Flow state is an optimal....
It's the most optimal mindset
that we're in.
It's the most efficient brain
and mind processing known to us.
And when we drop into a flow state...
...we tend to almost have
a magical experience.
It's not magic.
But there's a sense of awe that comes
with it. There's a distortion of time.
...and when I speak to great athletes
people at the top of their game
at what they do
most people report that it's somewhere
between 10 and 15 percent of the time.
Which means that the majority
of the time...
...even the best in the world...
...they're working.
They're not dropped into this
easy flow process
where everything is proficient.
They're working,
and they're working
really hard to try to bring their mind
...to a positive mindset.
And that's where the real work is.
If you can hang out in a positive mind
long enough...
...the idea is that you'll slip
into no mind.
I think we play games
for a lot of reasons.
I think
There's obviously
a lot of psychology involved...
...in just the basic reward mechanisms
that you feel good
when that dopamine comes in.
You have fun, you win.
It's a way for us to win on a way
that doesn't have a
lot of risk involved...
...but we can really get
that psychological thrill.
And I think with "Gran Turismo,"
it offers that sense--
Especially now where you can
play online with people.
--that you really reaffirm the skills
that you've refined.
You say,
"I am better than that other person."
And it's a way-- A safe environment
for us to test ourselves, I think...
...and to experience--
To challenge ourselves...
...and to experience
what we're actually capable of.
Meeting for the first time
and hearing he races and--
Not only races, wins a lot.
That's kind of incredible.
He's a really good driver.
I was surprised.
I drove with him at Motegi
at "Gran Turismo 2."
And, yeah, I just go,
"He's--" It's, like, "I get it now.
Now I know why this
game is so accurate
and so representative
of the real thing.
The guy who created it...
...he knows how to drive."
He races,
which puts him at a different level,
so he understands what he's doing.
It's not just simulating it.
He actually has a reference point
of what real racing is about.
When you have reference point,
that's going in the game.
We were just in review with him
on a project.
He gave insights to things he thought,
"I think this would be important.
This is what you need to do
for the real car."
So he can pull reality
from his experiences...
...and apply it to the application
of a project.
I think...
pioneers that are doing something
unique and new,
people wanna listen to.
He's proven. He has a pedigree...
...that I think gives
him a lot of leeway
to do some unique things.
Question 12.
The game is nearly perfect.
What else do you think you can improve
on? What else is there left to do?
Kazunori
Joined Sony Music Entertainment Japan
...which was the music company
and obviously...
...publishing and producing music.
And Sony Music Japan at that time
had a small video game group...
...producing games
for Nintendo and Sega systems.
So he joined
Sony Music Entertainment Japan.
and became one of the young members...
...producing titles for those systems.
Back in the early '90s...
when Sony was first starting
to think about a PlayStation console
...Kazunori wanted to produce
this car game...
...that he'd wanted to produce
since he was 15 years old.
And he approached
the Sony executives...
and the people in charge of the games
at the time that
And explained to them
what he wanted to do.
But they really weren't interested
in a car game.
They presumably weren't car people,
they didn't think...
...that a game that technical
or that focused would really sell.
"Motor Toon Grand Prix"!
The amazing car physics engine
was so realistic...
...and the industry people noticed
what Kazunori team was doing...
...and became something
to watch out for.
And, of course his team's
third project was the "Gran Turismo".
So when we waited long enough...
...to have something tangible
that we could show...
...that was the early prototype
of the "Gran Turismo"...
...with the amazing...
...never-seen-before
reflection mapping of the car.
You know, when the car spins,
the lighting reflections changes...
...it was amazing.
There are scenes on "Gran Turismo"...
...and there's a camera shot
of a beautiful car...
...set in a beautiful location...
...moving in different locations
looking at the car.
And you look at it, and you could sit
there for a good five, 10 minutes...
...just staring at the screen.
It's just-- It's a work of art.
And....
But when it comes down to it,
it's just code.
But I think it's a bit more than that,
really.
They say code is poetry.
That's a computer science term...
...when you learn to program,
they say, "It should be like poetry."
It makes you think about cars
differently.
It makes you think about the world
differently.
I have learnt so much
about other countries...
...and other forms of racing
and other people.
I've read the documents that go along
with the cars and the tracks...
...and you learn so much.
It makes your world much bigger
after you've experienced the game.
But really, if you say,
"What is the game?"
It boils down to these lines of code.
One of the interesting aspects
of modern origami is that...
...in many cases...
...you can't break it down
into step-by-step processes...
...like the traditional origami.
All the folds have to come together
almost at once...
...so with that type of design...
...we'll very often spend some time...
...putting in all the
creases ahead of time...
...and then try to bring
all of them together at once.
It's a skeleton, it's a scaffolding.
And a crease pattern captures
the important elements of something...
...but it rarely captures every fold
in the figure.
And so it's less than a blueprint.
It's more of the abstract essence.
I need to get from...
...the subject to a folded
representation of the subject...
...and I can break that
down into steps.
And the first step is to figure out...
...what are the elements
of the subject
...that I wanna
replicate in the paper?
Because any representational
origami...
...it's not a perfect photograph
or a perfect sculpture.
It's not a perfect reproduction.
We have to pick certain elements...
...that are gonna call that subject...
to the mind of the viewer
when they see it.
One way of describing the abstraction
is making a stick figure or a drawing.
That tells me how many legs,
how long they are and so forth.
And that's pretty easy step
because we can--
We can draw stick figures
pretty easily.
That's our first step of drawing
when we're a child.
But going from the stick figure
to a paper shape that has
...the same structure
that's the step...
that is particularly
amenable to mathematics.
I began to see a lot of these...
...principles
in origami...
...like the principles
that governed engineering...
...and that one could use mathematics
to do better art.
There's really deep connections...
...between the meshing problem
of 3D gaming...
...and the crease pattern problem
of origami design.
And so there are origami algorithms...
...that are basically
meshing algorithms that say:
"Represent this surface
by a bunch of polygons...
...that satisfy certain rules
about their positions and angles."
What we're trying to do
as an origami artist...
...what Kazunori is trying to do
as a video game...
...is create an experience
inside someone else's brain.
And so you have to put yourself
in there.
And so the decisions that we make
in this abstraction process...
...are not just what to include,
what to omit...
...but also what to exaggerate...
...what to put in
that's not actually there...
...but that will give the desired
result in the viewer's mind.
In everything we do here...
...everybody's always
amazed that...
we still sculpt full-size clay cars.
Every day we do that. We have a set
of craftsmen sculptors that do it...
...and we'll mill the car...
...bring it back onto a plate...
...model it by hand,
white-light scan it...
...bring it back into the tube,
tune it again, go back and forth.
It's a little bit of an artistic
ballet between digital and analogue.
And we may build a polygonal model,
math model...
...mill it out in one of our giant
mills, but at the end of the day,
it's a craftsman's hand...
...cleaning the model down,
getting the lines right.
I think at the end of the day
it'll always be touched...
...by the human hand to make it....
Or give it that soul, I guess.
I started working
out of my mom's garage.
Just driven to, you know....
To get my hands at shaping,
I used to strip down old longboards.
And that's how I kind of started.
I've been doing it
since the summer of 1973, so...
...this'll be going into my fifth
decade of shaping boards.
As a shaper, the holy grail is like
when a customer brings...
...a board to you and it's a
magic board and he says:
"You know,
can you replicate this exact board?"
And so that eventually started down
that CNC road and the accuracy...
...and being able to obtain empirical
data...
...that you can always go
back to reference.
This has been like an
eight-year process...
...for me to build this machine.
I originally had no background...
...in CNC technology
or CAD/CAM technology...
...so it was--
It was a long project for me.
What's common nowadays is they have
the turnkey shaping machines...
...that you can purchase...
...and you're basically
writing programs in 2D.
The algorithm formulates
the third dimension.
You're not working in true 3D.
The way I actually do it
is I take my hand shapes...
...and actually digitize the
entire surface and....
So it maintains
the natural hand-shaped....
I don't know what you would call it,
just the non-algorithmic look...
...so it has more of a hand-shaped,
non-digital appearance to it.
Right now, what I'm doing...
...is just basically
taking down all the tool path...
...that the CNC machine has cut with
the program...
...that I've written for the board.
Aesthetic is really nice.
But, you know, I try to add little
style points to the boards for sure.
But the rider is the one
that has a soul...
...and the rider and the board
have to connect.
And, you know, ultimately,
if I fail at that point there...
...you know,
I've basically failed as a shaper.
It really, really mimics real driving.
It really explains understeer,
oversteer.
Not just explains, it demonstrates it.
I could talk understeer, oversteer to
someone here at a restaurant randomly.
They're not gonna know
what I'm talking about.
But when I go to the game,
these cars do that.
There's so many variables involved...
...in terms of the contact patch
the tire makes with the asphalt.
Types of conditions in "Gran Turismo,"
there's snow and dirt and asphalt.
They also have to take into
consideration the controllers.
It's an engineering
project that is....
Kazunori put it on par
with the Apollo Project.
And as crazy as that sounds,
I think he's probably right.
That's-- It's a massive, massive
engineering undertaking.
There's a lot of history in objects
that have existed...
...and had another purpose.
And bringing that energy,
that previous energy...
...into a sculpture...
...brings a lot of new
unexpected surprises together.
I did start drawing probably before I
could talk as a child.
It was really a very
easy thing for me.
I remember my first
studio space was...
...the wayback of the family
station wagon...
...where my younger sister and
I would sit with...
...safety scissors, colored paper...
...and crayons and all that, and
that's how we went...
...on our family trips.
As soon as I graduated art school,
I took a full-certified welding class.
And it just seemed
like the next logical step for me.
I didn't expect to build a
bridge or building...
...but I wanted to
understand the medium.
I wanted to understand
all of the right ways to do it...
...and how far it could be pushed.
In my mind, it changed how
I looked at things a lot.
I no longer saw things
as being broken or useless.
I saw them as waiting to be repurposed
or fixed or modified in some fashion.
All of the giant figures were...
...designed to represent different
religions from around the world.
I think what's kind of unique
about the experience of these...
...is from a distance,
you see a large silhouette.
As you approach, you can
start recognizing...
...that there are items that are
familiar to you.
Whether it's a spring
or a kitchen faucet or a tool...
...there's a lot that people can
relate to in these.
And I think it's kind of amusing
to discover these little bits.
I want people to be drawn up
into the magic of the sculpture...
...forget anything about reality,
to think it's always been there...
...and they discovered it,
and it was there for them.
I think that is the height
of the artistic journey...
...is when a viewer is unaware
that this has, you know...
...16 outriggers underneath the ground
that are holding it up, you know.
They don't understand the engineering
behind all that, and they shouldn't.
If I've done my job well,
they don't even think about it.
I think to take a car
out of the context of a parking lot...
...and put it on a pedestal...
...you're forced to look at it as
an artistic object...
...and to see
its physical characteristics.
I first got on this track, I'd say,
I was 5. I grew up here.
This is where I started
my racing career.
Dave helped me tremendously
just learning how to drive...
...and just get me to that next level
to start my career.
And let's go over some stuff
on our board.
Remember points of measurement?
Say "turning point."
-Turning point.
-Say "apex."
-Apex.
"Release the car all the
way to the exit."
-Release the car all the
way to the exit.
Release to the exit, and
when we release to the exit...
...we get grip
in the rear, right?
-Remember the whale's back?
-Yes.
If you dive in too soon,
it sends all your energy to the pit.
We wanna come in, sacrifice, touch...
...add, add, more, more, more, most.
Sacrifice to be efficient,
to be effective.
What's effective?
Fast, momentum carrying it uphill,
right?
All the way up.
Let me have your helmet. Come here.
Watch, guys. Watch, watch, watch.
Two mechanisms.
Watch what happens here.
Watch, watch.
Feeding my chin, feed my hands,
feed my chin, feed my hands, right?
Feed, feed. That's gonna prevent you
from leaning, right?
All the bite and grip
comes from the outside tires.
So we feed, we feed, right?
-You guys ready for your day?
-Yes.
Not a whole lot of sugar,
tons of water, okay?
So Mitchell is 15...
...and he is a Red Bull athlete.
They picked him up about two years
ago, so he was...
...the youngest in their
arsenal of athletes.
And he transitioned in from go-karts
to off-road racing trucks...
...to open-wheel,
and now Global RallyCross.
So he's got about 10 years
of driving experience...
...but he doesn't even have a legal
driver's license yet.
So it's pretty cool.
I'm seriously thinking about doing
an axle change.
I think the car is loose.
-Said something about it being loose,
it was great.
Then he said it was sticking, so....
That's the beauty of having
a 7-year-old for your....
For your driver input.
All right, front end's good.
Cole, hand me the ratchet, son.
I'm gonna change the rear width, and--
Yep. Put the front tires on.
We've only got about three.
Thank you, sir.
We only have about five minutes
to the main, to the heat race.
How much do you have invested
in that car?
The car itself?
Or the entire program?
Program.
I'm embarrassed to say.
But I do havemy wife's buy-in,
so I'm good.
Upwards of 25 to 30,
in terms of just capital cost.
And then the operating expense
becomes...
...probably thousand to 1200
barring no major incident.
With major incident,
we can get into a couple of thousand.
I mean, I can't remember
the go-karting cost.
I do know it does get expensive
even at a young age...
...because a lot of the...
...fathers would show up with nine
different motors for their...
...little kid's go-kart for a race,
and--
How do you compete with that?
We'd have one, a tired backup motor.
So we just-- That's what we did.
And when you transition
into off-road trucks...
...that got expensive.
I mean, that was probably....
We were probably sinking
70, 80,000 dollars...
...just for S-series
in a little off-road truck.
You have repairs and practices
and motor rebuilds.
Now that he is going
into the RallyCross...
...I honestly couldn't tell you
how much that's gonna cost.
Look at my line, guys.
Look at my line.
Look what direction I'm headed.
Come with me.
Look at the direction.
Turn and point.
Apex.
Apex.
What's an apex?
Point of measurement.
-What's an apex?
-Point of measurement.
-What's an apex?
-Point of measurement.
-What's an apex?
-Point of measurement.
Apex.
Release.
All right, guys, and we are
ready to spark. Please go ahead.
All right, ladies and gentlemen.
Start engines.
Go all the way through, right?
Go a little faster, a little faster.
Go faster, faster, faster.
Keep it going. Keep it--
Just keep it going. Keep it go--
-Go!
It's so incredibly hard
to get into motor sport.
As anybody who's
done it or tried to do it knows.
It's one of the most
expensive hobbies that you can find.
There's a certain mystique
about a race car driver that is....
It's romanticized in a lot of ways.
And for good reason, you have to be
very lucky and very...
...fortunate in so many
different ways to make it.
To have something like "Gran Turismo"
where you can develop your skills...
...in your living room. You can--
For just a few hundred dollars.
There's few games
that can teach you something...
...that applies that directly
to a real-world situation...
...like the GT Academy
obviously is a good example of that...
...where skills learned in
the game have translated...
...perfectly one-to-one...
...with skills on the racetrack,
the real racetrack.
Being a race car driver...
...has been my dream
since I was a young boy.
It would mean everything to be a part
of the Nissan racing team.
My passion is to drive cars,
this is my opportunity.
To get that shot to drive
in front of people who matter.
I'm Dhani Jones, host of GT Academy.
Four hundred thousand "Gran Turismo
5" gamers entered a contest...
...hoping their skills in the game
will transfer to the track.
Only the 16 fastest
will fight for the ultimate prize:
The prestigious red helmet...
...and a shot at becoming a...
...professional
race car driver for Nissan.
These guys come, they've
been racing on a game...
...which is, unless you're good,
you can't go fast.
And we take them,and they've
got no knowledge...
...about the world we're in,
the world here at Silverstone.
And we can then train them
using the skills they've got...
...from the game, in the right way
so they haven't got any bad habits.
We can teach them the right way
to become racing drivers.
Computer Voice: Get ready. Go.
When the guys win the competition...
...they go on Driver
Development Program...
...which is a physical,
mental driver coaching program.
It's pretty intense.
They're going through
physical exercise every day...
...mental coaching
at least two, three times a week...
...they're on a simulator...
...driver coaching,
as well as being out on the track.
So it's a pretty intense time.
We work with them for three months...
...to get them prepared and ready
for their first race.
You know when you're
doing something right...
...when there's people
moaning about it...
...viciously.
It means that you're doing something
to upset the establishment.
And that's what we've done.
But as we've progressed,
people realized these guys...
...are genuinely fast young
racing drivers.
They're faster than some
of their peers...
...but they've only raced for one,
two, three years,
...and yet they're to the level...
...or above the level of kids
that have been racing for 15 years.
Well, for me...
I have to say Le Mans. Competing Le
Mans for the first time...
...back in 2011...
...was very special.
Dreaming to be in that race
and obviously then...
...finishing second in the podium...
...with the pole position
in qualifying...
...was a really great
weekend for me...
...and, you know,
it was a dream become true.
Dream come true for me
and for Nissan...
...and for.... The GT Academy
story was amazing.
First time, first try in Le Mans,
bam, in the podium.
Okay. If we'd have had one driver
that was good...
...okay, it was luck.
We've got a consistent group of
drivers every year...
...from different parts of the world
that are really good racing drivers.
This is not luck. Genuinely, if you're
a good gamer on "Gran Turismo"...
...we can make you
into a good racing driver.
GT Academy is, in my view...
...first and foremost,
a life-changing program.
It takes people from nothing,
if you like...
...to something very, very special.
It gives them inner belief,
it gives them self-confidence...
...and it gives them the skills.
Not just skills behind the wheel,...
...but skills in front of camera,
skills in PR.
And it gives them all of that,
and makes of them...
...professional race drivers.
I think, as a child...
...being a racing driver
was my ambition.
I've dreamed of it before, and....
But I can honestly say...
...I've never dreamt that it
would happen this way...
...through playing "Gran Turismo."
I mean, who thinks of that?
Every time we meet it's great.
For me, he's like a big mentor for me.
Every time I have meetings or chats...
...or competing with him in
Nürburgring 24 hours...
...it's a special moment, no?
Obviously, every time I see him,
I try to....
You know, to spend most of the time
with him, learning from him...
...and obviously, he's the creator
of "Gran Turismo,"
The simulator which make me
a professional racing driver...
...so I have to, you know--
I have to thank him for everything.
That's why I'm here today and....
I don't know what to say.
The awareness that, in
this arc...
...towards high performance,
towards mastery...
...that there is a dark side
or there's...
...real challenges to the spirit...
...and to the psychology
and to relationships.
That insight...
...typically comes from somebody
who's been down that path.
And the insight to be able to know...
...that men who are pursuing something
that's very important to them...
...that there's both a part
that is glorious and to celebrate...
...and there's also
a really challenging dark side to it.
It's really insightful.
And if we're not careful...
...we can set people up
for the ride...
...and not take care
of the other side of it.
And to have that insight...
...to be able to support
and challenge...
...and provide opportunity...
...that's noble.
In Japanese, tōge means
canyon road or mountain road.
The winding road, basically.
We just went through the tunnel...
...which was actually the...
...starting point
of my favorite tōge road...
...near my hometown.
This is basically the place
I learned how to drive.
Ten years ago, I was driving
canyon road just for fun...
...and then I just had the opportunity
to compete in the States.
Back then, professional drifting
wasn't that big neither...
...like, it's not as big
as mainstream racing...
...but it grow so much
after 10 years...
...and I guess my dream came true...
...that I'm now a professional driver.
It's not like driving purely for fun.
I have to beat other people.
And I have a lot of sponsors
so I have to do well, stuff like that.
So sometimes, it's not only fun.
Sometimes, it's very difficult.
But when I come
to a mountain road like this...
...it kind of always reminds me
how much I enjoy just driving.
My goal past 10 years...
...to win the championship
of my Formula D career...
...and I achieved that goal...
...two years ago, 2011.
Now, another thing that I
wanna achieve...
...is to have my car in the
"Gran Turismo."
Because Kazunori and all
the other guys...
...in "Gran Turismo" are
really picky...
...about what kind of car
they wanna have in the game.
So if one of my race car be
in the game, that means...
...I'm one of the good ones.
We really pay respect
to what the guys did in the '30s...
...and '40s and '50s...
...though the racing cars get crashed,
they get modified and changed a lot.
We see our job as putting it back...
...to exactly how the cars left
Lotus or Cooper or Ferrari...
...back in-- Back in the day.
We study pictures,
we get chassis drawings.
The guys would go to endless lengths
to get something right.
No, it is attention to detail
and maybe a little bit obsessive.
I think the people that made these
cars were real artisans.
Doing it over a long period of time,
they've just had so much experience...
...on how to make proper steels.
It's almost like a black art.
Car design has as much
about emotion and psychology...
...as it does about hardware
and real engineering.
It's that psychology
and the emotional connection...
...that I think in the game you get
that is very, very different.
To come across, to rise...
...see sun hitting you at a
different point of view...
...to hear shifting inside the car.
The very thing that you can imagine
the car being, as a designer....
A car designer has to use
his imagination as part of--
Drive the creativity that he's doing.
And so when you're drawing a car,
you're thinking,
"What do I want to see?
What are the reflections I wanna see
on the side of the car?" That's huge.
In the game, you can see it.
We did a project,
a concept vehicle project.
We spent two years just trying to make
sure, "Do we understand the values...
...the attributes, the dreams
of these generations? Where are they?"
It was interesting. When we talked to
these kids and we said:
"Well, why don't you know
who we are?"
They said, "You're not
where we're at."
And that was--
That was a daunting task.
We're advertising everywhere.
We're racing teams.
Selling cars all over the place.
How can we not be where you're at?
When you look at the impact of games
and what they do--
I mean, as a casual experience
and lifestyle...
...these kids and games,
they spend a lot of time in games.
It's a place where they
interact with...
...each other, they socialize,
prove themselves.
It's a recreation period of time.
And so we thought,
"Well, we're not really there."
Please welcome the president
of Polyphony Digital...
...and professional race car driver,
Kazunori Yamauchi.
So we thought, "Why don't we design
concept cars for games?
What if we created the cars
that we can't...
...even build in reality, in a game?
What if we gave you the chance to
drive a Corvette...
...with camouflage on it...
...before anybody gets a
chance to do it?"
Starting today...
...everyone can drive
a camouflaged Corvette test vehicle...
...on Sony PlayStation's
"Gran Turismo 5."
When it came out in the game,
the camouflage car initially...
...there was a bit of leakage
which wasn't planned or expected...
...so that was like:
Everybody breathed hard.
The game boards went crazy. Something
that was never expected to happen.
...it's like, now all of a sudden.
People who never would've
talked about Corvettes...
...were talking about Corvettes.
We designed simulators for Kazunori
and the guys here in the studio.
We had them on the ground
at the Detroit show.
Those simulators when
driving the Corvette...
...were so in demand...
...it completely outstripped our
ability to support it.
And we couldn't put enough people
through the whole system.
There was a long line
around the exhibit...
...for people wanting to
drive the Corvette.
So I think we've had to adjust...
...and kind of move things on the fly.
...the response among the
gaming community...
...has been so profound and
so significant.
Ladies and gentlemen,
this is the new Corvette.
We launched it simultaneously
in Detroit.
And they pulled a virtual cover off it
on the game.
Kazunori is emotional about this.
This is personal to him.
He needs to see the vehicle,
he spent time in Detroit...
...to go through the program.
He says, "Yes, this will go.
We'll put this in the game."
So it's not just anybody
can build a car...
...and throw it in the game
and it's good to go.
I believe their sense of--
As enthusiasts, they only
want the best.
So it was the right car, right time.
It's an interesting problem
to think about anyway.
What kind of idea--
What would our ideal GT car be?
I don't know, for me, it's
more in the pure sports car vein.
But pushing technology
and pushing design...
...to a more advanced condition.
Some companies, they really celebrate
their history and their heritage.
We, Toyota, we tend to....
We tend to be looking more ahead,
more down the road than behind us.
So maybe there's something
just in the spirit of our company...
...and, you know, trying to innovate--
We're always trying to innovate
and challenge.
So I think there's some mindset
that way.
Ultimately we all wanna
make these cars...
...and you dream about them.
...and I think technology today,
along with "Gran Turismo"...
...is like, you could
bring that closer to reality...
...a lot quicker, you know.
For us as designers as well,
and I think consumers as well...
...it's like making the dream reality,
really, you know.
Talking about making new cars,
you know, they're just--
-Ideas never stop.
-Oh, yeah.
The creative expression, the ability
to become so masterful at something...
...and so thoughtful in the basic
elements of how it works...
...that's when the artist in all of us
can be expressed...
...whether that's in a car,
whether that's with a canvas...
...wheither's that's in a
relationship or a conversation...
...there's a creative process
to be able to be fully here now.
And that's....
I think that's what we're
all looking for...
...is to be able to be
completely immersed in this moment.
And when we can do that
over and over and over again...
...and live in this moment
in a really high quality way...
...with a very amazing tone,
if you will...
...that's when we get to be close
to our potential.
And so a life or a professional career
or a high performance career...
...is stringing together
as many moments as possible...
...with high tone to them.
And are we able to be able to slip...
...into potentially something...
...where we can have
an artistic expression with.
He drew-- He drew himself like you.
He says, "Well, this is
better than the real Asano-san".
-Yeah.
-Yeah.
He had--
He had some stubble at the back of it.
To me, Kazunori is a guy who--
Like I said, he's a perfectionist.
To make a mark in this world,
I think that's what--
He's driven to do that.
I think he's already done
that to a pretty--
To a point, with "Gran Turismo."
I don't think he's quite satisfied
yet. He wants to....
I think he feels he's here
for a reason...
...and, you know, it's up to him...
...to, you know, fulfill his destiny,
if you-- If you will.
Do you remember where you were
December 23rd, '97?
