ► is for↔ Optimistic
● N ► is for↔ Natural
Michael's name has the exact letters to describe him. He had the sweetest voice for such a young child and the smoothest dance moves. We would have talent shows at our school or community recreation center, and there would always be a number of us who wanted to portray Michael and the Jackson five.
As he and we grew older we still enjoyed his sounds and performances. No one makes all perfect decisions in their lives. As with many a great artist he had some ups and downs. But through it all, his musical talents have been phenomenal genius.
Michael Jackson cannot be stopped ... even in death -- the King of Pop is set to release a posthumous album of brand new songs this November ... and it's just the beginning.
According to Rolling Stone, Jackson has approximately 100 still-unreleased songs from throughout his career -- and the Jackson Estate has already inked a $250 million deal with Sony to release them over the susunod seven years ... along with reissues of the MJ classics.
Among the unreleased tracks are collaborations with Akon, Will.i.am and Ne-Yo.
The album is due out in November.
According to Rolling Stone, Jackson has approximately 100 still-unreleased songs from throughout his career -- and the Jackson Estate has already inked a $250 million deal with Sony to release them over the susunod seven years ... along with reissues of the MJ classics.
Among the unreleased tracks are collaborations with Akon, Will.i.am and Ne-Yo.
The album is due out in November.