Name: Brainstorm Design 2024: Designing Memories
Uploaded: 2024-12-05
Duration: 14 min 28 s
Description: Bob Dennis, Senior Director of Creative Studio & Resort Development, Universal Beijing Resort, In conversation with Nicholas Gordon, Editor, Asia Fortune

Bob Dennis, Senior Director of Creative Studio & Resort Development, Universal Beijing Resort, In conversation with Nicholas Gordon, Editor, Asia Fortune

Brainstorm Design 2024: Designing Memories

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Bob Dennis, Senior Director of Creative Studio & Resort Development, Universal Beijing Resort, In conversation with Nicholas Gordon, Editor, Asia FORTUNE  

So I thought there would be a fireplace. Uh Fortune invited me to a fireside chat. So I thought there would be a fireplace. But we brought is, is how is is wordplay part of your tool kit for memorable experiences. Yeah, it's immersion. Don't you feel cozy? So we're, we're going to get into your thoughts on park design, how to build immersive experiences, how to leverage emotions. But I have to ask, I'm a fervent player of video games. What was it like for Universal to work with Nintendo? Oh Amazing. First of all, Miyamoto. So is a genius and uh it's a learning curve for both of us. Uh because in the world of video games, it's digital and our world is physical with steel and concrete. Um So it's a learning curve on both sides but an amazing partnership. So, so as mentioned, you know, you've worked in this space for over 30 years. I believe your first gig was working for a San Rio theme park back in 1988. How has theme park design changed over the decades? Well, I'm old. So um when we were designing theme parks back in the eighties we didn't have any computers, we didn't have computer assisted design. It was all done with a pencil and then ink and then of course you pulled your prints. Um But everything was exhibition then and the industry has changed so much that now it's immersion. Um And we're getting better and better at that, but we've been doing immersion since before the term was even coined. So, I mean, let's split at that. I mean, given your long experience kind of working with immersive experiences, you know, before, was a buzzword that people used. You know, how do you actually create such an immersive memorable experience? What's your toolkit? And I believe we have some slides, maybe even some audience engagement a little bit as we go through this. So I think the table stakes because of where we are, it's a good reference. The table stakes are excellent storytelling and of course, um you'll hear this often today. Um visual stimulation, sensory input. So you need a, you need a beautiful picture, but you also need a logical story that the guests can connect to and find their place in what it is that you're trying to present. So that's cable stakes and where you have to go further is you have to, you want people to connect to the story you have and most people forget about emotion. So every memorable experience can be done by senses here in Macau, you get a sense of awe, a sense of grandeur. But what's missing to make it an episodal autobiographical memory is emotion. So the best connection is always made through emotions and often people confuse feelings with emotions. So there's a million colors and everything that we do happens here, it happens inside the brain, regardless of how good your design is or how grand your experience is, all of it has to be encoded so that we have an experience without the memory. What's the point? Right? So most people don't realize that with three colors, you can make a million, a million different colors with eight basic emotions. You can also make a million different feelings. And it's very important to understand the difference between emotions and feelings. OK? Can you guys guess what this emotion is? We don't need mics, you can just yell it out just fine play along, right? So this is obviously joy. I created these images um to trick you in a minute. Um But yeah, these are facial expressions uh that evoke that particular chemistry happening in your limbic system. So you understand joy, the opposite of joy. Of course, the next one, sadness, right? And after sadness, I'll, I'll see if you can guess this one. This is the trick. Most of you are thinking love, however, love is not an emotion. Love is a feeling that is a combination of several emotions. It could be joy, sadness, disgust, right? And um these all come together in a symphony inside our brain that we equate with the feeling of love. So it's trust, trust is the emotion. This one is a good one discussed, right? This is baked into our limbic system for your survival. Um And so memories that are formed along with this emotion are deeply encoded anger when we have a perceived wrong. Um These also are strongly recorded, not as moments but as experiences. So they're, they're like little videos instead of a snapshot. If somebody makes you afraid, you will retell this experience over and over again in great detail. OK? Anybody anger, right? Same process. So every oh they made me so mad and then they'll tell you every little detail because it's been recorded as an autobiographical memory. It was, it was an experience. OK? This one, this one, Alfred Hitchcock was a master at this. We use it often too um anticipation. And then finally, uh this is where you take your redirect. So if you use the emotion of anticipation, the brain starts creating all kinds of scenarios on its own and it engages deeply in the frontal cortex. And what this does is creates more engagement and people are doing their own self reflection. And then of course, you do the redirect, you take them into a way that they did not expect the outcome to be and we get surprised. So we have these eight emotions then how are you kind of putting them all together? And leverage them into a memorable experience. I mean, some of these emotions make sense for a theme park setting, joy, surprise anticipation, even fear, some feel a little bit, you know, maybe not quite as easy to put into an entertainment setting like discussed. So how are you leveraging all of these emotions together to kind of tell a story in the real world? It's a good point. So you don't want to manipulate people and you don't want to use uh emotions as trickery. So it has to be authentic. And so I think most designers forget about engineering those emotions in putting together a recipe or a symphony that causes crescendos and date crescendos. And that, that working together engages the person into a story and they, they're all useful, but some, we use more than others, obviously joy. Um There's a great one, anticipation. We try to stay away from fear and disgust, but they're used, we, we do use them. Um I want you to dive a bit deeper about kind of adapting these ideas, you know, a lot of universal zone properties, the properties of your partners like Warner for Harry Potter or Nintendo. These are things that exist on the page or on the screen. They don't exist in the real world. You know, as much as some of us would love magic to exist in the real world. It, it it doesn't. But how do you take these things that only exist? You know, in fiction basically and make them work as a real world experience. So this is why I'm losing my hair. Um So our, our creatives um Miyamoto Song JK Rowling, um They're amazing at creating worlds in print or production designers like Stuart Craig for film and they can pretty much create anything that they can imagine. So our job is to take that world and those stories and connect our guests to those characters. But we have to do it with steel and concrete building codes, safety requirements, throughput, operability. Um Basically, we shouldn't do anything because it's almost impossible. And yet we have many parts around the world that do just that. So um it, it's very difficult to, to translate, but we're very fortunate because we work with our IP partners and the films are there, we only get three or four minutes to, to kind of get people through that experience. Um And so we do a lot of callbacks, a lot of bringing up things that they saw or remembered in the film. And we have to do that in a way they can touch it. So a gag has to work every time, every day for years, not just to catch it, capture it on film. So I would say we use all the sciences um and all the arts and that our attractions are some of the most sophisticated machines there are. And I think that when you go to a theme Park. We don't want you to know that we try to keep that secret, but it's a fact. Um I want to stick on this film point for a second and how it connects particularly to one memory I have of going to Universal Studios, Japan when I was a very small child. I still remember seeing the Water World Exhibit for those who don't know. Water World is a 1995 film starring Kevin Costner. Um I'll say reactions to the film were mixed and being charitable. Um But I dare say the attraction is more, is, is, is more famous than the film at this point. Um It's in, it's in many of um universal parks. Um And so kind of why do you think this attraction in particular is so popular? And how does it fit in your philosophy for immersion and experience? We actually have some video that you can have talked for a bit first. It's a very good example. So the film mixed reviews on the film II, I don't think it was a blockbuster. Um But we were able to take uh from that film and use the emotions that are created by it and do a stunt spectacular. So not only was it visual, which is great and great sound and great lighting and great special effects, but everything is real. We don't use projections, there's real flames, we set the entire lagoon on fire and you will feel the heat from that and you will get wet. Um But in the story itself, we also engage many of the emotions, you may be angry at the villain. Um You feel some joy. So I think that the theme park experience in this example um has outlived the film and we're gonna show a little bit of it what actually happens on screen. Um So I want to talk about kind of another stakeholder in this discussion. We've talked about designers universal, we've talked about it partners, but there's also the fans um these are worlds with uh I'm going to call them very devoted fan bases, very passionate fan bases. That's true of Harry Potter. It's true of Nintendo, it's true of your um your peers at Disney, you have to work in Star Wars. Fans are passionate, they are also a little nuts. Um And so how do you kind of design these experiences in a way to kind of give fans what they want to make it memorable for them, but also managing expectations and managing it for those who maybe haven't read every single book a dozen times. So I think as designers, we often get caught up in our own story and um we, we wanna engage our visitors to remember what they want to experience. So at Universal, we really believe our guests are co creators. We engage often and constantly with those, not just the deep fans, but with uh the people that may not be deep fans, it's very important to get that feedback so that you're telling the story that they can get, that you're telling the story that they want to experience and that you don't get too stuck in what you want. Um So it has to be more objective, a little less subjective and constantly engaging with the feedback from the fans and we love hearing from them. Um And you're right, some of them are a little crazy, but we love that kind of crazy. Um You know, just kind of, it's gonna bring a kind of more examples of rides we've worked on. I mean, what's maybe another one of these exciting rides that you've worked on that really kind of shows your philosophy on, on designing immersive and memorable experiences. So the the awards are, are Industry's Oscars and we received it last year for Jurassic World Adventure. You all have to come to Beijing. That's the only place that attraction exists right now and that I believe really checks all the boxes on visual stimulation, um experiential design, but more importantly, emotion. So I remember when we opened, uh there was a 12 year old boy that was a guest of a friend of mine. And after going on that attraction, he asked me quite seriously, uh what do we feed our dinosaurs, right? So, so that type of sense, the suspension of disbelief um can only be found in, in, in the major players in this and that was why that is my favorite. I'm going to have to find an excuse to go find a story to write about it and then get work to expense it. Um But thank you Bob for, for walking us through the toolkit on how you build immersive experiences at universal. We're going to take a short break right now. Please help yourself to coffee, which will be served right outside the ballroom. Don't forget to pick up a copy of Gensler's design forecast 2025 report available at the desk on a first come first serve basis. So grab your copy. Now we'll meet back here for our next conversation promptly at 1045. When we come back, we'll hear from two of Silicon Valley's leading industrial designers and a panel of accomplished design leaders on customer experience. We'll see you back here soon.