SPEAKER: We now move on to the
third part of our afternoon's
proceedings, which is entitled
The Future of Online Video.
And we're going to take a look
at the challenges on the rise
facing video online owners, and
broadcasters their
counterparts, and talk to those
who really understand better
than anyone else in the world
about these disrupted borders
and the challenges
that they face.
I'd like to start by
welcoming Ashley
Highfield onto the stage.
Please give him a warm welcome.
[APPLAUSE]
Now Ashley, you are the
newly appointed CEO of
Kangaroo I believe.
ASHLEY HIGHFIELD: That's right
SPEAKER: For those that don't
know, it's a joint venture
between BBC Worldwide, ITV, and
Channel 4 and video online.
But I think you're going to
start by showing us a film
about a previous venture that
you were involved in the
founding of was iPlayer.
And, we're going
to have it now.
[VIDEO PLAYBACK]
With BBC iPlayer, you can catch
up with TV and radio programs
from the past seven days.
Watch or listen online, or
download them to your computer.
And it's all for free.
BBC iPlayer: Making the
unmissable, unmissable.
[END VIDEO PLAYBACK]
SPEAKER: Well that
was the iPlayer.
Talk us through some of the
things that you're doing now.
I mean I think you have a power
point or slide demonstration to
show us some of the things
that you're involved with.
ASHLEY HIGHFIELD: Yes, I
thought I'd uniquely embrace
the high technology of
a two button control.
And I just want to
share few facts.
Due to the way the BBC is
funded, I can share some of
our commercially sensitive
information with you.
So, I just wanted to take you
through where we've been since
we launched at Christmas.
And what we're seeing now in
April was around about 700,000
programs being streamed
or downloaded every day.
The rate of increase looks
like it's pretty linear,
like a train at the moment.
It may well tail
off, it may not.
I mean, we are in a
voyage into the unknown.
On Sunday we did our best
day of just 900,000
programs on the day.
So I think we'll be in the next
couple of weeks through the
million programs a day level.
And in total since the
marketing campaign hit, about
75 million programs from the
BBC have been streamed
of downloaded.
What's interesting and kind
of important for us, is
that this has not impacted
television viewing.
In fact, year on year for
that same period, viewing
to BBC television has
actually increased.
We're seeing a pretty
interesting demographic
split as well.
Younger than BBC television,
but older than our
typical internet viewing.
And that's pretty
good news for us.
We are bringing in a new
younger audience to the BBC.
Again, we don't really know how
this is going to settle out.
But in terms of platform,
this has been really
important for us.
We soft launched last summer
and immediately got into well,
a shit storm on the internet,
for not having launched
with an Apple version.
And we learned.
And by the time we hit the
marketing campaign at
Christmas, we made sure that
there was a streaming version
for the Mac, and we're working
on a download service
for the Mac as well.
Interesting in the UK the Mac
accounts for about 5% of sales,
but as you can see here, it's
counted for 10% percent
of consumption.
And given, it appears
practically every journalist
in Britain has a Mac.
It counts for something like
50% of the PR feedback.
And we've tried now very hard
to get ahead of expectation
of our audience.
And so earlier this year we
put the service out onto the
iPhone and the iPod touch.
And then literally in the last
few weeks we put the service
onto the Nintendo Wii.
That's still quiet complicated
user experience on the Wii, but
for us that was pretty
important to have all of our
television programs being
available to a device that was
connected to your
television set.
And then very recently we
launched on Virgin cable, so
we've now got two platforms
where you can start to consume
completely on demand,
BBC programs on your TV.
And what this is showing us
is quite an interesting
pattern of consumption.
Now the vertical axis has been
flattened out, so whilst it
might look like iPlay is
getting the same kind of
viewing as television.
It is not.
So just take from this the
pattern of consumption
during the day.
And what we're seeing for the
grey blob at the bottom is
television consumption.
Typical internet consumption
in the UK is the blue line.
And iPlayer is
somewhere in between.
Now this is really good news
for us as a broadcaster.
It's bringing in new audience
during the day and it's also
giving us extended
peak at night.
Now, this is too early for us
to know exactly why this is
happening, but anecdotally, it
appears that after about 10
o'clock when people have
watched the programs they
wanted to watch, or Sky Plus
the ones they were going to
watch, they then are starting
to open up the laptop, or go
into the den or start to
actually watch stuff on demand.
And this is a pretty recent
but pretty solid trend
that we're seeing.
And so again, we don't
think this is taking share
away from television.
If anything, we think it's
taking share away from well,
the sleep fairy I guess.
This slide kind of shows how
much viewing in comparison
to television viewing.
So our biggest program,
EastEnders, on any given
night, it's getting 8,
9, 10 million audience.
The 18.9 is anyone who
touches the program.
Free minute reach.
And so while the iPlayer
numbers-- 457,000-- are
pretty good, they're still
a very small percentage.
2%, 3% of the
television audience.
Take something like Gavin &
Stacey which is BBC Three,
it's one of our smaller
networks programs.
But very popular
for that channel.
And suddenly you're seeing the
iPlayer is actually adding
something like 7% additional
audience to Gavin & Stacey.
And then take it to something
like MI High which is
a program that airs on
our children's channel.
So clearly a much younger
demograph, about 12 years old,
and suddenly we're seeing maybe
a pattern for the future where
the iPlayer is adding 20% plus
audience to the television.
The back button works, good.
And then finally I think no
presentation would be complete
without a long tail slide.
SPEAKER: Have to have
a long tail slide.
Couldn't let you go without it.
ASHLEY HIGHFIELD: And what
we're seeing here is the top
hits-- The Apprentice, Doctor
Who-- are taking a good share.
The top three programs can
take 20% share of iPlayer.
But what we are also seeing
is that outside the top 10
programs on iPlayer, outside
that top 10 is accounting
for 50% of all share of
consumption on iPlayer.
And indeed outside the top
50, we're still seeing
about 20% share come
from outside the top 50.
So we are seeing this kind of
polarization maybe of the big
hits really breaking through on
iPlayer, and then a very, very
long tail almost every
program-- and we've got
something like 450 hours a week
of programming-- everything
gets touched on iPlayer
at least a few times.
SPEAKER: Is there logic with
iPlayer that obviously what a
lot of people want to watch is
precisely the kind of things
that they wouldn't be
staying in to watch.
You know, they hear a week
later that something obscure on
BBC Four which actually two
years down the line will be a
hit sitcom is worth watching,
and can iPlayer meet that
demand which is for the
slightly off-piece stuff.
ASHLEY HIGHFIELD: Yeah.
Best example of that was a
one-off program, Louis Theroux
on living in an American
prison for a few days.
And that got a reasonably good
audience on air, but it then
got that playground effect, or
the water cooler effect,
and did great numbers.
In February it was our
best performing program.
So there is definitely
that effect where this
is a catch-up service.
But interestingly,
increasingly, we're seeing
people are coming to iPlayer.
The audience numbers are just
going steadily up, and if there
isn't a kind of a really
big rating program on that
night, they're watching
something else instead.
So we're actually building a
loyal audience to iPlayer,
not just coming in for
a particular program.
SPEAKER: Do you feel yourself
in this venture in competition
with online video
hubs like YouTube.
I mean is it a contest or
are they complementary?
ASHLEY HIGHFIELD: No I think
they're really complementary.
SPEAKER: But tell us
what you really think.
ASHLEY HIGHFIELD: We spent a
long time coming to a deal with
YouTube, and I think it's been
a really important deal for us
where we put a couple of
channels up on YouTube, and a
lot of our short form content,
and this is kind of short
form versus long full.
We try and make really
entertaining clips.
Not just promotional material,
but handcrafted, short
form content on YouTube.
One, to be entertaining on
YouTube, but two, to hopefully
introduce content to an
audience that may not come to
the BBC, and hopefully bring
them across to the long form.
The average duration
of consumption on the
iPlayer is 22 minutes.
People are watching full-length
programs full screen,
and getting the really
immersive experience.
So I think it's quite
different, and therefore
complementary.
SPEAKER: And obviously one of
your challenges in your various
roles at the BBC and, now
looking forward to Kangaroo,
has been to try and take the
most traditional entrenched
broadcasting organization in
the world that flows from
Reithian values, and to try and
pitch it into the world
of YouTube and Google.
I mean that must be a cultural
challenge of some scale.
ASHLEY HIGHFIELD: No, I
don't think it is actually.
And I don't see the BBC like
that, and I think it would be
disingenuous of me just
to pretend I'm some
kind of evangelist.
I think the BBC actually
is an immensely creative,
forward looking company.
It started broadcasting
television after all.
And it was the first
broadcast to broadcast
color in 1967, and so on.
I think it invented
night cam stereo.
I think the thing about the BBC
actually is, it sees where the
trends are coming and has the
confidence, or maybe it's just
the funding mechanisms to take
the long-term view if you
wanted to be cynical.
But I think actually BBC has
always been able to keep up
with the pace of change.
SPEAKER: OK, well everyone,
thank you to Ashley, we'll
seem him in a second.
Thank you very much.
[APPLAUSE]
I'd now like to welcome
Christian Vollmann on stage.
Christian.
Now Christian until very
recently was the MD of Magic
Internet, and also intriguingly
the founder of MyVideo, the
largest online site in Germany.
Christian, you've go a unique
story to tell in that you're
someone who founded a very
successful online video site,
which was then purchased by a
traditional broadcaster,
Pro Sieben.
What was that like?
CHRISTIAN VOLLMANN: Right.
You just said we are biggest
online site in Germany, so that
will be very nice actually.
Being the biggest
online video site.
We were purchased by Pro Sieben
[? Ienzh ?], which is one
of the two big German
television networks.
And what they were really
looking for was the creativity
within the community, and you
know to capture those audiences
they were losing in their
traditional programing.
And they made a bold
move by doing that.
In Germany, it's a very
competitive market because
you have YouTube, which is
the global brand really.
And then you have their
competitor RTL also operating
an online video site.
And then there was MyVideo.
And what they've done was
really to scout for new talent
on MyVideo, bring it onto the
traditional television program,
make a show out of it, and
experiment in lots of ways to
really find new ways how to
engage with their audience,
the young audience.
SPEAKER: Because when something
that's entrepreneurial, and
exciting and dynamic and new is
taken over by something
more established.
I mean, the classic example in
movies is when Miramax was
bought by Disney, and the
Weinstein brothers was
terrified When that happened,
were you scared that something
might be lost in the process.
CHRISTIAN VOLLMANN: No I was
never scared at any point,
because as Chad already said,
the creativity is really
within the community, right.
The community makes
all the content.
We saw that yesterday evening
with the YouTube show.
We're seeing it here
with the users.
We have very similar
experiences on MyVideo.
We have a 13 year old girl
called Mina who was discovered
by the community posting music
videos, singing, doing actually
their own songs-- not only
cover versions, but
their own songs.
She also went on to get a
contract with a music label and
has now a big following, like
many followers in Germany.
And so I was never afraid that
would be lost, because this is
really what user generated
content is about.
Having the creativity
and the collective
creativity of the users.
And so this has not
been interrupted.
It's going on as it is.
In fact it has been enhanced,
because users are thrilled by
the opportunity to upload their
videos on MyVideo, but also the
opportunity to get on to
television, which is still
a big thing in Germany.
SPEAKER: Right, because I mean
what you're presenting runs
counter to the orthodox view,
which is that somehow the
dynamism of an entrepreneurial
idea is threatened when it is
absorbed into a much bigger,
traditional organization.
What you're saying was it
in some respects, it was
a liberation for MyVideo.
CHRISTIAN VOLLMANN: Well it's
helped MyVideo a lot, and
I also have to say that
Pro Sieben [? Ienzh ?]
has been very sensitive not to
intervene too much into the
culture of MyVideo
as a company.
They left us all the
freedom and they helped
us in many ways.
And MyVideo show on
[? dot Ienzh, ?]
one of the big channels, has
been a very good opportunity
of experimenting.
You know, how can you
combine the two medias,
the two formats.
And also what they've done
is bring a lot of their
professional content
onto MyVideo.
For example, Germany's Next Top
Model by Heidi Klum is really
very big type of event casting
show, they're looking for
the next top models.
And it's hugely popular in
Germany, not only because
of Heidi Klum, but
also because of her.
And what Pro Sieben has done is
take a lot of previously unseen
material, backstage material,
spoof, like things that went
wrong behind the scenes, and
best of collections, and put
it onto MyVideo channel.
And that has worked really
well, and it has actually
increased the audience
in television for them.
SPEAKER: So do you think there
is actually more scope in
future years for collaboration
between the emerging online
video hubs such as one you
founded, and traditional
broadcasting organizations?
CHRISTIAN VOLLMANN:
Yes, definitely.
SPEAKER: And what form
might that take?
CHRISTIAN VOLLMANN: I think the
traditional television
broadcasts have to be more
open, and more risk taking and
more willing to experiment
with new formats.
I imagine a show that is purely
user generated in television,
where even the moderator like
you would be casted, and chosen
and elected by the community.
And you would have the
community contribute to the
content, contribute to
the format of the show.
So I envision a purely user
generated show on television.
I think it would be
hugely successful.
SPEAKER: Is that not a big
cultural shift for these quite
hierarchical command and
control organizations?
CHRISTIAN VOLLMANN:
Yes, definitely.
I mean at the moment,
it's not happening.
We're not there.
I think it would be a great
thing to do, but traditional
television is-- yeah, it's
finding it hard do that.
SPEAKER: Is there a
specifically German aspect
to the online revolution?
I mean each nation produces
it's own twist on what is going
on globally, and obviously
it is a global phenomenon.
But how has it shaped
out in Germany?
CHRISTIAN VOLLMANN: Well I
think you always have local
content, and you have content
that works globally, right?
If I see a dog skateboarding
on YouTube, this will
obviously work globally.
But if something for example
that is typically German, I
should say, is that for
example, in the car category
where it's all about cars and
tuning, we were quite surprised
that a lot of times we would
see videos-- well, you would
see a car in neutral, you would
see only the exhaustion pipe,
and someone hits the gas pedal.
And we were thinking, you
know, why do those videos
get 100,000, 200,000 views.
Because we couldn't think of
anything that is funny or crazy
about them until a friend of a
friend of mine told me that he
likes MyVideo so much because
he can actually listen to the
exhaust pipes he wants
to buy for his car.
I finally understood,
OK here's--
SPEAKER: Niche marketing.
CHRISTIAN VOLLMANN: --here's
some niche that really
appreciates that.
SPEAKER: Right, sure.
Now you've done a lot of
exciting projects in the past.
You ran iLove, the
dating online.
What are the lessons that
you've taken from, you've
imported from all the various
things that you've done
for the next project?
Were there lessons from the
dating agency that you could
carry into online video?
CHRISTIAN VOLLMANN: Well I
think the broader lesson is
really that you know starting a
company and being an
entrepreneur is really an
attitude, and you have to work
hard basically every day, and
come up with new
ideas every day.
The competition never sleeps,
and that's really the one
big takeaway I think.
Apart from that, I've really
shifted from coming from iLove,
it was all about online
marketing and getting as many
users, and the critical mass of
users so that enough girls
could find enough boys, and
there would be enough matches
and users would be happy.
To MyVideo, where it was really
all about-- or now at least--
it's mainly about monetizing
something that has a lot of
traffic, but where you still
have to find the right way and
the perfect way to monetize it
and to build a sustainable
business out of it.
SPEAKER: What do you think the
revenue streams on online video
will be 5, 10 years hence?
CHRISTIAN VOLLMANN: Well we've
tried a lot selling content in
the beginning, and I have to
be honest with you, it
simply doesn't work.
That's the bad news actually.
The willingness to
pay is close to 0.
But then we just came to accept
that, and moved into the area
of selling advertisement, and
since we have had very limited
funds-- you know, I would love
to have the funds of Google
available for my site as well--
but we had to be much more
aggressive in trying out new
ways how to monetize the site.
So we're doing pre-role,
post-role, mid-role,
banners search.
You name it, we do it all.
SPEAKER: And how quickly do
you think the television
advertising industry can be
persuaded to shift more and
more of it's advertising
over to online?
It's a slow process, isn't it?,
CHRISTIAN VOLLMANN: It is, and
I think it's going to depend on
when the industry finds the
best way to monetize, and
finds a real business model.
Content owners, the video site,
the users, and the advertising
industry, you have to get them
all on board, and all feel
comfortable with the model.
And I think as we find that--
and I'm confident that's going
to happen-- I think we're
going to see a land rush.
SPEAKER: And finally, what
are you going to do next?
CHRISTIAN VOLLMANN: Well
I'm now taking a break.
Traveling the world, looking
for a new idea, and going to
present at next year's
Zeigeist I guess.
SPEAKER: Wonderful.
Well we wish you well,
thank you very much.
[APPLAUSE]
Now I'd like to welcome on
stage Antonio Campo Dall 'Orto.
Antonio has a glittering
resume, but he's
presently the [? sell ?]
[? heights ?]
CEO of MTV South Europe.
And can you start by telling
us a bit about what MTV
South Europe is actually
doing at the moment.
ANTONIO CAMPO DALL 'ORTO: Yeah.
First to define the geography,
we are covering Italy, France,
Spain, Portugal and Greece.
And what they're trying to do
with our overall MTV is trying
to adapt if you want,
to a new world.
Actually we did start yesterday
in a sense that we started
quite many years ago.
And to be honest, and this
today has for me been a
[? struggle formation. ?]
Being today inside any
environment is very exciting,
because it's a way to
distribution revolution is
also letting us go to
any kind of place.
So if you look at what we have
become, it's a way we now
process, we're passing from
broadcasters, or like we
were at the [? lena ?]
[? broadcast ?]
10 years ago, to what we
call [UNINTELLIGIBLE]
broadcasters or
iPod broadcasters.
In a sense that in the last
nine years we from one way have
involved in a creative process
more of the young people
and also if I see there is
still more to do there.
And also trying to apply the
new rules about being anywhere
in any place that has helped us
to, as I said, adapt
to the new world.
But they were saying, oh
how are you doing today.
I think that after this first
part, I think we did that if
you want the easy part, in a
sense that today we don't say
it loudly, but we are happy
because we feel that we
have done this process.
Just to give you some numbers--
we also didn't prepare
but I think it's better.
I think yesterday they called
us the lost generation, so
that I think that we all
know what MTV looks like.
Today, maybe not everyone is
aware, but we have more than
150 channels, more than
300 digital services.
1/3 of them are on the
mobile environment.
We speak 53 different
languages.
But the thing is that this is a
representation of what I call
the other broadcasters,
that says we did that.
And we did it in a way that is
also economically sound,
because as we know, going into
the new world, the economics
are especially in this phase
quite a delicate point.
And the international [? SDR ?]
had its best year ever.
Why?
Because we were able
to combine what were
affiliate [? and our ?]
sales-- classic revenues for
us-- with the Digital One, so
that let's say that this
change is letting us time not
to substitute only,
but to add first.
And then probably in the future
the substitute, because we know
that the world is going
to that direction.
And we did it with one,
strong guideline.
It is to keep strong
relationship with the
viewer that now are
also user and creators.
And this was done on a
principle that for me, coming
from video content point of
view, related to this today is
that it's something that is
embracing also the personal
experiences in a sense that,
when we talk about relationship
we try to have it in a way that
it involves digital, it
involves television, it
involves direct experiences.
The day in which in 1990 we
decided to go more into the
digital world started the
process, we also decided to do
a big investment in direct
experiences, because we think
that to us, the viewers and the
users, and to [UNINTELLIGIBLE]
the advertising community to be
able to have a wide approach
has proved to be effective.
SPEAKER: MTV was founded in
1981, which in the context of
the sort of Google years makes
it the grandad of the disco.
How do you keep in touch with
a generation that is moving
faster, much faster than the
MTV generation and
its expectations?
ANTONIO CAMPO DALL 'ORTO:
You're right in a sense that
you can hear, I could have felt
all, but then there was also
BBC that so very active
and creative and
[UNINTELLIGIBLE PHRASE].
So how can you do it?
We do it because I like a lot
on the, I think it was the
first video presentation
that it was many phrases.
One was saying that
change is constant.
And that's true.
And it's true especially if
you-- I've always worked
closely but for 25 years around
the young people attitude,
behavior, et cetera, because at
the end we were used to that.
Obviously that doesn't mean
that evolution hasn't changed
our world in a sense that, it's
not the case that we call it
digital revolution, because
what has been happening in the
last years is not comparable to
the challenge we had before.
But believe it or not, and this
can sound either logical or
strange to you, but the
needs of young people
hasn't changed much.
What has changed is the way
they express their means and
the way they fulfill
their means.
But this is why I'm saying that
the way we keep the bar towards
the relationship, and so at the
end, the changes that we have
are more the adaptation toward
the world is telling us in
terms of distribution channel,
in terms of business model, in
terms of which kind of video
can work, and which kind
of shows cannon work.
And then consider that being
based in so many countries, we
are a kind of constant
laboratory, because anytime we
have an idea that works in
South Korea, we transfer
it to the world.
Anytime that something doesn't
work in one place we-- and then
in practical, what do you do?
We have different phases in our
adaptations to the new world.
The first one was to become
kind of technology neutral, so
that the first year we wanted
to be in every platform without
being stopped by distribution.
Now we are working a lot on
a concept of being device
specific, because it's true
that digital is digital, but at
the end, a mobile phone has a
logic they is different to PC,
as different to television and
different to a lot of concerts.
So what we want to do it
to adapt ourselves I mean
specific to that medium.
And to be honest, a mobile
phone in Japan is very
different from a mobile
phone in Spain.
So what does it mean?
It means that-- and this
is hard work for us.
We have to get complex answers
to complex questions.
So the idea of getting a simple
answer to a complex question,
that is also part of digital
world, it's not the same way
allowed to [UNINTELLIGIBLE],
because even if we started
broke, we have to keep
that kind of promise.
SPEAKER: The original success
of the MTV revolution is based
on the readiness of record
companies to invest millions of
dollars in promotional videos
which they believe rightly
would sell records.
What I want to ask you is, is
that still true in a world
where you have peer to peer
recommendation, you have kids
choosing their tastes in part
by reference to one another
rather then by what's coming
through the MTV screen.
Is actually that the
sustainable future
of record sales?
ANTONIO CAMPO DALL 'ORTO: To
be honest, that has already
changed in a sense that that
was exactly how our main
engine til the late 1990s.
Then what has been happening is
that the musical [? sanction ?]
has become very personal.
So the iPod arrives when
the situation was already
ready to [? ascend ?]
that, because people
were already asking for
their own playlist.
And so we have a different
equity between music and
music inside our channels.
We are investing more in music
in the [UNINTELLIGIBLE]
service that we have, because
that's the place in which we
can still apply our
music knowledge.
Now this is something that
hasn't been substituted yet by
someone else, in a sense that
you can find many places in
which you can [? grab ?]
videos.
But people are still trying to
understand which are the videos
that should be listened or the
music that should
be listened to.
And in that case, the first
source is still France, like
it was France 10 years ago.
But the second is still our
channels, because see that's
the industry [? duties ?]
so widely more then 500 million
miles of [UNINTELLIGIBLE]
around the world.
That obviously is also a matter
of visibility of presence
around the world.
So let's say that this has been
changing, and we continue
changing honestly in a sense
that, the personal use
of music will remain.
What is going to be our
reaction to that is to invest
more on our capacity to be
relevant to music choices.
So a consequence of the
fragmented world is that if you
want to survive, you have to
escape to become a commodity.
So either we become more and
more meaningful, and this is
why we're investing so
much in the relationship,
or there is no space.
Because if I can identify two
challenges that we have that
are quite difficult to answer.
One is the kind of functional
use that is not dominating but
is one big expression of
digital use, so that people
tend to have a funky
relationship with something.
A good research engine.
A good social networking tool.
A good something else.
And second is they
involve emotions.
It was very nice,
the [? startup ?]
presentation, I think.
That is part of the pop
culture, the mobile
pop culture, it's a
[UNINTELLIGIBLE PHRASE]
people as much as more a
faction of things, and that's
something that is one element
and combined with the other
one, that is the consequence of
the speed of life that young
people have that came out
several times in these days.
That is connected to
the multitasking.
It's taking us to
something that we call
a result of knowledge.
I think it was rightly
expressed by Salman Rushdie
today saying-- he called it
the catalyst thinking instead
of the careful thinking.
But surely the result of
knowledge so the fact that you
can instantly have a touch
of many [? cultures ?]
but not going deeper.
If you combine these two things
together, you understand the
brand like ours are going to
have a hard battle trying to
keep the material part
of the relationship.
The relationship is done
through physical things, but
also through emotional things,
and that's something that we
are working on to be sure
that we can keep it.
SPEAKER: Final question.
What are the lessons of
Southern Europe for the
rest of the world.
What are you specifically
finding out there as opposed
to in other markets?
ANTONIO CAMPO DALL 'ORTO: We
are finding that if you want to
be successful in the long term,
you have to invest in an open
and honest relationship.
And if you want to have it the
relationship [? broad, ?]
then the kind of attitude that
you have to have towards
your U.S. [? slash ?]
users has to be kind of
with a perspective.
Try to be more specific.
We think that in the new
world, everyone will
have his own road.
It's going to be a much more
crowded world, so Google has
declared it is going to
organize the information
on the world.
We want to be part of the
creation of the young
peoples' culture.
To be able to that obviously we
need to understand, to work
also on the differences between
for example, accessing
information and creating
culture and creating knowledge.
I don't know you, but I found
very interesting two elements
that to me were very connected
and giving us and also
to what I'm saying.
Gordon Brown started the
conference saying that-- I try
to simplify it, he said many
more things-- but saying, that
in some way we love
the open society.
And we MTV being placed in
so many places are living
globalization also in a more
kind of tangible way, because
we have people in many places.
So he was saying we need
to proceed with that.
And he said, we have to do it,
so we have to say to the other
people, free trade,
don't blame.
But I think if you want to
enter into a new world, I think
that a perfect answer to that
was that what the queen
of Jordan was saying.
That is, to use the actual
medium to spread knowledge.
In a sense that, the YouTube
channel to do, to try to
educate people against
stereotypes, to try
to make a bridge.
This is the difference between
accessing information--
[UNINTELLIGIBLE PHRASE]-- under
80 million cliques
[UNINTELLIGIBLE]
or trying to produce culture
that can't build up a bridge.
It's [? complicated ?]
but we are trying to work on
that because if you want to, as
I said to keep growing, and
this is what we have
[? learned on ?]
south because in Italy we
have been the major country
just to [UNINTELLIGIBLE]
outside U.S., so we had the
chance to do this and I think
that it's a path that we want
to follow also in that future.
SPEAKER: Great.
Please thank Antonio.
Antonio, stay.
