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Previously... | 0:00:02 | 0:00:03 | |
The teams were tasked with creating a advertorial for Norton 360 and Lifelock. | 0:00:03 | 0:00:08 | |
We want one celebrity to be spokesman for that ad. | 0:00:08 | 0:00:12 | |
Project Manager Summer Sanders was slow off the blocks, | 0:00:12 | 0:00:15 | |
as Cyndi Lauper spoke her mind. | 0:00:15 | 0:00:17 | |
But what about me? I art-direct my covers. | 0:00:17 | 0:00:20 | |
Cyndi draws our attention away from what we're supposed to be doing. | 0:00:25 | 0:00:29 | |
..while Sharon Osbourne began to see cracks in her team. | 0:00:29 | 0:00:33 | |
Everybody's jockeying for position | 0:00:33 | 0:00:36 | |
and we're probably all going to end up | 0:00:36 | 0:00:38 | |
really disliking each other. | 0:00:38 | 0:00:39 | |
That competitiveness takes over. | 0:00:39 | 0:00:43 | |
It, like - It does break you down. | 0:00:43 | 0:00:45 | |
Meanwhile, Project Manager Michael Johnson | 0:00:45 | 0:00:48 | |
was bogged down by Blagojevich. | 0:00:48 | 0:00:50 | |
He can't operate a computer. | 0:00:50 | 0:00:52 | |
It was literally just, "Dat, dat, dat, dat," | 0:00:52 | 0:00:54 | |
Like that, and it was... I was... I was amazed. | 0:00:54 | 0:00:57 | |
My nine-year-old can type. Rod can't. | 0:00:57 | 0:01:00 | |
And Darryl Strawberry's energy continued to slide. | 0:01:00 | 0:01:03 | |
I need... I need two large pizzas. | 0:01:03 | 0:01:06 | |
Takes a lot of wear and tear on you, mentally and physically. | 0:01:06 | 0:01:09 | |
OK. | 0:01:11 | 0:01:12 | |
And I was totally exhausted. | 0:01:12 | 0:01:14 | |
At the presentation, Michael's vision fell flat... | 0:01:14 | 0:01:18 | |
The copy reads, "I'm Curtis Stone, celebrity chef." | 0:01:18 | 0:01:20 | |
You could not read that screen. | 0:01:20 | 0:01:21 | |
No-one in that room could read it. | 0:01:21 | 0:01:23 | |
..while Sharon Osbourne's illness plagued her team. | 0:01:23 | 0:01:26 | |
SHE COUGHS | 0:01:26 | 0:01:28 | |
BLEEP. | 0:01:28 | 0:01:30 | |
In the boardroom, | 0:01:30 | 0:01:31 | |
The women turned on Cyndi. | 0:01:31 | 0:01:33 | |
She kind of steers us in the wrong direction. | 0:01:33 | 0:01:35 | |
Her wordiness or the way she explains things can be a little difficult. | 0:01:35 | 0:01:38 | |
You're throwing me under the truck. | 0:01:38 | 0:01:41 | |
But when it came down to the results... | 0:01:41 | 0:01:43 | |
The executives thought | 0:01:43 | 0:01:44 | |
the women's team was far superior, | 0:01:44 | 0:01:46 | |
so the women win. | 0:01:46 | 0:01:48 | |
..Summer scored an emotional victory for Tenacity. | 0:01:48 | 0:01:51 | |
Summer, I'm giving you a check for 20,000. | 0:01:51 | 0:01:54 | |
Oh, that's nice. | 0:01:54 | 0:01:55 | |
When left to face Mr Trump, | 0:01:55 | 0:01:58 | |
Michael took full responsibility for the loss. | 0:01:58 | 0:02:00 | |
But whose idea was it to use so many words? | 0:02:00 | 0:02:03 | |
My idea. | 0:02:03 | 0:02:04 | |
But Darryl had a shocking request. | 0:02:04 | 0:02:06 | |
And if you have to let anybody go, you can let... It would be me. | 0:02:06 | 0:02:09 | |
Darryl, do you want to be fired? | 0:02:09 | 0:02:11 | |
Yes. | 0:02:11 | 0:02:12 | |
All right. Darryl, you're fired. | 0:02:12 | 0:02:14 | |
-What happened? -What happened? | 0:02:21 | 0:02:23 | |
Darryl and I both tried to talk him into firing us, | 0:02:23 | 0:02:25 | |
And he chose Darryl. | 0:02:25 | 0:02:27 | |
After the LifeLock loss, You know, we were really disappointed. | 0:02:27 | 0:02:30 | |
Basically, Darryl said, "I want to leave. | 0:02:30 | 0:02:32 | |
"I don't want to be here any more." | 0:02:32 | 0:02:33 | |
That's not falling on the sword. That's just quitting. | 0:02:33 | 0:02:35 | |
Rod - "I don't want to go home, Mr Trump!" | 0:02:35 | 0:02:38 | |
I don't want to go home Because I believe in my charity, | 0:02:38 | 0:02:41 | |
but I didn't want Darryl to do that. | 0:02:41 | 0:02:43 | |
Going forward, I don't think anyone knew, | 0:02:43 | 0:02:45 | |
you know, what we could do at that point to win, | 0:02:45 | 0:02:47 | |
because we felt like we had done everything we could to win. | 0:02:47 | 0:02:49 | |
-PHONE RINGS -The phone's ringing. | 0:02:49 | 0:02:50 | |
Tenacity. | 0:02:52 | 0:02:53 | |
Mr Trump would like you all back in the boardroom right away. | 0:02:53 | 0:02:55 | |
OK. | 0:02:55 | 0:02:57 | |
Trump wants to see us all back in the boardroom again. | 0:02:57 | 0:02:59 | |
So, I immediately think to myself, "Is he going to fire somebody else?" | 0:02:59 | 0:03:02 | |
Oi, oi, oi. OK. | 0:03:02 | 0:03:03 | |
All right. Here we go again. | 0:03:05 | 0:03:07 | |
OK. We have to look to the future. | 0:03:11 | 0:03:13 | |
We forget about what just happened. | 0:03:13 | 0:03:14 | |
So, I want you to pick a Project Manager right now for your next task. | 0:03:14 | 0:03:19 | |
-Go ahead. -Rod. | 0:03:19 | 0:03:20 | |
Oh, Rod? Whoa. | 0:03:20 | 0:03:22 | |
We're putting it on the line, Rod. | 0:03:22 | 0:03:24 | |
-Happy to do it. -OK. | 0:03:24 | 0:03:25 | |
I nominated Rod to be Project Manager | 0:03:25 | 0:03:27 | |
because I felt like, in the first three tasks, | 0:03:27 | 0:03:31 | |
Rod didn't contribute as much as anyone else did. | 0:03:31 | 0:03:33 | |
So, I felt like, "OK, well, here's, you know, | 0:03:33 | 0:03:36 | |
"Rod Blagojevich, governor of Illinois, | 0:03:36 | 0:03:37 | |
"and he must have some leadership skills." | 0:03:37 | 0:03:40 | |
Very good. | 0:03:40 | 0:03:42 | |
Sharon, who's your Project Manager? | 0:03:42 | 0:03:44 | |
I'll do it. | 0:03:44 | 0:03:45 | |
Selita. Very good. | 0:03:45 | 0:03:47 | |
I didn't hesitate. | 0:03:47 | 0:03:49 | |
I didn't wait for anyone to step up before I could. | 0:03:49 | 0:03:52 | |
So, I just raised my hand. | 0:03:52 | 0:03:54 | |
I wanted to prove that I'm capable of being a Project Manager. | 0:03:54 | 0:03:56 | |
Tomorrow morning, you're going out to Teterboro Airport. | 0:03:56 | 0:04:00 | |
You're going to get on a plane, a Sentient Jet. | 0:04:00 | 0:04:04 | |
I will then give you your next task. | 0:04:04 | 0:04:05 | |
-Yes! -Awesome. | 0:04:05 | 0:04:07 | |
Yes! | 0:04:07 | 0:04:08 | |
Now, don't get too excited. Just Rod and Selita will be going. | 0:04:08 | 0:04:12 | |
Rod, I hope you have no problem doing that. | 0:04:13 | 0:04:15 | |
-You don't need a passport for that. -I don't think so. | 0:04:15 | 0:04:18 | |
For the first time in Celebrity Apprentice History, | 0:04:18 | 0:04:21 | |
the Project Managers will be separated from their teams. | 0:04:21 | 0:04:24 | |
OK. Go ahead. | 0:04:24 | 0:04:26 | |
-Thank you. -Thank you. | 0:04:26 | 0:04:29 | |
And it begins. | 0:04:29 | 0:04:31 | |
Celebrity Apprentice has never done this before, | 0:04:31 | 0:04:34 | |
and, of course, it's when I decide | 0:04:34 | 0:04:35 | |
that I want to step up to the plate. | 0:04:35 | 0:04:38 | |
Yeah, great. | 0:04:38 | 0:04:39 | |
I don't know what the task is, | 0:04:39 | 0:04:40 | |
and I don't know if I can do it without you guys, | 0:04:40 | 0:04:42 | |
-so hopefully... -Oh, we are. | 0:04:42 | 0:04:44 | |
Hopefully you guys are right there. | 0:04:44 | 0:04:46 | |
I absolutely trust my girls in their judgment, | 0:04:46 | 0:04:48 | |
and I know that there are some really strongly opinionated | 0:04:48 | 0:04:51 | |
women in that room. | 0:04:51 | 0:04:52 | |
So, I asked them to stick together and just stay strong for me. | 0:04:52 | 0:04:55 | |
Just give us jobs. | 0:04:55 | 0:04:57 | |
-Michael and I will work together real good. -Absolutely. | 0:04:57 | 0:04:59 | |
Mr Goldberg, make history together. | 0:04:59 | 0:05:01 | |
-We're going to kick some ass, man. I don't like to -BLEEP -lose. | 0:05:01 | 0:05:03 | |
I'm going to tell you this much - We're not going to lose again. | 0:05:03 | 0:05:05 | |
You going to work hard? | 0:05:05 | 0:05:06 | |
I'm going to work hard. I'm here to work hard, man. | 0:05:06 | 0:05:09 | |
I've been chosen to be the Project Manager on a task. | 0:05:09 | 0:05:11 | |
We're not quite sure what that task is. | 0:05:11 | 0:05:13 | |
'We're on a losing streak, and we want to get back in the winning column,' | 0:05:13 | 0:05:16 | |
and we're going to work real hard to try to do that. | 0:05:16 | 0:05:17 | |
There's not one loser on this team. | 0:05:17 | 0:05:19 | |
How do we pull back together? | 0:05:19 | 0:05:21 | |
-We put it aside and we move forward. -Right. | 0:05:21 | 0:05:24 | |
Look, we've just lost two tasks in a row. | 0:05:24 | 0:05:26 | |
So this one's super-important. We have to win it. | 0:05:26 | 0:05:28 | |
I'm feeling pretty nervous about this one. | 0:05:28 | 0:05:29 | |
Anyway, guys, we'll put it in. Let's kick some ass. | 0:05:29 | 0:05:32 | |
-ALL: Rocksolid! -Come on, man. | 0:05:32 | 0:05:34 | |
A limo. | 0:06:56 | 0:06:58 | |
Morning. | 0:06:58 | 0:07:00 | |
Well, first, the limo picks us up, not the normal van, | 0:07:00 | 0:07:03 | |
and I'm like, "Whoo-hoo! This is pretty nice!" | 0:07:03 | 0:07:05 | |
But at the same time, I just didn't know what was in store for me. | 0:07:05 | 0:07:08 | |
Man, it's a shame when you're up and the sun's not up yet. | 0:07:08 | 0:07:12 | |
I'm a little concerned about this - this task. | 0:07:12 | 0:07:16 | |
Are you? | 0:07:16 | 0:07:18 | |
-Yes. -OK, good. | 0:07:18 | 0:07:19 | |
Yeah. I have no idea what to expect. | 0:07:19 | 0:07:21 | |
I had no idea where we were going to go, | 0:07:21 | 0:07:22 | |
except that we were going to get on a plane at Teterboro Airport | 0:07:22 | 0:07:26 | |
and that we were going somewhere in the continental United States. | 0:07:26 | 0:07:29 | |
-I think anytime you have a project to take on... -Yeah. | 0:07:29 | 0:07:31 | |
..there's a healthy concern. | 0:07:31 | 0:07:33 | |
Yeah, I think, when you're overly confident, | 0:07:33 | 0:07:34 | |
those are the ones that crash and burn. | 0:07:34 | 0:07:35 | |
That's why, you know, I volunteered myself for this task. | 0:07:35 | 0:07:38 | |
-Interesting. Is that right? -Absolutely. I felt challenged, you know? | 0:07:38 | 0:07:40 | |
Yeah, got a little chip on your shoulder | 0:07:40 | 0:07:42 | |
cos you're beautiful | 0:07:42 | 0:07:43 | |
and you don't want people to think you're dumb. | 0:07:43 | 0:07:44 | |
-Is that it? -Because I'm the model. | 0:07:44 | 0:07:47 | |
I'm the, you know, underestimated one, | 0:07:47 | 0:07:49 | |
and it's fine, you know, other than modelling, | 0:07:49 | 0:07:51 | |
I have a lot of skills, I have a lot of talent. | 0:07:51 | 0:07:53 | |
I think anyone who's successful has to have some smarts. | 0:07:53 | 0:07:55 | |
I agree. | 0:07:55 | 0:07:57 | |
Need a hand? | 0:08:02 | 0:08:04 | |
Thank you. | 0:08:04 | 0:08:06 | |
Wow. | 0:08:06 | 0:08:07 | |
Hi. Good morning. How are you? | 0:08:11 | 0:08:13 | |
Good morning. | 0:08:19 | 0:08:21 | |
I'm sure you're wondering why I dragged you out here. | 0:08:21 | 0:08:23 | |
Well, today we'll be flying to the Universal Orlando Resort. | 0:08:23 | 0:08:28 | |
Universal Orlando has created a highly anticipated attraction | 0:08:28 | 0:08:33 | |
called The Wizarding World of Harry Potter. | 0:08:33 | 0:08:36 | |
When you land in Orlando, | 0:08:36 | 0:08:38 | |
you'll gather information about this new attraction. | 0:08:38 | 0:08:41 | |
You'll report your findings back to your team in New York City, | 0:08:41 | 0:08:45 | |
who will begin work immediately under your direction. | 0:08:45 | 0:08:49 | |
Your team's task is to create and present | 0:08:49 | 0:08:51 | |
a three-dimensional interactive display | 0:08:51 | 0:08:55 | |
generating buzz among Harry Potter Fans. | 0:08:55 | 0:08:58 | |
After your tour, you'll fly back to New York City | 0:08:58 | 0:09:02 | |
and rejoin your team. | 0:09:02 | 0:09:04 | |
You'll present your display | 0:09:04 | 0:09:05 | |
to a group of young Harry Potter Fans, | 0:09:05 | 0:09:09 | |
Universal executives, | 0:09:09 | 0:09:11 | |
and the Harry Potter Fans | 0:09:11 | 0:09:12 | |
will determine who the winner will be. | 0:09:12 | 0:09:16 | |
Erin Burnett and George Ross | 0:09:16 | 0:09:18 | |
will be my eyes and ears back here in New York. | 0:09:18 | 0:09:20 | |
The winning Project Manager | 0:09:20 | 0:09:22 | |
gets 20,000 for your charity, | 0:09:22 | 0:09:26 | |
and, as always, the team that loses | 0:09:26 | 0:09:28 | |
will come back to the boardroom, | 0:09:28 | 0:09:30 | |
and another celebrity, sadly, will be fired. | 0:09:30 | 0:09:33 | |
Good luck, and remember - | 0:09:33 | 0:09:35 | |
FAA regulations require | 0:09:35 | 0:09:37 | |
that all electronic devices be turned off. | 0:09:37 | 0:09:40 | |
So turn off your cellphones | 0:09:40 | 0:09:43 | |
and don't call your team until you land. | 0:09:43 | 0:09:46 | |
Have a nice flight. | 0:09:46 | 0:09:48 | |
Orlando! | 0:09:48 | 0:09:51 | |
Is that what he said? | 0:09:51 | 0:09:52 | |
-Hi, Summer. So good to see you. -Good to see you. | 0:10:01 | 0:10:03 | |
I won 20,000 | 0:10:03 | 0:10:04 | |
for Right To Play, and I'm so excited, | 0:10:04 | 0:10:06 | |
because the Deputy National Director, Mario Argote, | 0:10:06 | 0:10:08 | |
just happens to be in New York | 0:10:08 | 0:10:10 | |
hanging out with some kids, playing soccer. | 0:10:10 | 0:10:13 | |
I got involved with Right To Play in 1996. | 0:10:13 | 0:10:16 | |
We bring sport and play to developing countries | 0:10:16 | 0:10:18 | |
and children who've been affected by war. | 0:10:18 | 0:10:20 | |
The kids that Right To Play affects | 0:10:21 | 0:10:23 | |
have seen such atrocities. | 0:10:23 | 0:10:25 | |
All they've known for the past ten years is war. | 0:10:25 | 0:10:28 | |
To literally trade out a gun for a ball | 0:10:28 | 0:10:32 | |
is an absolute honour. | 0:10:32 | 0:10:35 | |
I've seen the look in the eyes of these kids | 0:10:35 | 0:10:38 | |
when they are given that opportunity to challenge themselves. | 0:10:38 | 0:10:43 | |
So, Mario, I was Project Manager the other day. | 0:10:43 | 0:10:45 | |
And so, I went into the boardroom | 0:10:45 | 0:10:47 | |
and, um, uh... | 0:10:47 | 0:10:49 | |
Mr Trump said, "You won, Summer." | 0:10:49 | 0:10:53 | |
So, with that, he gave me... | 0:10:53 | 0:10:54 | |
Oh, my God! | 0:10:55 | 0:10:57 | |
Oh, that is so amazing! | 0:10:57 | 0:10:59 | |
Oh, thank you! Thank you! | 0:10:59 | 0:11:01 | |
And hopefully there's more to come. | 0:11:01 | 0:11:02 | |
-Thank you so much. So much. -You're welcome! | 0:11:02 | 0:11:04 | |
Not only did we win 20,000, | 0:11:04 | 0:11:06 | |
but LifeLock and Norton 360 have decided | 0:11:06 | 0:11:08 | |
to donate 10 per every adult membership | 0:11:08 | 0:11:11 | |
to Right To Play. | 0:11:11 | 0:11:13 | |
This 20,000 has a chance to be a lot more. | 0:11:13 | 0:11:15 | |
Good kick. | 0:11:15 | 0:11:16 | |
All right! | 0:11:16 | 0:11:18 | |
It's feeling a bit empty, boys. | 0:11:20 | 0:11:22 | |
Well, so far, we're missing Rod. | 0:11:22 | 0:11:23 | |
There's a reason for that, right? | 0:11:23 | 0:11:25 | |
Michael, you didn't do anything to him, did you? | 0:11:25 | 0:11:26 | |
Rod's not here this morning. | 0:11:26 | 0:11:28 | |
The Project Manager got on a jet | 0:11:28 | 0:11:30 | |
and flew to an undisclosed location. | 0:11:30 | 0:11:32 | |
Everything's secretive. | 0:11:32 | 0:11:34 | |
The fear of the unknown kind of sucks sometimes, | 0:11:34 | 0:11:36 | |
but the reality is, when we get the word from Rod, | 0:11:36 | 0:11:38 | |
we're going to hit the ground running. | 0:11:38 | 0:11:40 | |
Hey, guys? | 0:11:40 | 0:11:42 | |
Can I talk to you guys for a minute? | 0:11:42 | 0:11:44 | |
When I used to go into the record companies... | 0:11:44 | 0:11:46 | |
and they had one of these dry boards. | 0:11:46 | 0:11:48 | |
And on it, they'd put everybody's name | 0:11:48 | 0:11:51 | |
and who was supposed to do what. | 0:11:51 | 0:11:52 | |
I brought in a dry-erase board | 0:11:52 | 0:11:54 | |
because we need to be more task-specific. | 0:11:54 | 0:11:57 | |
You get very task-specific, we get more done. | 0:11:57 | 0:12:00 | |
And this would be very specific, | 0:12:00 | 0:12:02 | |
and then you just cross it off as we get it. | 0:12:02 | 0:12:04 | |
-That may not work for every task... -I know. | 0:12:04 | 0:12:06 | |
depending on what the tasks are. | 0:12:06 | 0:12:08 | |
Anyway... | 0:12:08 | 0:12:09 | |
'Well, Holly's very bossy. | 0:12:09 | 0:12:10 | |
'Sometimes you could be like a know-it-all,' | 0:12:10 | 0:12:13 | |
and you act like bossy, saucy gal, | 0:12:13 | 0:12:16 | |
but you shouldn't. | 0:12:16 | 0:12:19 | |
You'll be over here doing this, | 0:12:19 | 0:12:20 | |
but that wasn't necessarily your task. | 0:12:20 | 0:12:22 | |
I wouldn't butt in. | 0:12:22 | 0:12:24 | |
But you did. | 0:12:24 | 0:12:26 | |
I'm telling you | 0:12:28 | 0:12:29 | |
I've been trained for 20 years | 0:12:29 | 0:12:32 | |
doing the same thing from album cover number one. | 0:12:32 | 0:12:35 | |
That woman, she's a control freak. | 0:12:35 | 0:12:37 | |
Like, "OK, Holly Peete Robinson, whatever. | 0:12:37 | 0:12:41 | |
"Go. You go." | 0:12:41 | 0:12:42 | |
I get five hours sometimes to shoot four videos, OK? | 0:12:42 | 0:12:47 | |
And I'm the director. | 0:12:47 | 0:12:48 | |
And who directs the art covers? Me. | 0:12:48 | 0:12:51 | |
I'm not a "Songstress," Honey. | 0:12:51 | 0:12:53 | |
But everybody has a - Everybody has a story, | 0:12:53 | 0:12:55 | |
Cyndi. I understand, but you - | 0:12:55 | 0:12:56 | |
We're all here for our charities, | 0:12:56 | 0:12:58 | |
so I think we should just keep our mouths shut. | 0:12:58 | 0:13:01 | |
I'm not Cyndi's protector, but I respect Cyndi. | 0:13:01 | 0:13:05 | |
I just want you all to see - What is it like without Cyndi? | 0:13:05 | 0:13:09 | |
-I'm sorry. -Without Cyndi, | 0:13:09 | 0:13:11 | |
this would be the most boring thing, | 0:13:11 | 0:13:14 | |
cos you guys would be... | 0:13:14 | 0:13:17 | |
like watching ice melt. | 0:13:17 | 0:13:19 | |
You know, I'm the biggest one to say, "Shut up, Cyndi," | 0:13:19 | 0:13:21 | |
but there's a way of doing it without hurting people, | 0:13:21 | 0:13:25 | |
and I felt that the others | 0:13:25 | 0:13:27 | |
weren't giving her the respect that she deserved. | 0:13:27 | 0:13:30 | |
That's an opinion. | 0:13:30 | 0:13:31 | |
We're behind our boy Rod. | 0:13:37 | 0:13:39 | |
Where do you think he's gone? | 0:13:39 | 0:13:41 | |
I think they're somewhere, | 0:13:41 | 0:13:44 | |
and they're going to manage the project from wherever they are. | 0:13:44 | 0:13:47 | |
Let's just hope he doesn't have to use a computer out there. | 0:13:47 | 0:13:50 | |
So, Rod's a very important person in politics. | 0:13:50 | 0:13:54 | |
And so he has quite an infrastructure around him. | 0:13:54 | 0:13:56 | |
So Rod, bless his heart, | 0:13:56 | 0:13:58 | |
he doesn't necessarily know how to send an e-mail. | 0:13:58 | 0:14:00 | |
Rod has never taught himself how to use a computer. | 0:14:00 | 0:14:02 | |
Rod being a total technical reject worries us. | 0:14:02 | 0:14:05 | |
This is him. | 0:14:05 | 0:14:07 | |
He's sitting there going, "What's that?" | 0:14:07 | 0:14:10 | |
-Come on, Rod. Answer your phone. -'Your call has been forwarded | 0:14:10 | 0:14:13 | |
'to an automated voice-messaging system.' | 0:14:13 | 0:14:15 | |
Whoever's picking up | 0:14:15 | 0:14:16 | |
this voicemail in a couple of months' time... | 0:14:16 | 0:14:18 | |
..can you please tell Rod that we love him, | 0:14:19 | 0:14:21 | |
no matter what happened back then, that it's all OK? | 0:14:21 | 0:14:24 | |
-Whatever happened back then. -That's great. | 0:14:24 | 0:14:27 | |
If Rod has to send an e-mail today, | 0:14:27 | 0:14:29 | |
I sure as hell hope | 0:14:29 | 0:14:30 | |
that there's a homing pigeon somewhere around | 0:14:30 | 0:14:32 | |
that he can attach a note to. | 0:14:32 | 0:14:34 | |
One of the biggest components of this challenge | 0:14:44 | 0:14:47 | |
was that the Project Managers were being separated | 0:14:47 | 0:14:49 | |
from the rest of their teams. | 0:14:49 | 0:14:52 | |
So the communications part was going to be very important. | 0:14:52 | 0:14:54 | |
You can communicate through text messaging, | 0:14:54 | 0:14:56 | |
which is something I have no idea how to do, | 0:14:56 | 0:14:59 | |
or you can communicate by telephone, | 0:14:59 | 0:15:01 | |
which is something I do and some would say I do all too often. | 0:15:01 | 0:15:03 | |
My task is to create a 3D interactive experience | 0:15:08 | 0:15:13 | |
for The Wizarding World of Harry Potter | 0:15:13 | 0:15:15 | |
for Universal Orlando. | 0:15:15 | 0:15:16 | |
The great part about flying to Orlando | 0:15:16 | 0:15:19 | |
is that the flight allowed me that time to brainstorm. | 0:15:19 | 0:15:22 | |
What do you have, fruit, there? Um... | 0:15:22 | 0:15:25 | |
I'll have that in a little... in a little while. | 0:15:25 | 0:15:27 | |
I was excited because I pretty much knew | 0:15:27 | 0:15:30 | |
this wasn't something that Rod could excel in, | 0:15:30 | 0:15:32 | |
cos it was something about creativity, | 0:15:32 | 0:15:34 | |
and it was outside of his realm | 0:15:34 | 0:15:36 | |
because, you know, he's a businessman. | 0:15:36 | 0:15:38 | |
He's a... He's a politician. | 0:15:38 | 0:15:40 | |
Hello. How are you? | 0:15:40 | 0:15:42 | |
Are you ready to go? | 0:15:53 | 0:15:55 | |
I need to get my briefcase, is what I need. | 0:15:55 | 0:15:57 | |
Are you sure you need all that? | 0:15:57 | 0:15:59 | |
-Just in case. -I'm not even - | 0:15:59 | 0:16:01 | |
I'm not talking to you, cos I'm not helping you. | 0:16:01 | 0:16:03 | |
You're the enemy. Goodbye. | 0:16:03 | 0:16:05 | |
PHONE RINGING | 0:16:05 | 0:16:09 | |
Holly, you want to get it? | 0:16:09 | 0:16:11 | |
-Get it. Run! -Nah, you get it. | 0:16:11 | 0:16:12 | |
Sorry, sorry, sorry! Got it, OK. Hello? | 0:16:12 | 0:16:15 | |
I just want to let you guys know that I am in Orlando. | 0:16:15 | 0:16:17 | |
We are doing a task for Universal Studios | 0:16:17 | 0:16:20 | |
because they are opening up a new part of the theme park | 0:16:20 | 0:16:23 | |
called The Wizarding World of Harry Potter. | 0:16:23 | 0:16:25 | |
Oh, I love Harry Potter. | 0:16:25 | 0:16:27 | |
I've come up with an idea for the 3D experience. | 0:16:27 | 0:16:31 | |
I'm going to take a picture of it right now | 0:16:31 | 0:16:33 | |
and send it to you guys | 0:16:33 | 0:16:34 | |
so that you can call the fabricator and get him started. | 0:16:34 | 0:16:36 | |
Can you give each one of us a specific task? | 0:16:36 | 0:16:40 | |
I can't give anyone tasks | 0:16:40 | 0:16:41 | |
-because I haven't even seen the park yet. -OK. | 0:16:41 | 0:16:44 | |
-Hey, Selita. -Yes, ma'am. | 0:16:44 | 0:16:46 | |
Did you fly down there with the governor | 0:16:46 | 0:16:47 | |
or did you fly by yourself? | 0:16:47 | 0:16:49 | |
No, no. I flew with the governor. | 0:16:49 | 0:16:50 | |
Can I just tell you guys | 0:16:50 | 0:16:52 | |
that he doesn't even know how to work the computer. | 0:16:52 | 0:16:54 | |
How does he not know how to use a computer? | 0:16:56 | 0:16:58 | |
I mean, it's 2010. Everyone knows how. | 0:16:58 | 0:17:00 | |
Even my grandmother knows how to use a computer. | 0:17:00 | 0:17:02 | |
Is there anything productive we can do? | 0:17:02 | 0:17:05 | |
PHONE RINGS There we go. | 0:17:05 | 0:17:07 | |
Hello? | 0:17:08 | 0:17:10 | |
Hello? | 0:17:10 | 0:17:13 | |
-Hello?! -Hot Rod! | 0:17:13 | 0:17:16 | |
Technology is not Rod's best friend. | 0:17:16 | 0:17:19 | |
Let's just be honest, OK? | 0:17:19 | 0:17:20 | |
He's - He's just getting used to it. | 0:17:20 | 0:17:22 | |
So, you know, he'll be standing there, | 0:17:22 | 0:17:24 | |
looking at his phone, going, "Hmm." | 0:17:24 | 0:17:26 | |
That's about it. | 0:17:28 | 0:17:30 | |
Hey. Yeah, this thing. | 0:17:31 | 0:17:34 | |
Hey, how are you guys? | 0:17:35 | 0:17:37 | |
-'Doing good, man.' -Where are you, Rod? | 0:17:37 | 0:17:39 | |
Oh, yeah, sorry. | 0:17:39 | 0:17:41 | |
I'm in Orlando, Florida, all right? | 0:17:41 | 0:17:42 | |
We've been assigned | 0:17:42 | 0:17:44 | |
to create a three-dimensional interactive display | 0:17:44 | 0:17:48 | |
for Universal Orlando's new attraction, | 0:17:48 | 0:17:51 | |
The Wizarding World of Harry Potter. | 0:17:51 | 0:17:53 | |
-Rod. -Yeah? | 0:17:53 | 0:17:54 | |
What is the definition | 0:17:54 | 0:17:56 | |
of a three-dimensional display? | 0:17:56 | 0:17:57 | |
Bret, you understand it better than I do. | 0:17:57 | 0:17:59 | |
Tell us what that means, definition of 3D display. | 0:17:59 | 0:18:02 | |
Well, three-dimension is you're in it, | 0:18:02 | 0:18:03 | |
-Almost like a Nativity scene. -Yeah. | 0:18:03 | 0:18:05 | |
Do you know what I mean? Like a live church Nativity scene. | 0:18:05 | 0:18:08 | |
So, Rod calls from Orlando, right, | 0:18:08 | 0:18:09 | |
and one of the first things out of his mouth, he says, | 0:18:09 | 0:18:11 | |
"Bret, what's a 3D display?" | 0:18:11 | 0:18:13 | |
And I'm thinking, "This is not good." | 0:18:13 | 0:18:15 | |
I just want to share who should do what particular tasks. | 0:18:15 | 0:18:19 | |
I have some ideas. | 0:18:19 | 0:18:20 | |
I'd like to assign you, Bret, | 0:18:20 | 0:18:21 | |
to sort of manage the design stuff while I'm here, OK? | 0:18:21 | 0:18:24 | |
Absolutely. | 0:18:24 | 0:18:25 | |
Rod puts yours truly in charge of the creative. | 0:18:25 | 0:18:28 | |
Curtis is in charge of communication. | 0:18:28 | 0:18:30 | |
I believe Goldberg was in charge of graphics. | 0:18:30 | 0:18:32 | |
And Michael is in charge of finances and timing. | 0:18:32 | 0:18:36 | |
I'm going to tell you guys, I've got a really strong vision. | 0:18:36 | 0:18:39 | |
Cool. | 0:18:39 | 0:18:40 | |
If you guys will entrust on me, I swear to you, | 0:18:40 | 0:18:42 | |
the girls won't stand a chance. | 0:18:42 | 0:18:44 | |
All over it, man. | 0:18:44 | 0:18:45 | |
-OK, let's... Let's -BLEEP -kick some ass. | 0:18:45 | 0:18:47 | |
I just need to say something. | 0:18:47 | 0:18:50 | |
I need to get my game face on. | 0:18:50 | 0:18:51 | |
I did not come to be entertaining. | 0:18:51 | 0:18:53 | |
'I think I was less offended by it than I just felt like it was totally an inaccurate statement.' | 0:18:53 | 0:18:58 | |
Very insensitive, kind of random, but just flat-out wrong. | 0:18:58 | 0:19:02 | |
I came because my son has autism, | 0:19:02 | 0:19:04 | |
and 1 in 91 kids will have this, and it devastates families, | 0:19:04 | 0:19:08 | |
-and I came here for my charity. -What makes you think | 0:19:08 | 0:19:11 | |
anybody doesn't want to win money for their charity? | 0:19:11 | 0:19:14 | |
-I'm just saying I did. That doesn't make sense to you? -That makes sense, honey. | 0:19:14 | 0:19:16 | |
I'm saying everybody did. | 0:19:16 | 0:19:18 | |
'There was some tension today. | 0:19:18 | 0:19:20 | |
'And I think Sharon and Cyndi have bonded | 0:19:20 | 0:19:22 | |
'and Holly and Summer have bonded,' | 0:19:22 | 0:19:25 | |
and I feel like I'm in the middle. | 0:19:25 | 0:19:27 | |
Like, I don't really agree with this side | 0:19:27 | 0:19:29 | |
and I don't know if I agree with that side. | 0:19:29 | 0:19:31 | |
To be honest with you, I just want to get the task done. | 0:19:31 | 0:19:33 | |
Yeah, I came because I wanted more attention. | 0:19:33 | 0:19:36 | |
I'm not saying you did, Sharon, but you just got finished saying | 0:19:36 | 0:19:39 | |
that it'd be like watching ice melt. | 0:19:39 | 0:19:41 | |
If I'm boring, hey, you know what? If I'm like watching ice melt, | 0:19:41 | 0:19:44 | |
well, then just call me a glacier and let's get it on. | 0:19:44 | 0:19:46 | |
-I didn't come to be funny. -You couldn't be. | 0:19:46 | 0:19:48 | |
OK. | 0:19:54 | 0:19:56 | |
-You going to jump on me? -Yes, I am. | 0:19:56 | 0:19:59 | |
-You texting something? -That's right. | 0:19:59 | 0:20:01 | |
cos I can't talk too much with you here, now, can I? | 0:20:01 | 0:20:04 | |
Right now we're heading to the theme park | 0:20:04 | 0:20:05 | |
to meet with the executives of Universal that work directly | 0:20:05 | 0:20:09 | |
with The Wizarding World of Harry Potter. | 0:20:09 | 0:20:10 | |
Success comes in all forms - | 0:20:10 | 0:20:12 | |
whatever you aspire to accomplish in life, | 0:20:12 | 0:20:15 | |
like me kicking your ass in this challenge. | 0:20:15 | 0:20:17 | |
Well, I wish you well in all your endeavours, except this one. | 0:20:19 | 0:20:22 | |
There's an advantage when you can sit somewhere | 0:20:22 | 0:20:24 | |
where you can't communicate and you can text message. | 0:20:24 | 0:20:28 | |
Being able to get those ideas out | 0:20:28 | 0:20:29 | |
and then just immediately send them to somebody | 0:20:29 | 0:20:31 | |
is an efficient way of communicating, | 0:20:31 | 0:20:32 | |
but it's not something I ever had to do | 0:20:32 | 0:20:34 | |
when I was the governor. | 0:20:34 | 0:20:36 | |
You have nothing to do? | 0:20:36 | 0:20:37 | |
-Who? Me? -Yeah, you. | 0:20:37 | 0:20:38 | |
I-I don't know how to text. | 0:20:38 | 0:20:40 | |
So, I - There's noth- I can't do that. | 0:20:40 | 0:20:42 | |
Well, you know, I don't think | 0:20:42 | 0:20:43 | |
the texting or the e-mailing's that big a deal, | 0:20:43 | 0:20:45 | |
the fact that I don't know how to do that. | 0:20:45 | 0:20:47 | |
We won't not win because of text messaging or e-mails. | 0:20:47 | 0:20:51 | |
That'll just be an excuse | 0:20:51 | 0:20:53 | |
for people to point fingers afterwards. | 0:20:53 | 0:20:55 | |
Guys, I'm going to look up the e-mail she just sent us. | 0:21:00 | 0:21:02 | |
Come look at this! | 0:21:02 | 0:21:04 | |
This is awesome. | 0:21:04 | 0:21:07 | |
She was like, "Excuse my drawing. | 0:21:07 | 0:21:08 | |
"Roof will look like a castle." | 0:21:08 | 0:21:11 | |
She sounds so excited, you guys. | 0:21:12 | 0:21:14 | |
Selita was on top of it. | 0:21:14 | 0:21:16 | |
She sent us the diagram that she drew | 0:21:16 | 0:21:17 | |
and the way she wanted the display to work out. | 0:21:17 | 0:21:20 | |
We're heading down to Creech. | 0:21:20 | 0:21:21 | |
We're going to head down to our war room. | 0:21:21 | 0:21:23 | |
Keep texting. I like your texts. | 0:21:23 | 0:21:25 | |
Thank you. | 0:21:25 | 0:21:26 | |
-Hi. -Hi. | 0:21:38 | 0:21:39 | |
-I'm Selita Ebanks. -I'm Donna. | 0:21:39 | 0:21:41 | |
-Pleasure. -Rod Blagojevich. How are you? | 0:21:41 | 0:21:42 | |
-Dennis Woodberry. How are you? -How do you do? | 0:21:42 | 0:21:44 | |
We're really thrilled you're here. | 0:21:44 | 0:21:45 | |
We want to welcome you to Universal Orlando Resort. | 0:21:45 | 0:21:47 | |
Universal Orlando Resort | 0:21:47 | 0:21:49 | |
is proud to be the home of The Wizarding World of Harry Potter. | 0:21:49 | 0:21:51 | |
-Let's take a closer look. -All right, let's go. | 0:21:51 | 0:21:53 | |
Great. I'm so excited. | 0:21:53 | 0:21:55 | |
Do you mind if I take a few photos? | 0:21:55 | 0:21:56 | |
Oh, please! | 0:21:56 | 0:21:58 | |
We're coming up upon Hagrid's hut. | 0:22:00 | 0:22:03 | |
You can see the amazing level of detail and authenticity | 0:22:03 | 0:22:07 | |
that goes into creating these structures. | 0:22:07 | 0:22:10 | |
Down to the foliage, down to the trees, | 0:22:10 | 0:22:13 | |
down to the paths, the lighting - | 0:22:13 | 0:22:15 | |
everything about this park | 0:22:15 | 0:22:16 | |
is literally derived from Harry Potter's world - | 0:22:16 | 0:22:19 | |
everything. | 0:22:19 | 0:22:22 | |
Now, you got to remember, this all starts back with JK Rowling | 0:22:22 | 0:22:25 | |
crafting these spellbinding novels. | 0:22:25 | 0:22:27 | |
To give you a sense of the scope and scale of the project, | 0:22:27 | 0:22:32 | |
we created this model to guide our thinking | 0:22:32 | 0:22:34 | |
in how to bring the entire world to reality. | 0:22:34 | 0:22:37 | |
I'm a big fan of that whole Harry Potter Experience. | 0:22:37 | 0:22:40 | |
It's an enchanted world filled with wizardry and magic | 0:22:40 | 0:22:44 | |
and broomsticks and pumpkin brew and chocolate frogs. | 0:22:44 | 0:22:47 | |
The whole thing is kind of a cool place to be, | 0:22:47 | 0:22:49 | |
and, you know, sometimes I wish | 0:22:49 | 0:22:51 | |
I was actually there on a permanent basis. | 0:22:51 | 0:22:54 | |
So, as you can see, we've gone to great lengths | 0:22:54 | 0:22:56 | |
to make sure this new land is completely authentic | 0:22:56 | 0:22:58 | |
to the Harry Potter Books and films. | 0:22:58 | 0:23:00 | |
So your marketing presentation can be no exception. | 0:23:00 | 0:23:02 | |
It's your job now to bring what you've learned | 0:23:02 | 0:23:04 | |
about The Wizarding World of Harry Potter | 0:23:04 | 0:23:05 | |
to life in your display. | 0:23:05 | 0:23:07 | |
Once they said to make it as authentic as possible to the park, | 0:23:07 | 0:23:10 | |
it was pretty much self-explanatory. | 0:23:10 | 0:23:12 | |
It's a 3D world you want kids to walk through | 0:23:12 | 0:23:14 | |
and get excited about going to the actual park. | 0:23:14 | 0:23:17 | |
We've got an amazing array of things here for you. | 0:23:17 | 0:23:19 | |
You can even take some of the merchandise with you to use in your presentation. | 0:23:19 | 0:23:22 | |
Both of us were invited to basically take a whole bunch | 0:23:22 | 0:23:25 | |
of different Harry Potter Merchandise | 0:23:25 | 0:23:27 | |
that we could use in our displays. | 0:23:27 | 0:23:29 | |
Make sure he doesn't get anything that I get, OK? | 0:23:29 | 0:23:31 | |
So, there was that sort of healthy competition | 0:23:31 | 0:23:33 | |
between the two of us to gather as much of the merchandise as we could. | 0:23:33 | 0:23:36 | |
I just want to make sure that I fully understand | 0:23:36 | 0:23:38 | |
-the purpose of this task. -Yes, the idea is | 0:23:38 | 0:23:40 | |
for you to create this interactive display | 0:23:40 | 0:23:42 | |
so when you present it to the group of Harry Potter Fans, | 0:23:42 | 0:23:45 | |
we want you to get across the experience to them, | 0:23:45 | 0:23:47 | |
but the idea is | 0:23:47 | 0:23:49 | |
that we could take this experience on the road with us, | 0:23:49 | 0:23:51 | |
you know, to generate all the buzz | 0:23:51 | 0:23:53 | |
-for The Wizarding World of Harry Potter. -OK. | 0:23:53 | 0:23:55 | |
-I think I'm good. -All right. | 0:23:55 | 0:23:57 | |
Here's my thought. This is an overview. | 0:24:03 | 0:24:06 | |
Over here, we paint a path. You have flashes. | 0:24:06 | 0:24:09 | |
It scares kids, but it doesn't freak them out - | 0:24:09 | 0:24:11 | |
big difference. | 0:24:11 | 0:24:12 | |
My brain is always working | 0:24:12 | 0:24:13 | |
on creating stuff and then turning it into something. | 0:24:13 | 0:24:17 | |
As a songwriter, I can take a thought, | 0:24:17 | 0:24:20 | |
take it, turn it into music, turn it into a video. | 0:24:20 | 0:24:22 | |
And I think the team just turned to me | 0:24:22 | 0:24:24 | |
to be able to spark the right idea. | 0:24:24 | 0:24:26 | |
So, do we want to sit down and start going through this? | 0:24:26 | 0:24:29 | |
There's not a lot of room, but you still got to walk through something. | 0:24:29 | 0:24:32 | |
We definitely need a person to drive them through. | 0:24:32 | 0:24:35 | |
Going in to the fabricator's, | 0:24:35 | 0:24:37 | |
we need to just leave our sensitivities at the door | 0:24:37 | 0:24:41 | |
and just soldier on, | 0:24:41 | 0:24:42 | |
because it is for charity, | 0:24:42 | 0:24:44 | |
and with all these strong women, | 0:24:44 | 0:24:46 | |
we might just rip each other's throats out | 0:24:46 | 0:24:47 | |
if we're not careful. | 0:24:47 | 0:24:49 | |
So, this is the rough area of what you want to do. | 0:24:49 | 0:24:51 | |
Rough area, rough dimensions. | 0:24:51 | 0:24:52 | |
-Yeah. OK. -8 feet. | 0:24:52 | 0:24:53 | |
Selita just put this down as a rough idea of what she wants. | 0:24:53 | 0:24:58 | |
Could this front part be the owl area | 0:24:58 | 0:25:02 | |
and then this back part be, like, a different wand area? | 0:25:02 | 0:25:04 | |
When Selita's not there, | 0:25:04 | 0:25:06 | |
we're just trying to come up with a basic concept | 0:25:06 | 0:25:08 | |
using the example that she gave us. | 0:25:08 | 0:25:11 | |
There's the dragon. There's the picture frame. | 0:25:11 | 0:25:13 | |
The picture frame. | 0:25:13 | 0:25:15 | |
Right, and then there's the wand-delivery system. | 0:25:15 | 0:25:17 | |
Wand delivery system. | 0:25:17 | 0:25:19 | |
With air and lights. | 0:25:19 | 0:25:21 | |
You know, you should come up with all of your ideas, | 0:25:21 | 0:25:23 | |
kind of prioritise them. | 0:25:23 | 0:25:24 | |
We have to check with Selita. | 0:25:24 | 0:25:26 | |
It's much different not having your Project Manager on-site. | 0:25:26 | 0:25:29 | |
We have a lot of unanswered questions. | 0:25:29 | 0:25:31 | |
So there's a lot of sitting around, | 0:25:31 | 0:25:33 | |
kind of waiting for final answers on things. | 0:25:33 | 0:25:35 | |
Let's go this. Here, I'm throwing it to you. | 0:25:35 | 0:25:36 | |
You tell me. | 0:25:36 | 0:25:37 | |
We're looking this way. I say we open this thing up | 0:25:37 | 0:25:40 | |
and have no sides. If I have to walk into this | 0:25:40 | 0:25:42 | |
and 12 kids get through this in a day, | 0:25:42 | 0:25:44 | |
imagine me with my daughters, who don't listen to anything. | 0:25:44 | 0:25:46 | |
"Come on, kids. The party's over." | 0:25:46 | 0:25:48 | |
"I don't want to go." She's in the corner crying. | 0:25:48 | 0:25:50 | |
You know, the other one wants to go get candy. | 0:25:50 | 0:25:52 | |
I think it's a disaster. | 0:25:52 | 0:25:54 | |
Bret's got a really unique way of articulating himself, | 0:25:54 | 0:25:56 | |
so sometimes it takes a while | 0:25:56 | 0:25:58 | |
to really understand exactly what he's getting to. | 0:25:58 | 0:26:00 | |
I think we go back to it being interactive here. | 0:26:00 | 0:26:03 | |
Hey, Bret. | 0:26:03 | 0:26:04 | |
I'm a little lost. Just tell me - | 0:26:05 | 0:26:07 | |
what am I going to see and what am I going to do? | 0:26:07 | 0:26:09 | |
The concept was, uh, very difficult. | 0:26:09 | 0:26:13 | |
I still can't explain it. | 0:26:13 | 0:26:15 | |
This whole interior - | 0:26:15 | 0:26:16 | |
everything becomes the interior of a castle. | 0:26:16 | 0:26:19 | |
What sort of a room in a castle? | 0:26:19 | 0:26:21 | |
That, I don't know yet. | 0:26:21 | 0:26:23 | |
-Let's just get in there and do it. -All right. | 0:26:23 | 0:26:25 | |
You know, we have come all the way back to square one. | 0:26:25 | 0:26:28 | |
Can I go to the prop house? | 0:26:33 | 0:26:35 | |
Actually, let's go one more time through. | 0:26:35 | 0:26:37 | |
Our task is to create a 3D experience, | 0:26:37 | 0:26:41 | |
and this 3D experience is supposed to be a small example | 0:26:41 | 0:26:44 | |
on what you would experience in Orlando, Florida, | 0:26:44 | 0:26:47 | |
at The Wizarding World of Harry Potter. | 0:26:47 | 0:26:50 | |
So, potion bottles, cat, four drapes. | 0:26:50 | 0:26:53 | |
-Owl. -Owl. | 0:26:53 | 0:26:54 | |
Are you going to do the graphic of the... | 0:26:54 | 0:26:56 | |
-Frames. -Excuse me. | 0:26:56 | 0:26:58 | |
I don't know who's taking the lead. | 0:26:58 | 0:27:01 | |
We're trying to decide what props we're going to get. | 0:27:01 | 0:27:04 | |
So, for me, I'm, like, worrying about, | 0:27:04 | 0:27:05 | |
"Oh, my gosh. Are we going to get this done?" | 0:27:05 | 0:27:07 | |
Lots and lots of cooks in the kitchen. | 0:27:07 | 0:27:10 | |
-Hey, hey. -'Hey, guys.' | 0:27:11 | 0:27:13 | |
-'Are you in the war room now?' -Yes, ma'am. | 0:27:13 | 0:27:15 | |
'Oh, my gosh, we have a ton of carpenters | 0:27:15 | 0:27:17 | |
'that are ready to make all of our stuff, | 0:27:17 | 0:27:19 | |
'and they want to get rolling, | 0:27:19 | 0:27:20 | |
'so we want to get your approval on things.' | 0:27:20 | 0:27:22 | |
We have them making wands. | 0:27:22 | 0:27:24 | |
-'Is that OK?' -No. I have wands. | 0:27:24 | 0:27:26 | |
You have wands. Aha! OK, great. | 0:27:26 | 0:27:28 | |
Finally, Selita called from Orlando | 0:27:28 | 0:27:30 | |
to talk about the task. | 0:27:30 | 0:27:32 | |
'Here's Sharon. Hold on.' | 0:27:32 | 0:27:33 | |
Selita, you want it to be like a little bit of a maze inside? | 0:27:33 | 0:27:38 | |
It's only 14 feet by 8 feet, | 0:27:38 | 0:27:42 | |
so that doesn't leave us a lot of space. | 0:27:42 | 0:27:45 | |
'Time was really of the essence.' | 0:27:45 | 0:27:46 | |
I mean, we were late in getting all this information | 0:27:46 | 0:27:49 | |
Tell you something - Now that I think about it | 0:27:51 | 0:27:53 | |
and looking at the size of this... | 0:27:53 | 0:27:55 | |
In my brain, I have this haunted-house thing | 0:27:55 | 0:27:57 | |
but the more I look at this, you walk in here, you're like, | 0:27:57 | 0:28:00 | |
"Where do I..." "OK. Now my experience is over?" | 0:28:00 | 0:28:03 | |
It could suck. | 0:28:03 | 0:28:05 | |
There's always a lot to be done with these tasks. | 0:28:05 | 0:28:07 | |
So, a lot to get done, you know, in a day. | 0:28:07 | 0:28:08 | |
I mean, you're talking about building something | 0:28:08 | 0:28:10 | |
that, you know, anybody in their right mind | 0:28:10 | 0:28:13 | |
would take three weeks to do. | 0:28:13 | 0:28:14 | |
Here's the gov. | 0:28:16 | 0:28:17 | |
'Hello?' | 0:28:17 | 0:28:18 | |
Hey, Curtis. | 0:28:18 | 0:28:20 | |
'We're just, um, still trying to get the creative down.' | 0:28:20 | 0:28:22 | |
-'Can you put Bret on the phone?' -One sec. | 0:28:22 | 0:28:24 | |
-Bret, are you there? -We're here. | 0:28:24 | 0:28:27 | |
OK, Bret, you've got to take a little slice | 0:28:27 | 0:28:29 | |
of this whole Harry Potter World and kind of maximise that. | 0:28:29 | 0:28:34 | |
My question to you - do they want | 0:28:34 | 0:28:35 | |
to walk in to this display | 0:28:35 | 0:28:37 | |
or do they want to keep people looking? | 0:28:37 | 0:28:39 | |
I mean - well, what do you think, Bret? | 0:28:39 | 0:28:42 | |
Decisions have to be made. | 0:28:42 | 0:28:43 | |
You're going to have to make those decisions. | 0:28:43 | 0:28:45 | |
Bret, you're in charge. | 0:28:45 | 0:28:47 | |
I don't feel like Rod was a good Project Manager, | 0:28:49 | 0:28:51 | |
because he did not really give us any direction at all. | 0:28:51 | 0:28:55 | |
He tried to delegate | 0:28:55 | 0:28:56 | |
but I think he stopped with delegation. | 0:28:56 | 0:28:58 | |
-You follow what I'm saying? -I'm... I'm doing my best. | 0:28:58 | 0:29:01 | |
So, Rod's turned the creative over to me | 0:29:04 | 0:29:07 | |
And, you know, I got to be honest. | 0:29:07 | 0:29:09 | |
I'm a little worried right now | 0:29:09 | 0:29:10 | |
You know, because I'm thinking, "I got to pull this off. | 0:29:10 | 0:29:13 | |
"his is falling on my shoulders." | 0:29:13 | 0:29:15 | |
Here's what we're going to do. Create me this castle scene. | 0:29:15 | 0:29:18 | |
And then these will be the castle doors leaving. | 0:29:18 | 0:29:20 | |
Create the library over here. | 0:29:20 | 0:29:22 | |
So, basically, castle, library. Yeah. | 0:29:22 | 0:29:24 | |
We're taking a lot of artistic direction from Bret Michaels. | 0:29:24 | 0:29:27 | |
You know, we're coming down to the wire | 0:29:27 | 0:29:28 | |
and he's getting a little bit more focused | 0:29:28 | 0:29:30 | |
with what he wants it to look like. | 0:29:30 | 0:29:31 | |
We could start by building these three walls so we have them. | 0:29:31 | 0:29:34 | |
Right. Let's do it. That's it. It's done. Let's do it. | 0:29:34 | 0:29:37 | |
We do have a lot of work to do, but we got a lot of people, | 0:29:37 | 0:29:39 | |
and if these guys on the Rocksolid team | 0:29:39 | 0:29:41 | |
really jump in with us | 0:29:41 | 0:29:43 | |
we should be able to get this all done. | 0:29:43 | 0:29:44 | |
We'll find out. | 0:29:44 | 0:29:46 | |
One, two... | 0:29:46 | 0:29:47 | |
So, six of them. | 0:29:47 | 0:29:49 | |
Thank you. | 0:29:51 | 0:29:53 | |
PHONE RINGING | 0:29:53 | 0:29:55 | |
Hey, Curtis, I'm calling you back. How's it going? | 0:29:55 | 0:29:57 | |
Yeah. We're at the design centre now. | 0:29:57 | 0:29:59 | |
How did you go on the meetings? | 0:29:59 | 0:30:00 | |
Very helpful. I should point out - | 0:30:00 | 0:30:03 | |
The whole world's listening, | 0:30:03 | 0:30:04 | |
Including Selita sitting next to me - Just FYI. | 0:30:04 | 0:30:06 | |
So speak at your peril, OK? | 0:30:06 | 0:30:09 | |
We have a long flight, don't we? | 0:30:15 | 0:30:18 | |
-Two hours. -Well, there you go. | 0:30:18 | 0:30:19 | |
Coming back from Orlando, | 0:30:19 | 0:30:21 | |
I just started working on the storyline and the experience. | 0:30:21 | 0:30:25 | |
I just keep watching the DVD over and over and over again. | 0:30:25 | 0:30:27 | |
And I look over... | 0:30:27 | 0:30:30 | |
.nd this man is knocked out. | 0:30:33 | 0:30:36 | |
I'm talking about cold. | 0:30:36 | 0:30:38 | |
He has his glasses on, and he's just, like... | 0:30:38 | 0:30:40 | |
Gone, asleep. | 0:30:40 | 0:30:43 | |
And I was like, "Maybe I should kick him." | 0:30:44 | 0:30:47 | |
I thought maybe he thought it was like a break time. | 0:30:47 | 0:30:49 | |
COUGHING | 0:31:01 | 0:31:03 | |
I didn't feel well. I was still seriously sick. | 0:31:03 | 0:31:07 | |
It's very bad in there today | 0:31:07 | 0:31:11 | |
Because of all the sawdust. | 0:31:11 | 0:31:13 | |
I think that I was coughing up sawdust flugies all day. | 0:31:13 | 0:31:16 | |
-Hi. -Hi. How are you? | 0:31:22 | 0:31:25 | |
Mr Trump sent me over here to see how you're doing. | 0:31:25 | 0:31:28 | |
We're a little hemmed up | 0:31:28 | 0:31:29 | |
because our Project Manager is on a flight from Orlando. | 0:31:29 | 0:31:31 | |
George is Mr Trump's eyes and ears | 0:31:31 | 0:31:33 | |
and when George came | 0:31:33 | 0:31:35 | |
we were waiting for Selita to come back from Orlando | 0:31:35 | 0:31:37 | |
and we were just stopped down. | 0:31:37 | 0:31:39 | |
I don't know how much more we could have done. | 0:31:39 | 0:31:41 | |
Should I walk you through it? | 0:31:41 | 0:31:43 | |
You're going to walk in through the mouth of a dragon. | 0:31:43 | 0:31:46 | |
We're going to hopefully make it seem like it's super tall | 0:31:46 | 0:31:48 | |
even though we only have 8 feet. | 0:31:48 | 0:31:50 | |
That's very bold. | 0:31:50 | 0:31:52 | |
Did you mention the dragon? | 0:31:52 | 0:31:53 | |
A lot of work, yeah. A lot of work. | 0:31:53 | 0:31:56 | |
I've never seen a team so cool, calm, and collected before a storm. | 0:31:56 | 0:32:00 | |
It's a very ambitious project. | 0:32:00 | 0:32:01 | |
If they can pull it off, it should be... It should be great. | 0:32:01 | 0:32:03 | |
So, what do you think, George? | 0:32:03 | 0:32:05 | |
If you can pull it off. | 0:32:05 | 0:32:06 | |
Don't you have faith in us? | 0:32:06 | 0:32:08 | |
-Hello. -Hi, guys. How are you? | 0:32:13 | 0:32:15 | |
-Nice to meet you. I'm Bret. -Hi, Bret. Nice to see you. | 0:32:15 | 0:32:17 | |
-I'm Erin Burnett from CNBC. -I know exactly who you are. | 0:32:17 | 0:32:20 | |
So, Donald Trump's eyes and ears is hot - | 0:32:20 | 0:32:23 | |
smokin'-hot Erin Burnett, and I'm like, "Hello!" | 0:32:23 | 0:32:26 | |
She's beautiful. She is. She's smart, funny, very together, | 0:32:26 | 0:32:30 | |
And she's a beautiful, beautiful woman. | 0:32:30 | 0:32:32 | |
This is the interior of the castle. | 0:32:32 | 0:32:33 | |
You know, like old-school | 0:32:33 | 0:32:35 | |
Coney Island haunted house kind of feel. | 0:32:35 | 0:32:36 | |
I think of back when I was a kid | 0:32:36 | 0:32:38 | |
and I went to the old haunted houses. | 0:32:38 | 0:32:40 | |
They were really cheesy | 0:32:40 | 0:32:41 | |
but I felt like me and my dad got an experience. | 0:32:41 | 0:32:43 | |
Right. | 0:32:43 | 0:32:44 | |
Realistically, it was a lot of carnies smoking weed. | 0:32:44 | 0:32:47 | |
-Right. -You know, but then I didn't know. | 0:32:47 | 0:32:49 | |
I thought it was awesome, and it just smelled good. | 0:32:49 | 0:32:51 | |
I sort of take her under my wing and only for business purposes | 0:32:51 | 0:32:56 | |
do I overly want to explain everything to her. | 0:32:56 | 0:32:58 | |
'I'm not sure that Erin' | 0:32:58 | 0:33:01 | |
necessarily loved our creative or hated it | 0:33:01 | 0:33:06 | |
but I was just going to keep talking to her anyway. | 0:33:06 | 0:33:08 | |
That's what the important thing was. | 0:33:08 | 0:33:11 | |
Nice to meet you. I watch all the time. | 0:33:11 | 0:33:12 | |
-Oh, yeah, right. -I do! For real! | 0:33:12 | 0:33:14 | |
All right, so, Rod is on his way back, right? | 0:33:14 | 0:33:18 | |
-Yeah, yeah, yeah. -OK. | 0:33:18 | 0:33:19 | |
-Flying back. -He's doing all right? | 0:33:19 | 0:33:21 | |
He give you what you needed or...? | 0:33:21 | 0:33:23 | |
It's been a really interesting dynamic | 0:33:23 | 0:33:25 | |
having our Project Manager on the other side of the country | 0:33:25 | 0:33:28 | |
Because he's pretty much leave it up to us. | 0:33:28 | 0:33:30 | |
And darling Rod | 0:33:30 | 0:33:32 | |
He's slightly technically challenged, so that's... | 0:33:32 | 0:33:34 | |
What? Like, on the... cos he could e-mail, right? | 0:33:36 | 0:33:39 | |
No, he couldn't. | 0:33:39 | 0:33:40 | |
No? Really? | 0:33:40 | 0:33:43 | |
There's so many bad jokes I could make right now. | 0:33:43 | 0:33:45 | |
I think Rod's technological issues are significant. | 0:33:45 | 0:33:49 | |
One of the things I think | 0:33:49 | 0:33:50 | |
is interesting as a team dynamic, though | 0:33:50 | 0:33:51 | |
Is that Bret says, "If it fails | 0:33:51 | 0:33:52 | |
"it's because Rod didn't communicate something." | 0:33:52 | 0:33:55 | |
Should Rod be the one to go or should Bret be the one to go? | 0:33:55 | 0:33:58 | |
I took the creative and ran with it. | 0:33:58 | 0:34:00 | |
My head's on the chopping block. There's no doubt. | 0:34:00 | 0:34:02 | |
Oh, that looks fantastic! | 0:34:17 | 0:34:20 | |
Our concept, it's actually coming together really nicely. | 0:34:20 | 0:34:22 | |
When we heard it was 3D, we knew we had to have some grand entrance. | 0:34:22 | 0:34:26 | |
You know, what kid wouldn't love to walk through a dragon mouth? | 0:34:26 | 0:34:29 | |
And then you walk in to Ollivander's, | 0:34:29 | 0:34:31 | |
which is the wand shop, to become a wizard. | 0:34:31 | 0:34:34 | |
Maybe once he's done, I can have him mix up some colours | 0:34:34 | 0:34:36 | |
and we can just start painting all these. | 0:34:36 | 0:34:38 | |
This manicure is done! | 0:34:42 | 0:34:44 | |
We have been making a lot of decisions, | 0:34:44 | 0:34:46 | |
and I think that we've included Selita on most of them. | 0:34:46 | 0:34:48 | |
So, it'll be interesting | 0:34:48 | 0:34:50 | |
to see what she says when she comes back. | 0:34:50 | 0:34:52 | |
I hope that she likes everything, because if not, we're screwed. | 0:34:52 | 0:34:57 | |
This entire wall's inside and around these'll be stone. | 0:34:57 | 0:35:00 | |
Yeah. All this gets covered in stone. | 0:35:00 | 0:35:02 | |
It's going to look nice. Yeah, this is great. | 0:35:02 | 0:35:04 | |
It feels amazing watching all this come to life, | 0:35:04 | 0:35:07 | |
and I'm feeling pretty good right now, | 0:35:07 | 0:35:09 | |
but I got to admit I'm also feeling pretty nervous | 0:35:09 | 0:35:11 | |
and I'm hoping that Rod is going to really like | 0:35:11 | 0:35:14 | |
where we're going with this | 0:35:14 | 0:35:16 | |
and actually get where we're trying to go with this. | 0:35:16 | 0:35:18 | |
Like I said, if this thing's a total disaster, | 0:35:18 | 0:35:21 | |
I'll take complete fall on it, you know what I mean? | 0:35:21 | 0:35:23 | |
-But you know what I'm saying? -No. I think it's a good idea. | 0:35:23 | 0:35:25 | |
-I'll take the fall. -I like it. I like it. | 0:35:25 | 0:35:27 | |
Look, if we don't win this task, | 0:35:27 | 0:35:29 | |
who's Rod going to point his finger at? | 0:35:29 | 0:35:31 | |
He pretty much passed over | 0:35:31 | 0:35:33 | |
the Project Manager's role to Bret. | 0:35:33 | 0:35:35 | |
You know, all the creative work was to be done by Bret. | 0:35:35 | 0:35:37 | |
What's the ceiling going to look like? | 0:35:37 | 0:35:39 | |
With the ceiling, uh... | 0:35:39 | 0:35:41 | |
You know, Rod's a politician. Maybe he did this on purpose. | 0:35:41 | 0:35:44 | |
Maybe Bret's the man | 0:35:44 | 0:35:46 | |
that's going to be sitting there with him next to Mr Trump. | 0:35:46 | 0:35:49 | |
See you, guys. Thanks for the ride. | 0:36:00 | 0:36:02 | |
Thank you! Ooh! | 0:36:02 | 0:36:04 | |
When we landed back in Teterboro, I was like, | 0:36:04 | 0:36:07 | |
"Let's go! Time to go. We got to go! Where's the car?" | 0:36:07 | 0:36:09 | |
And I made sure that my bags | 0:36:09 | 0:36:11 | |
were not mixed up with Mr Rod's bags. | 0:36:11 | 0:36:13 | |
I didn't want him to have none of my goodies, OK? | 0:36:13 | 0:36:15 | |
How we doing, guys? | 0:36:24 | 0:36:25 | |
Good over here, man. Painting up good. | 0:36:25 | 0:36:28 | |
Hey. | 0:36:31 | 0:36:33 | |
-Rod! -How's it going? | 0:36:33 | 0:36:34 | |
-I'm doing good, buddy. How you doing? -Good, man. | 0:36:34 | 0:36:37 | |
We got a good, positive energy in here, man. | 0:36:37 | 0:36:38 | |
-We're cranking. -Looks good, man. | 0:36:38 | 0:36:40 | |
I'll give you the overview once I get this done. | 0:36:40 | 0:36:42 | |
We're in good hands here. | 0:36:42 | 0:36:43 | |
Look at that Goldberg. What a worker. | 0:36:43 | 0:36:45 | |
When I got to Brooklyn and walked in to the studio, | 0:36:45 | 0:36:47 | |
I was delighted with what I saw. | 0:36:47 | 0:36:50 | |
Do what you need to do. | 0:36:50 | 0:36:51 | |
I was not really surprised. I saw early stages | 0:36:51 | 0:36:55 | |
of the development of the Hogwarts Castle, | 0:36:55 | 0:36:57 | |
and it was encouraging. | 0:36:57 | 0:36:58 | |
Hey. | 0:36:58 | 0:36:59 | |
When I walked in the office... | 0:37:01 | 0:37:02 | |
-How was it? -Good. | 0:37:02 | 0:37:04 | |
..Michael and Curtis were eating dinner. | 0:37:04 | 0:37:06 | |
I think they were eating ribs or something. | 0:37:06 | 0:37:09 | |
There is a little voice in my mind | 0:37:11 | 0:37:14 | |
that says that maybe Bret could have had a little bit more help. | 0:37:14 | 0:37:18 | |
When I first walked in to the design studio, | 0:37:28 | 0:37:30 | |
I was a little scared | 0:37:30 | 0:37:31 | |
because I didn't know what I was going to see. | 0:37:31 | 0:37:33 | |
I didn't know how far along they were on the project. | 0:37:33 | 0:37:35 | |
I didn't even know if they even started the project. | 0:37:35 | 0:37:37 | |
Oh, my gosh! That looks so good! | 0:37:37 | 0:37:40 | |
So, here are some Christmas lights for in this section. | 0:37:40 | 0:37:43 | |
Christmas lights? Why are we going with Christmas lights? | 0:37:43 | 0:37:45 | |
Well, don't put on Christmas lights as white twinkle stars | 0:37:45 | 0:37:48 | |
But there's no twinkle. There's no stars. | 0:37:48 | 0:37:51 | |
You don't want it to look like stars? | 0:37:51 | 0:37:52 | |
Because there's none in the storyline that they gave us. | 0:37:52 | 0:37:55 | |
The girls did a marvellous job, | 0:37:55 | 0:37:56 | |
but at the end of the day, I was the Project Manager. | 0:37:56 | 0:37:59 | |
And being the fact that I was the only person | 0:37:59 | 0:38:01 | |
to meet with the executives, I knew exactly what they wanted. | 0:38:01 | 0:38:04 | |
So, when I came back, | 0:38:04 | 0:38:05 | |
there was a few details that I had to change. | 0:38:05 | 0:38:07 | |
We just need to get an idea, a concept | 0:38:07 | 0:38:09 | |
-of what we're all doing tomorrow. -Yep. | 0:38:09 | 0:38:11 | |
I'm going to do the presentation. | 0:38:11 | 0:38:14 | |
Miss lovely Maria is in charge of the, um... | 0:38:14 | 0:38:16 | |
The mystical, magical wands! | 0:38:16 | 0:38:17 | |
And are you going to be in charge of the boxes? | 0:38:17 | 0:38:21 | |
If they can do it. | 0:38:21 | 0:38:23 | |
It was so much better to have Selita in human form | 0:38:23 | 0:38:26 | |
telling us, you know, what we should be doing, | 0:38:26 | 0:38:28 | |
what are our roles for the presentation. | 0:38:28 | 0:38:30 | |
OK. Perfect. | 0:38:30 | 0:38:32 | |
Rod, if you don't play a major part in that presentation, | 0:38:32 | 0:38:34 | |
if I was the executive, I'd think, "Why weren't you involved?" | 0:38:34 | 0:38:37 | |
As I'm working here, I'm going to think about the key message, | 0:38:37 | 0:38:39 | |
which is "Opening in the spring, lot of fun." | 0:38:39 | 0:38:44 | |
You know, I'll think about a short, little message. | 0:38:44 | 0:38:46 | |
I think what we need to do is write it up | 0:38:46 | 0:38:49 | |
and say, well, how's it going to go? | 0:38:49 | 0:38:51 | |
You know, how are we going to present it? | 0:38:51 | 0:38:52 | |
We'll just hand them candy, have fun, and just ad lib. | 0:38:52 | 0:38:55 | |
Our task will be judged by a focus group | 0:38:55 | 0:38:58 | |
of young Harry Potter Fans. | 0:38:58 | 0:38:59 | |
So, I made the decision that we should do more improv | 0:38:59 | 0:39:02 | |
than anything that was too scripted. | 0:39:02 | 0:39:04 | |
In my experience, when you're too scripted, it's not natural. | 0:39:04 | 0:39:07 | |
I think kids get a better sense of whether you're real or not, | 0:39:07 | 0:39:10 | |
and they would see through it. | 0:39:10 | 0:39:12 | |
I think the best way to go with this | 0:39:12 | 0:39:13 | |
is it's got to be a show, it's got to be very theatrical. | 0:39:13 | 0:39:16 | |
So, what have we achieved? | 0:39:16 | 0:39:18 | |
We have a general sense that we're going to have fun, | 0:39:18 | 0:39:20 | |
we're going to ad lib a lot of stuff, right? | 0:39:20 | 0:39:23 | |
You want us to get to work? You want something else from us? | 0:39:23 | 0:39:26 | |
-I think that's good. -Whatever you want. | 0:39:26 | 0:39:27 | |
There wasn't a plan for the presentation. | 0:39:27 | 0:39:30 | |
-The plan for the presentation was, we haven't got a -BLEEP -plan. | 0:39:30 | 0:39:34 | |
You know, remember bullet points. | 0:39:43 | 0:39:46 | |
-Creatures of lore. -Interactive. | 0:39:46 | 0:39:47 | |
Magic. | 0:39:47 | 0:39:49 | |
Creatures beyond your imagination. | 0:39:49 | 0:39:50 | |
So, Rod and Goldberg and myself are in the van. | 0:39:50 | 0:39:53 | |
We're heading to the presentation space, | 0:39:53 | 0:39:55 | |
and at this point, Curtis and Michael kind of break off | 0:39:55 | 0:39:58 | |
and they're going to pick up some stuff | 0:39:58 | 0:40:00 | |
for inside of our wizarding castle. | 0:40:00 | 0:40:02 | |
Listen. | 0:40:02 | 0:40:03 | |
In the beginning, talk to those executives, too, | 0:40:03 | 0:40:05 | |
before you go on to your kids. | 0:40:05 | 0:40:06 | |
Most of it's going to be about the kids. | 0:40:06 | 0:40:07 | |
Do we agree with that, Bret? | 0:40:07 | 0:40:08 | |
What you want to do is engage in their fun. | 0:40:08 | 0:40:10 | |
Say, where would you go? | 0:40:10 | 0:40:12 | |
What's your favourite school? Is it "Hogwalds"? | 0:40:12 | 0:40:16 | |
That's good. It's not Hogwarts. It's not a school, but you'll get it. Hufflepuff or whatever. Go ahead. | 0:40:16 | 0:40:19 | |
Here, let me say this to you. | 0:40:19 | 0:40:20 | |
-I don't know the -BLEEP -words, so don't... -I'll get you. | 0:40:20 | 0:40:22 | |
-Just let me roll with the words. -Roll. Go ahead. | 0:40:22 | 0:40:24 | |
You got to go easy on me, Rod. You got to go easy. | 0:40:24 | 0:40:26 | |
-I'm calm. I'm good. I'll make it great. -I know you will. | 0:40:26 | 0:40:28 | |
Rod started to really stress me out. | 0:40:28 | 0:40:30 | |
He just kept going at me. | 0:40:30 | 0:40:32 | |
"You got to remember this, do this, stand on your ear, | 0:40:32 | 0:40:34 | |
"Don't do that, stand with this foot up, | 0:40:34 | 0:40:36 | |
"Put this leg over your head, | 0:40:36 | 0:40:37 | |
"and then deliver all this Harry Potter information." | 0:40:37 | 0:40:40 | |
I'm like, "Look, Rod, they're kids. | 0:40:40 | 0:40:42 | |
They're here to have fun." | 0:40:42 | 0:40:44 | |
It's a great opportunity. | 0:40:44 | 0:40:45 | |
-I got it, but let me... -OK. | 0:40:45 | 0:40:47 | |
-You're going to lose... -In your own words. I got it. | 0:40:47 | 0:40:49 | |
-Let me... -It's the point you got to make. | 0:40:49 | 0:40:50 | |
The Wizardr... Wizarding World - | 0:40:50 | 0:40:53 | |
WIZARDING World of Harry Potter. | 0:40:53 | 0:40:55 | |
-The WIZARDING World. -Yeah. | 0:40:55 | 0:40:57 | |
So, this morning, Michael and I ran down to Eclectic, | 0:41:07 | 0:41:10 | |
the prop house, | 0:41:10 | 0:41:11 | |
to pick up the last few little finishing touches to our design. | 0:41:11 | 0:41:13 | |
Hello! | 0:41:13 | 0:41:15 | |
What have you got Harry Potter? | 0:41:15 | 0:41:16 | |
Um, I'll show you upstairs. | 0:41:16 | 0:41:18 | |
We're missing quite a few things for our display | 0:41:18 | 0:41:21 | |
and key features. | 0:41:21 | 0:41:22 | |
So, we didn't know what to go and buy. | 0:41:22 | 0:41:25 | |
PHONE RINGS | 0:41:25 | 0:41:26 | |
-'Go ahead.' -Hey. Is, uh, Rod there with you? | 0:41:26 | 0:41:28 | |
I'm right here, Michael. Hi. | 0:41:28 | 0:41:29 | |
Here's what we got so far - | 0:41:29 | 0:41:31 | |
a table that we can put, you know, stuff on, | 0:41:31 | 0:41:34 | |
and then we've got, like, a candelabra, um, a chandelier. | 0:41:34 | 0:41:38 | |
Anything else you guys can think of? | 0:41:38 | 0:41:40 | |
OK. How about a chair, like an old chair? Should we get that? | 0:41:40 | 0:41:44 | |
Use your judgment, Michael. You can do that, too. | 0:41:44 | 0:41:45 | |
Anything else you feel fits the mood, use your judgment. | 0:41:45 | 0:41:50 | |
I asked him if he had any thoughts or ideas about props for the exhibit. | 0:41:50 | 0:41:53 | |
At that point, you know, there wasn't any, | 0:41:53 | 0:41:55 | |
and we didn't have a lot of direction from Rod. | 0:41:55 | 0:41:58 | |
Well, no - tell me your vision. | 0:41:58 | 0:42:01 | |
Your vision is? | 0:42:01 | 0:42:02 | |
-He's a governor. That's -BLEEP -unbelievable. | 0:42:02 | 0:42:05 | |
Maybe he's got so many people around him | 0:42:05 | 0:42:07 | |
that he never has to make a decision or maybe... | 0:42:07 | 0:42:09 | |
You know, we didn't see... | 0:42:09 | 0:42:11 | |
We didn't see much from him. | 0:42:11 | 0:42:13 | |
It is what it is at this point. Yeah. | 0:42:13 | 0:42:16 | |
Morning, morning. | 0:42:17 | 0:42:18 | |
All righty! | 0:42:18 | 0:42:20 | |
Um, I don't know if you notice or not, | 0:42:20 | 0:42:23 | |
but it's not all together. | 0:42:23 | 0:42:24 | |
So, you need to decide what the orientation is, I guess. | 0:42:24 | 0:42:29 | |
I mean, this is kind of the space. | 0:42:29 | 0:42:30 | |
Yeah. It's not... | 0:42:30 | 0:42:33 | |
Not too angled, not too flat, but just... | 0:42:33 | 0:42:36 | |
I'm feeling a little overwhelmed. The project's done. | 0:42:36 | 0:42:39 | |
It's just not assembled. | 0:42:39 | 0:42:41 | |
So, there's a lot of work to do. | 0:42:41 | 0:42:44 | |
All right. So, I guess we need to do some work, huh? | 0:42:44 | 0:42:47 | |
Wizards and muggles alike! | 0:42:47 | 0:42:49 | |
Kitty cat. Here, Kitty, Kitty, Kitty. | 0:42:49 | 0:42:52 | |
Well, we have two choices. We can either just leave it blank or put those stickers. | 0:42:52 | 0:42:56 | |
-So, then, why don't we put these on the envelopes? -OK. | 0:42:56 | 0:42:58 | |
We don't have a lot of time to get everything in place, | 0:42:58 | 0:43:01 | |
all of the lights together, all of our special effects, | 0:43:01 | 0:43:04 | |
and then rehearse our actual presentation. | 0:43:04 | 0:43:07 | |
So, we all pitched in | 0:43:07 | 0:43:08 | |
and found something that we could do to help out. | 0:43:08 | 0:43:11 | |
Bing! Perfecto. | 0:43:11 | 0:43:13 | |
You know, I could stand like this. | 0:43:13 | 0:43:15 | |
Stand erect and strong, man. | 0:43:15 | 0:43:17 | |
Move up here for a second. See how it looks. | 0:43:17 | 0:43:18 | |
Can you... Here. Let's see what that's like. | 0:43:18 | 0:43:21 | |
Yeah. I feel good about it. | 0:43:21 | 0:43:23 | |
He has to be on the other side. | 0:43:23 | 0:43:24 | |
We might not have a script, but in my mind, in my old noggin, | 0:43:24 | 0:43:28 | |
I've got a good idea of what's going to go on here, right? | 0:43:28 | 0:43:30 | |
Killing me. | 0:43:30 | 0:43:32 | |
So, Goldberg is going to be our tree, | 0:43:32 | 0:43:34 | |
and then Curtis will be the professor | 0:43:34 | 0:43:37 | |
who will invite the kids into the castle. | 0:43:37 | 0:43:38 | |
The headmaster's going to be Rod, | 0:43:38 | 0:43:40 | |
and then we have Michael in some really kind of creepy outfit. | 0:43:40 | 0:43:44 | |
-It's a suit. -Yeah. | 0:43:44 | 0:43:45 | |
OK? So, this is the roots. | 0:43:45 | 0:43:47 | |
The roots are key, because the roots are what - | 0:43:47 | 0:43:50 | |
Weeping thing, what they call that name? Weeping whimper. | 0:43:50 | 0:43:54 | |
I feel really good about the presentation itself. | 0:43:54 | 0:43:57 | |
Now, about my role in it, that's a different story. | 0:43:57 | 0:44:01 | |
It's kind of like the anti-previous challenge. | 0:44:01 | 0:44:03 | |
-You know what I'm saying? -Yes. Exactly. | 0:44:03 | 0:44:04 | |
There you had your shirt off. Now you got everything... | 0:44:04 | 0:44:06 | |
-Now you're overdressed. -Yeah. | 0:44:06 | 0:44:07 | |
I begged and pleaded to let me take my shirt off again | 0:44:07 | 0:44:10 | |
as opposed to turning me into a weeping whomper | 0:44:10 | 0:44:12 | |
-or whatever the hell that is. -I got to tell you, man, I love it. | 0:44:12 | 0:44:15 | |
-It's looking right. -All right, Bill, see you around. | 0:44:15 | 0:44:18 | |
-BLEEP BLEEP -you! | 0:44:18 | 0:44:20 | |
Come on. | 0:44:20 | 0:44:21 | |
Did I mention I was claustrophobic? | 0:44:21 | 0:44:22 | |
It's either going to be the greatest thing that ever happened | 0:44:22 | 0:44:24 | |
or the best laugh I've ever had. | 0:44:24 | 0:44:26 | |
I provide you with the stupidest moment ever | 0:44:26 | 0:44:28 | |
on the history of The Apprentice. | 0:44:28 | 0:44:30 | |
Here we go. | 0:44:30 | 0:44:32 | |
You just tell me what to hold, and I'll... | 0:44:34 | 0:44:37 | |
I love it draped just like that. | 0:44:40 | 0:44:43 | |
This, I don't like. What do you think of that? | 0:44:47 | 0:44:50 | |
It's, like, your first impression you get. | 0:44:50 | 0:44:51 | |
That's kind of cheap. | 0:44:51 | 0:44:53 | |
First impression, I like it. | 0:44:53 | 0:44:55 | |
Is it redundant? Yes, but that's what we're selling. | 0:44:55 | 0:44:58 | |
What are you doing? What are you doing? | 0:45:03 | 0:45:04 | |
I didn't like that thing there. | 0:45:04 | 0:45:06 | |
Rod, I think that's a mistake, man. What are you going to put there? | 0:45:06 | 0:45:09 | |
-I don't know. -We've got nothing. | 0:45:09 | 0:45:10 | |
We have a lot left to do, | 0:45:10 | 0:45:11 | |
and it seems like little foibles keep happening along the way, | 0:45:11 | 0:45:15 | |
but I'm trying to remain calm, | 0:45:15 | 0:45:16 | |
because losing my cool right now would be the wrong thing to do. | 0:45:16 | 0:45:19 | |
Right now, it's beating all of us up. | 0:45:19 | 0:45:21 | |
We're wasting time talking about this. | 0:45:21 | 0:45:22 | |
I made a command decision. I didn't like it. | 0:45:22 | 0:45:24 | |
I love you, man. And you're doing... | 0:45:24 | 0:45:25 | |
This is unbelievable what you're doing. | 0:45:25 | 0:45:26 | |
I just didn't... Somehow I didn't like that thing. | 0:45:26 | 0:45:28 | |
Rod, you better figure this out real quick. | 0:45:28 | 0:45:31 | |
Welcome, welcome, young wizards. | 0:45:41 | 0:45:43 | |
Take a seat, please. | 0:45:43 | 0:45:45 | |
Wizards and muggles alike, | 0:45:51 | 0:45:54 | |
welcome to a world unlike no other. | 0:45:54 | 0:45:58 | |
Please don't be afraid, | 0:45:58 | 0:46:00 | |
for not everything seems to be what it is. | 0:46:00 | 0:46:03 | |
In our presentation, | 0:46:03 | 0:46:05 | |
I came up with this little horrible British accent | 0:46:05 | 0:46:07 | |
that is so sad. | 0:46:07 | 0:46:09 | |
Open the door to Ollivander's, | 0:46:09 | 0:46:12 | |
but you may think you're in Zonko's joke shop. | 0:46:12 | 0:46:16 | |
I don't care how awful my accent is or whatever. | 0:46:16 | 0:46:19 | |
I mean, if I was on the runway | 0:46:19 | 0:46:21 | |
and I felt like, you know, a boob was about to pop out, | 0:46:21 | 0:46:24 | |
I wasn't going to stop, turn around, and run back, no. | 0:46:24 | 0:46:26 | |
I'm going to tuck it in and keep moving, you know? | 0:46:26 | 0:46:29 | |
And, please, don't forget to tell your parents | 0:46:30 | 0:46:34 | |
to visit The Wizarding World of Harry Potter. | 0:46:34 | 0:46:39 | |
Young wizard. | 0:46:43 | 0:46:45 | |
Be very careful as you enter The Wizarding World of Harry Potter. | 0:46:49 | 0:46:55 | |
(Be careful.) | 0:46:55 | 0:46:57 | |
Don't look at me. | 0:46:59 | 0:47:00 | |
Look at the screen. Look at the screen. | 0:47:00 | 0:47:03 | |
Muggles and wizards, | 0:47:03 | 0:47:04 | |
muggles and wizards, muggles and wizards, muggles and... | 0:47:04 | 0:47:07 | |
Cyndi was, like, totally in character. | 0:47:07 | 0:47:10 | |
"Don't look at me! | 0:47:10 | 0:47:11 | |
"Don't look at me! Don't look at me!" | 0:47:11 | 0:47:13 | |
Muggles and wizards, you'll need that. | 0:47:13 | 0:47:15 | |
You'll need that. | 0:47:15 | 0:47:16 | |
Off to Ollivander. Off to Ollivander. | 0:47:16 | 0:47:19 | |
And I'm going like this. | 0:47:19 | 0:47:21 | |
-I'm like, "For -BLEEP -sake, Cyndi, shut up!" | 0:47:21 | 0:47:25 | |
Come this way! | 0:47:25 | 0:47:26 | |
Come this way! | 0:47:26 | 0:47:27 | |
Welcome! Welcome to Ollivander's! | 0:47:27 | 0:47:29 | |
As you know, your wand chooses you! | 0:47:29 | 0:47:31 | |
So, you know, let's see. Which one would be yours? | 0:47:31 | 0:47:35 | |
The kids were looking at me like, | 0:47:35 | 0:47:37 | |
"Is this lady crazy?" | 0:47:37 | 0:47:38 | |
Please check this wall right here. Oh, oh! | 0:47:38 | 0:47:40 | |
Oh, no, no, no. This isn't right. | 0:47:40 | 0:47:42 | |
I was part of the special effects | 0:47:42 | 0:47:44 | |
as just a way to kind of make it interactive, | 0:47:44 | 0:47:46 | |
like the boxes are coming off. | 0:47:46 | 0:47:48 | |
Maybe I have one for you. | 0:47:48 | 0:47:49 | |
Let's see. How about this one? | 0:47:49 | 0:47:53 | |
That is the one that wants you! | 0:47:56 | 0:47:57 | |
I think they really loved the presentation | 0:47:57 | 0:48:00 | |
and how well it was done. | 0:48:00 | 0:48:01 | |
I like playing around with kids. | 0:48:01 | 0:48:04 | |
This one. | 0:48:04 | 0:48:05 | |
Oh, there you go! There you go! | 0:48:05 | 0:48:08 | |
It likes you! | 0:48:08 | 0:48:09 | |
OK, please come out this way. Please come out this way. | 0:48:09 | 0:48:12 | |
Congratulations on completing the forbidden journey. | 0:48:12 | 0:48:16 | |
Please take a chocolate frog, | 0:48:16 | 0:48:18 | |
a Blood Pop, some Bertie Bott Beans. | 0:48:18 | 0:48:21 | |
Part of the criteria is | 0:48:21 | 0:48:22 | |
the overall experience for these young people, | 0:48:22 | 0:48:25 | |
and they have a very high standard, | 0:48:25 | 0:48:27 | |
and so it was very important to come off authentic. | 0:48:27 | 0:48:30 | |
My favourite. | 0:48:30 | 0:48:31 | |
And thank you for coming to The Wizarding World of Harry Potter. | 0:48:31 | 0:48:34 | |
Thank you. | 0:48:34 | 0:48:35 | |
So, when I gave them their scroll and congratulated them on their journey, and their goodies, | 0:48:35 | 0:48:40 | |
they all had smiles on their faces. | 0:48:40 | 0:48:42 | |
So, I felt very confident. | 0:48:42 | 0:48:44 | |
On behalf of team Tenacity, | 0:48:44 | 0:48:46 | |
we would just like to thank you for enjoying... | 0:48:46 | 0:48:47 | |
ALL: The Wizarding World of Harry Potter. | 0:48:47 | 0:48:51 | |
At Universal. | 0:48:51 | 0:48:53 | |
Come on in. Come on in. Welcome. | 0:48:59 | 0:49:01 | |
Please take one of our nice brochures. | 0:49:01 | 0:49:03 | |
Whoops. How you doing? | 0:49:03 | 0:49:04 | |
Wait. We don't want to forget anybody. | 0:49:04 | 0:49:06 | |
Today we'll be judged on the execution of the 3D display, | 0:49:06 | 0:49:09 | |
the whole experience | 0:49:09 | 0:49:12 | |
of The Wizarding World of Harry Potter, | 0:49:12 | 0:49:14 | |
and, most importantly, | 0:49:14 | 0:49:15 | |
these little Harry Potter nerdlingers | 0:49:15 | 0:49:17 | |
are going to give us their feedback and let me know what they think, | 0:49:17 | 0:49:20 | |
and if they don't like it... | 0:49:20 | 0:49:22 | |
First of all, I just want to take a moment | 0:49:22 | 0:49:24 | |
to welcome all of you to our awesome display today. | 0:49:24 | 0:49:27 | |
We put a lot of time and effort into this. | 0:49:27 | 0:49:30 | |
My name is Bret Michaels, | 0:49:30 | 0:49:31 | |
and I am an avid fan of Universal Orlando, | 0:49:31 | 0:49:33 | |
cos I'll tell you what - | 0:49:33 | 0:49:35 | |
The Wizarding World of Harry Potter | 0:49:35 | 0:49:37 | |
is about to be the biggest attraction ever, | 0:49:37 | 0:49:39 | |
coming spring 2010. | 0:49:39 | 0:49:41 | |
It rocks, all right? | 0:49:41 | 0:49:42 | |
As a rocker, I know this for a fact, right? | 0:49:42 | 0:49:44 | |
If you all want to come over here for just a minute and line up. | 0:49:44 | 0:49:47 | |
I walked in and presented myself | 0:49:47 | 0:49:48 | |
as average, everyday American rock-star dad | 0:49:48 | 0:49:51 | |
who takes his girls to Universal, | 0:49:51 | 0:49:52 | |
and then, all of a sudden, | 0:49:52 | 0:49:54 | |
I had Curtis pop out. | 0:49:54 | 0:49:55 | |
Professor, would you come out? They're right here in front of you waiting, sir. | 0:49:55 | 0:49:58 | |
Yes, yes, yes, yes. I'm coming. | 0:49:58 | 0:50:01 | |
Hello, there, boys and girls, ladies and gentlemen. | 0:50:01 | 0:50:03 | |
-Have you used one of these before? -No. | 0:50:03 | 0:50:05 | |
-Do you want to use one of these? -Yes. | 0:50:05 | 0:50:07 | |
Come with me, then, one at a time. | 0:50:07 | 0:50:09 | |
You first, young man. | 0:50:09 | 0:50:10 | |
In you go. Big step up. | 0:50:10 | 0:50:12 | |
There you go. | 0:50:12 | 0:50:14 | |
Here, governor, we've got our first student. | 0:50:15 | 0:50:17 | |
Hello. How are you? | 0:50:17 | 0:50:19 | |
-Good. -Nice to meet you. What's your name? -Farley. | 0:50:19 | 0:50:21 | |
Hello, Farley. How are you? Welcome to Hogwarts Castle. | 0:50:21 | 0:50:24 | |
Here's the magic hat. | 0:50:24 | 0:50:25 | |
The magic hat's going to tell you what class you belong in. | 0:50:25 | 0:50:27 | |
You know, this magic hat can talk all by itself. | 0:50:27 | 0:50:30 | |
And I wonder what class you're going to be assigned to. | 0:50:30 | 0:50:33 | |
Is it Hufflepuff? | 0:50:33 | 0:50:35 | |
Slytherin. | 0:50:35 | 0:50:37 | |
Is it Slytherin? I don't know. | 0:50:37 | 0:50:40 | |
So, we brought one of the little boys through | 0:50:40 | 0:50:41 | |
and sat him on his chair, | 0:50:41 | 0:50:42 | |
and we asked him which school is he going to have to attend. | 0:50:42 | 0:50:45 | |
Magic hat, which is it? | 0:50:45 | 0:50:47 | |
Gryffindor. | 0:50:47 | 0:50:48 | |
Whoa! Gryffindor! Congratulations. | 0:50:48 | 0:50:52 | |
It was really cute to see these little fans, | 0:50:52 | 0:50:53 | |
who are obviously such fanatics of Harry Potter... | 0:50:53 | 0:50:56 | |
Gryffindor! | 0:50:56 | 0:50:57 | |
SHE CHEERS | 0:50:57 | 0:50:59 | |
..that even this little experience | 0:50:59 | 0:51:01 | |
that we created for them, they were stoked. | 0:51:01 | 0:51:03 | |
Now, this has magical powers. | 0:51:03 | 0:51:04 | |
Let's see what you can do. | 0:51:04 | 0:51:06 | |
Move, tree. | 0:51:06 | 0:51:07 | |
GROANS | 0:51:07 | 0:51:08 | |
Once the kids came in and I looked at that thing, | 0:51:12 | 0:51:15 | |
I'm like, "It was crazy." | 0:51:15 | 0:51:17 | |
Move, tree! | 0:51:20 | 0:51:22 | |
I've got a tree that moves. | 0:51:22 | 0:51:23 | |
It's Goldberg. | 0:51:23 | 0:51:25 | |
I mean, no kid wants to see | 0:51:25 | 0:51:27 | |
that stuck inside a dark castle... | 0:51:27 | 0:51:30 | |
And Michael who is some sort of monk of evil darkness | 0:51:30 | 0:51:35 | |
I'm going to let you use my wand just once. | 0:51:35 | 0:51:38 | |
Right as I thought it couldn't get any creepier... | 0:51:38 | 0:51:40 | |
Now, do you think you can take control of the wand? | 0:51:40 | 0:51:43 | |
..I'm like, "Oh, God. "All of us are going to prison after this creepy castle ride." | 0:51:43 | 0:51:47 | |
I think little more smoke, a little more smoke | 0:51:48 | 0:51:51 | |
A little more. | 0:51:51 | 0:51:53 | |
So, the presentation is going quite well, | 0:51:54 | 0:51:56 | |
but there's a bit of a problem. | 0:51:56 | 0:51:58 | |
I'm dying. | 0:51:58 | 0:52:00 | |
No more smoke. | 0:52:00 | 0:52:01 | |
There's so much fog in this room, | 0:52:01 | 0:52:03 | |
it doesn't really matter what we're doing, | 0:52:03 | 0:52:05 | |
because you can't see any of it anyway. | 0:52:05 | 0:52:08 | |
No more of that! I'm not going to be able to breathe! | 0:52:08 | 0:52:10 | |
-Pleasure to meet you. -Nice to meet you, too. | 0:52:12 | 0:52:14 | |
The Wizarding World of Harry Potter has all kinds of amazing things. | 0:52:14 | 0:52:18 | |
-You can take rides... -What kind of rides? | 0:52:18 | 0:52:22 | |
You - you can ride - | 0:52:22 | 0:52:23 | |
The headmaster knows all about the rides. | 0:52:23 | 0:52:26 | |
Governor. I need the governor, please. | 0:52:26 | 0:52:28 | |
The governor is not the governor. The governor is the headmaster. | 0:52:28 | 0:52:31 | |
Curtis is all by himself with this Universal executive, | 0:52:31 | 0:52:35 | |
and the executive's asking him about the dragon roller coaster. | 0:52:35 | 0:52:37 | |
One of our best attractions, which happens to be the dragon... | 0:52:37 | 0:52:41 | |
the dragon ride that makes it... simulate a roller coaster. | 0:52:41 | 0:52:47 | |
I could visualise that dragon roller coaster, | 0:52:47 | 0:52:50 | |
but I can't quite remember what the name was. | 0:52:50 | 0:52:52 | |
The good news about that dragon ride is it doesn't breathe any fire. | 0:52:52 | 0:52:55 | |
Uh, in any event... | 0:52:55 | 0:52:57 | |
He sat there. I don't know what he thought about the fact | 0:52:57 | 0:53:00 | |
that we maybe could have been a little bit more prepared | 0:53:00 | 0:53:02 | |
on the dragon roller coaster. | 0:53:02 | 0:53:05 | |
Did you get to see our lovely display of merchandise? | 0:53:05 | 0:53:07 | |
I did not. | 0:53:07 | 0:53:08 | |
Come on. Take up what you want. Thanks! | 0:53:08 | 0:53:12 | |
That one I think's going to look pretty rock on you, all right? | 0:53:12 | 0:53:13 | |
-I like that sweatshirt. -You know what? It's yours. | 0:53:13 | 0:53:16 | |
-Oh, man, this was so cool! -There you go. | 0:53:16 | 0:53:17 | |
It was a disaster, honestly, but at the end, you know how we | 0:53:17 | 0:53:20 | |
-tried to win them over? -Oh, look at this. | 0:53:20 | 0:53:23 | |
We tried to win them over with free candy and merchandise. | 0:53:23 | 0:53:26 | |
Thanks. | 0:53:26 | 0:53:27 | |
And every kid there just gobbled up that stuff like that. | 0:53:27 | 0:53:30 | |
Well, I want to take the time | 0:53:30 | 0:53:31 | |
to thank you all very much for joining us. | 0:53:31 | 0:53:33 | |
Remember, spring of 2010, Universal Orlando. | 0:53:33 | 0:53:36 | |
The Wizarding World of Harry Potter. | 0:53:36 | 0:53:38 | |
You think this is a debauchery, that's going to be great. | 0:53:38 | 0:53:42 | |
I'm positive that we have screwed this up so badly | 0:53:42 | 0:53:45 | |
that we had to have won. All right. | 0:53:45 | 0:53:47 | |
See you later, guys. Enjoy yourself. | 0:53:47 | 0:53:49 | |
All right, guys. | 0:53:52 | 0:53:54 | |
What'd you think? | 0:53:54 | 0:53:56 | |
I thought the girls were most true to the story | 0:53:56 | 0:53:59 | |
and the actual canon of Harry Potter, | 0:53:59 | 0:54:03 | |
but I thought the guys were more entertaining. | 0:54:03 | 0:54:05 | |
The boys, I feel like, when I heard the hat talk... | 0:54:05 | 0:54:10 | |
I think I saw the guy in the tree. | 0:54:10 | 0:54:12 | |
I think it should have been a little more hidden, kind of. | 0:54:12 | 0:54:15 | |
And they said "Classes" Instead of "Houses." | 0:54:15 | 0:54:18 | |
Right. | 0:54:18 | 0:54:20 | |
-But you got the idea. -Yeah. | 0:54:20 | 0:54:21 | |
Did you get a sense of what the entire World of Harry Potter | 0:54:21 | 0:54:25 | |
was going to be like at Universal? | 0:54:25 | 0:54:27 | |
I thought that the girls showed more what was going to be there | 0:54:27 | 0:54:31 | |
and the guys focused on the castle. | 0:54:31 | 0:54:32 | |
The guys, however, were very energetic and funny. | 0:54:32 | 0:54:36 | |
Good comments. | 0:54:36 | 0:54:38 | |
Let's take a little poll and see which one you liked better. | 0:54:38 | 0:54:42 | |
So, governor, did you win? | 0:55:14 | 0:55:17 | |
I never predict elections. I'm cautiously optimistic. | 0:55:17 | 0:55:20 | |
I think we worked real hard. I think we worked as a team. | 0:55:20 | 0:55:22 | |
So, I think, | 0:55:22 | 0:55:23 | |
with all the challenges and the ups and downs, | 0:55:23 | 0:55:25 | |
-I think I like what we did. -What do you think of your team? | 0:55:25 | 0:55:29 | |
I thought they were great. I thought Bret was a superstar. Bret was... | 0:55:29 | 0:55:32 | |
Was he the best on the team? | 0:55:32 | 0:55:34 | |
In my judgment, | 0:55:36 | 0:55:38 | |
Bret has the best grasp on the creative element, | 0:55:38 | 0:55:41 | |
-and he brought some real strengths to this. -Good. | 0:55:41 | 0:55:44 | |
So, Bret, how did the governor do as a Project Manager? | 0:55:44 | 0:55:48 | |
I think he did a great job. He was down in Florida, | 0:55:48 | 0:55:50 | |
and he gave us all the right information, | 0:55:50 | 0:55:53 | |
and I think he did a great job, and... | 0:55:53 | 0:55:55 | |
Michael, what do you think? | 0:55:55 | 0:55:57 | |
I think that, uh... | 0:55:57 | 0:55:59 | |
Rod didn't give a lot of direction. | 0:55:59 | 0:56:01 | |
What he did give, he gave mostly to Bret, | 0:56:01 | 0:56:03 | |
and he delegated without giving a vision of what he wanted. | 0:56:03 | 0:56:08 | |
You can't just delegate and say, "Hey, you do this" | 0:56:08 | 0:56:11 | |
or "Bret, you just take over this" | 0:56:11 | 0:56:13 | |
without saying, "Hey, this is how I see this thing unfolding, | 0:56:13 | 0:56:15 | |
"And this is what I'd like for it to look like. | 0:56:15 | 0:56:17 | |
"Now, you handle this part, you handle that part." | 0:56:17 | 0:56:21 | |
Goldberg, this task was about communication. | 0:56:21 | 0:56:24 | |
How do you think the team communicated | 0:56:24 | 0:56:26 | |
through your leader? | 0:56:26 | 0:56:28 | |
It was difficult - | 0:56:31 | 0:56:33 | |
-very difficult. -Why? | 0:56:33 | 0:56:35 | |
-Say it. Say what you're feeling. -I will say what I'm feeling. | 0:56:38 | 0:56:41 | |
Don't tell me what to do, for God's sakes. | 0:56:41 | 0:56:44 | |
It was tough. It was tough. | 0:56:46 | 0:56:48 | |
-How was Rod? -Rod was good, | 0:56:48 | 0:56:50 | |
but was he as good as Project Managers in the past? | 0:56:50 | 0:56:53 | |
No, I don't think so. | 0:56:53 | 0:56:54 | |
But it was the nature of the task, I think, | 0:56:54 | 0:56:56 | |
that put him behind the eight ball. | 0:56:56 | 0:56:58 | |
Curtis, what do you think? | 0:56:58 | 0:56:59 | |
I think he was particularly challenged | 0:56:59 | 0:57:01 | |
because he was all the way down in Florida, | 0:57:01 | 0:57:03 | |
and Rod's weak point is his technology. | 0:57:03 | 0:57:06 | |
He doesn't really use a computer, right? | 0:57:06 | 0:57:09 | |
I mean, you have people that use computers, | 0:57:09 | 0:57:10 | |
-but you don't work with computers. -Right. | 0:57:10 | 0:57:13 | |
Will I get a chance to explain some of this? | 0:57:13 | 0:57:14 | |
Absolutely, 100%. | 0:57:14 | 0:57:16 | |
So, Curtis, go ahead, though. Finish. | 0:57:16 | 0:57:18 | |
So, I guess a lot of the communication | 0:57:18 | 0:57:20 | |
was between Rod and myself, | 0:57:20 | 0:57:21 | |
and then I'd convey it back to the team, | 0:57:21 | 0:57:23 | |
and Rod was constantly with Selita, | 0:57:23 | 0:57:25 | |
so we didn't want to give away our strategies | 0:57:25 | 0:57:27 | |
and our game play. | 0:57:27 | 0:57:28 | |
So, it probably would have been a big advantage | 0:57:28 | 0:57:30 | |
if he could have text or e-mailed a bit | 0:57:30 | 0:57:32 | |
more fluidly, but that wasn't the case. | 0:57:32 | 0:57:34 | |
So, we made do. | 0:57:34 | 0:57:35 | |
I-I respectfully disagree a little bit with my teammates. | 0:57:35 | 0:57:37 | |
I did communicate. | 0:57:37 | 0:57:38 | |
I made it clear to them in the very beginning | 0:57:38 | 0:57:41 | |
that I was going to ask Bret | 0:57:41 | 0:57:42 | |
to be the Project Manager on the field | 0:57:42 | 0:57:44 | |
while I was busy gathering information. | 0:57:44 | 0:57:46 | |
I would relay information to them, | 0:57:46 | 0:57:47 | |
and I made it clear, in collaboration with my teammates, | 0:57:47 | 0:57:50 | |
that he was going to be the guy making the decisions on the concept and design, | 0:57:50 | 0:57:54 | |
because as I looked carefully at the instructions of the challenge, | 0:57:54 | 0:57:57 | |
it was clear Selita and I were going to be out of pocket | 0:57:57 | 0:57:59 | |
for a lot of the early stages of it. | 0:57:59 | 0:58:02 | |
Well, actually, Erin was telling me | 0:58:02 | 0:58:03 | |
that Rod had certain difficulties | 0:58:03 | 0:58:05 | |
with elements of technology. | 0:58:05 | 0:58:08 | |
Yeah, that's definitely what I heard. | 0:58:08 | 0:58:10 | |
I can understand you are a little nervous | 0:58:10 | 0:58:12 | |
about using the phone, but... | 0:58:12 | 0:58:14 | |
But this seemed to go a little bit beyond that. | 0:58:16 | 0:58:18 | |
They were very polite when I went in and checked in. | 0:58:18 | 0:58:21 | |
They were polite. They weren't sniping at you behind your back. | 0:58:21 | 0:58:23 | |
But you couldn't e-mail, | 0:58:23 | 0:58:24 | |
so you couldn't really say what you thought, | 0:58:24 | 0:58:26 | |
-cos you didn't want Selita to hear... -Right. | 0:58:26 | 0:58:28 | |
..but then you didn't have any other way of telling them. | 0:58:28 | 0:58:30 | |
So, I got the feeling | 0:58:30 | 0:58:31 | |
they felt that they were trying to fill in the gaps | 0:58:31 | 0:58:33 | |
and weren't really sure about the vision. | 0:58:33 | 0:58:35 | |
So, Selita, how did you do? | 0:58:37 | 0:58:40 | |
You know, like you said, this was a task that limited our communication. | 0:58:40 | 0:58:45 | |
So, I mean, constantly, I was texting and e-mailing. | 0:58:45 | 0:58:49 | |
Are you good with technology? | 0:58:49 | 0:58:50 | |
I think I am. | 0:58:50 | 0:58:51 | |
-Pretty much all facets of the new technology? -Absolutely. | 0:58:51 | 0:58:54 | |
I call it the new technology, cos every day it changes. | 0:58:54 | 0:58:56 | |
It changes, absolutely. | 0:58:56 | 0:58:57 | |
-But you're pretty updated on it. -Pretty updated. | 0:58:57 | 0:58:59 | |
OK. How was the plane? | 0:58:59 | 0:59:01 | |
-Magnificent. -Good plane? -Beautiful. | 0:59:01 | 0:59:04 | |
What were you doing on the plane? | 0:59:04 | 0:59:05 | |
I was going over the dossier. I was coming up with a guideline. | 0:59:05 | 0:59:10 | |
I was pretty much working, but it was a huge disadvantage because, as a team, | 0:59:10 | 0:59:14 | |
I think we work extremely well, especially when it comes to the creative aspects. | 0:59:14 | 0:59:20 | |
And what was Rod doing? | 0:59:20 | 0:59:22 | |
It couldn't be that bad. | 0:59:26 | 0:59:28 | |
I mean, I'm just asking sort of an innocent question, I think. | 0:59:29 | 0:59:32 | |
Rod was napping. | 0:59:32 | 0:59:33 | |
-Napping. -Yes. | 0:59:33 | 0:59:34 | |
All right. Maybe that's not so bad, right? | 0:59:34 | 0:59:36 | |
No, it's not so bad, but I was working. | 0:59:36 | 0:59:38 | |
With all due respect to Selita, Winston Churchill said, | 0:59:38 | 0:59:40 | |
"You can take one day and make it a day and a half | 0:59:40 | 0:59:42 | |
"If you make a judicious use of your time | 0:59:42 | 0:59:44 | |
"in the middle of the day." | 0:59:44 | 0:59:45 | |
And, then frankly, I did have my sunglasses on, | 0:59:45 | 0:59:47 | |
so maybe my eyes were open. | 0:59:47 | 0:59:48 | |
OK. | 0:59:52 | 0:59:53 | |
Holly, what did you think of Selita as your Project Manager? | 0:59:53 | 0:59:56 | |
I was really impressed with her ability to communicate | 0:59:56 | 0:59:59 | |
and how she used her technological skills. | 0:59:59 | 1:00:02 | |
She was awesome. So, we have two opposites, in a sense. | 1:00:02 | 1:00:05 | |
A little bit. | 1:00:05 | 1:00:07 | |
OK. | 1:00:08 | 1:00:09 | |
Maria, who was your weak link? | 1:00:09 | 1:00:12 | |
I just don't think that there is one on this task. | 1:00:12 | 1:00:14 | |
I mean, it was... | 1:00:14 | 1:00:15 | |
She was doing everything she could from the plane. | 1:00:15 | 1:00:17 | |
Sharon's doing everything she can with her sickness. | 1:00:17 | 1:00:20 | |
Everybody was just working their tails off. | 1:00:20 | 1:00:23 | |
Summer, who was your weak link? | 1:00:23 | 1:00:25 | |
None. | 1:00:25 | 1:00:26 | |
We all... | 1:00:26 | 1:00:28 | |
Like, we all did good work. | 1:00:28 | 1:00:31 | |
We all contributed. It was a good team effort. | 1:00:31 | 1:00:33 | |
So, this love-fest with the women just continues. | 1:00:33 | 1:00:35 | |
-Yeah. -All right. Well, OK. So, Selita, let me ask you this - | 1:00:35 | 1:00:39 | |
if your team doesn't win, you're going to have to pick two people, come back to the boardroom. | 1:00:39 | 1:00:42 | |
Who are they going to be? | 1:00:42 | 1:00:44 | |
Well, first of all, it's going to be myself. | 1:00:47 | 1:00:48 | |
I can't choose any of these women. | 1:00:48 | 1:00:51 | |
You could say Sharon, because she had the audacity to get sick. | 1:00:51 | 1:00:55 | |
-The audacity. Please, no. -OK, you could say Cyndi, because you don't like her accent. | 1:00:55 | 1:00:58 | |
-No. I love the accent. -You could do a million different... | 1:00:58 | 1:01:00 | |
Who are you going to choose? | 1:01:00 | 1:01:01 | |
Who are you going to bring back to the boardroom? | 1:01:01 | 1:01:03 | |
You know what? If we lose, | 1:01:03 | 1:01:05 | |
then I would have to make that decision, | 1:01:05 | 1:01:07 | |
but as of now, that decision, I can't make. | 1:01:07 | 1:01:10 | |
Actually, that's smart, | 1:01:10 | 1:01:12 | |
but if you lose, you'll be fighting. | 1:01:12 | 1:01:14 | |
I've seen it 100 times. | 1:01:14 | 1:01:16 | |
Erin, what did the young Harry Potter fans | 1:01:18 | 1:01:20 | |
and the Universal executives think | 1:01:20 | 1:01:22 | |
of the men's team, both pro and con? | 1:01:22 | 1:01:24 | |
I would say, overall, they were pretty impressed. | 1:01:24 | 1:01:27 | |
Executives really liked the overall display. | 1:01:27 | 1:01:29 | |
Fans liked putting the spell on the tree, | 1:01:29 | 1:01:32 | |
and I know Goldberg was the tree. | 1:01:32 | 1:01:34 | |
The tree was also one of the cons. | 1:01:34 | 1:01:35 | |
Both the adults and kids were a little concerned | 1:01:35 | 1:01:39 | |
there were some inaccuracies, | 1:01:39 | 1:01:40 | |
just about names that you would use, for example, | 1:01:40 | 1:01:43 | |
and they could tell it was you and not the hat that was talking. | 1:01:43 | 1:01:46 | |
There were some issues just in terms of accuracy | 1:01:48 | 1:01:51 | |
with the script as well as with the tree. | 1:01:51 | 1:01:54 | |
George, what about the women? | 1:01:56 | 1:01:58 | |
Well, the women, the first thing we really have to say | 1:01:58 | 1:02:00 | |
is that you did hit the target audience, and that's the key. | 1:02:00 | 1:02:04 | |
They liked the costumes, | 1:02:04 | 1:02:05 | |
and they liked the way the wind blew. | 1:02:05 | 1:02:07 | |
Thought it was a great idea. | 1:02:07 | 1:02:09 | |
As far as the content, they didn't feel you gave enough attention | 1:02:09 | 1:02:11 | |
to the overall concept of there being a theme park | 1:02:11 | 1:02:14 | |
or the attractions and what have you, | 1:02:14 | 1:02:16 | |
but that's from the executives. | 1:02:16 | 1:02:17 | |
This is what they're trying to sell. | 1:02:17 | 1:02:20 | |
OK. Are we ready? | 1:02:20 | 1:02:22 | |
The executives thought the men did a really wonderful job. | 1:02:23 | 1:02:29 | |
But the fact is... | 1:02:30 | 1:02:32 | |
they didn't do wonderful enough. | 1:02:32 | 1:02:35 | |
So, the women win. | 1:02:35 | 1:02:36 | |
The hospital! | 1:02:36 | 1:02:38 | |
Sharon, go home and get some sleep. Get yourself better. | 1:02:38 | 1:02:41 | |
-Congratulations. -Congratulations. | 1:02:41 | 1:02:43 | |
Selita, you're going to be getting 20,000 for your charity. | 1:02:43 | 1:02:46 | |
And go ahead. Specifically? | 1:02:46 | 1:02:48 | |
For Shine on Sierra Leone. Thank you very much. | 1:02:48 | 1:02:51 | |
Great. Very good. Congratulations, Selita. Good job. | 1:02:51 | 1:02:54 | |
-Good job. -Congratulations. -Thank you. It was an honour. | 1:02:54 | 1:02:57 | |
-Yeah, thank you. -Hey, congratulations. | 1:02:57 | 1:02:59 | |
Thank you. I appreciate it. Bye, guys. | 1:02:59 | 1:03:01 | |
Have a good time. Goodbye, Cyndi. | 1:03:01 | 1:03:03 | |
All right. Bye-bye. | 1:03:03 | 1:03:05 | |
Girl, you stuck your neck out. You took a chance. | 1:03:05 | 1:03:07 | |
All right, guys. Three in a row. | 1:03:07 | 1:03:09 | |
All right, wow. | 1:03:09 | 1:03:11 | |
Men, what's going on with you guys? | 1:03:11 | 1:03:14 | |
Unfortunately, somebody will be fired. | 1:03:14 | 1:03:17 | |
GIRLS CHEERING | 1:03:24 | 1:03:27 | |
Again, ladies! Again! | 1:03:27 | 1:03:29 | |
This is an amazing win because all proceeds of this win | 1:03:29 | 1:03:32 | |
goes to my charity, Shine on Sierra Leone, | 1:03:32 | 1:03:34 | |
and I'm ecstatic. | 1:03:34 | 1:03:35 | |
Congratulations. Good job. | 1:03:35 | 1:03:37 | |
Thank you so very much. | 1:03:37 | 1:03:38 | |
Sierra Leone has the statistics | 1:03:38 | 1:03:40 | |
of one in eight women die in childbirth. | 1:03:40 | 1:03:43 | |
So, any contribution to Shine on Sierra Leone, | 1:03:43 | 1:03:45 | |
which is meant to build a hospital for women, is amazing. | 1:03:45 | 1:03:49 | |
We need to do a toast to the hospital. | 1:03:49 | 1:03:50 | |
Thank you! Yes! | 1:03:50 | 1:03:52 | |
Cheers! | 1:03:52 | 1:03:53 | |
I'm just so humbled by this win | 1:03:53 | 1:03:56 | |
that I get to, you know, share the news | 1:03:56 | 1:03:58 | |
with the women of the committee. | 1:03:58 | 1:03:59 | |
All right, here we go. Let's watch the boys. | 1:03:59 | 1:04:02 | |
Are you surprised, Michael? | 1:04:04 | 1:04:06 | |
No. | 1:04:07 | 1:04:08 | |
I'm not surprised, because I felt like we didn't get to do | 1:04:08 | 1:04:11 | |
all of the things that we wanted to do. | 1:04:11 | 1:04:13 | |
We spent a lot of time at the very beginning | 1:04:13 | 1:04:15 | |
trying to get a concept together. | 1:04:15 | 1:04:18 | |
Whose fault? | 1:04:18 | 1:04:19 | |
I think it would have to be Rod's fault. | 1:04:22 | 1:04:25 | |
You might say, "Hey, well, Bret was put in charge of that," | 1:04:25 | 1:04:28 | |
but I think that Bret would have had a lot better idea | 1:04:28 | 1:04:31 | |
of where to go and how to do this | 1:04:31 | 1:04:33 | |
if he had some vision from the Project Manager, | 1:04:33 | 1:04:36 | |
who had actually been there. | 1:04:36 | 1:04:38 | |
And you just don't think he was a great Project Manager. | 1:04:38 | 1:04:42 | |
-No. I don't think... -Do you like him as a person? | 1:04:42 | 1:04:45 | |
I like Rod as a person, | 1:04:45 | 1:04:46 | |
and I didn't think that I would like Rod as a person | 1:04:46 | 1:04:49 | |
before I met him, but since I've met him... | 1:04:49 | 1:04:50 | |
I think a lot of people are liking Rod. | 1:04:50 | 1:04:52 | |
-Yeah, a lot of people. -I don't know that we're seeing the real Rod. | 1:04:52 | 1:04:54 | |
I think Rod is a much more competitive person than what we're seeing. | 1:04:54 | 1:04:57 | |
I think Rod is being overly nice | 1:04:57 | 1:04:59 | |
because, you know, you have some pretty big things to do | 1:04:59 | 1:05:02 | |
when you finish with this, right? | 1:05:02 | 1:05:04 | |
I think Rod doesn't want to get angry at you | 1:05:04 | 1:05:06 | |
because, frankly, there may be some black jurors | 1:05:06 | 1:05:09 | |
and they may be angry that he got angry at you. | 1:05:09 | 1:05:11 | |
Yeah. That's true. You're right. | 1:05:11 | 1:05:13 | |
He doesn't want to get angry at Goldberg, | 1:05:13 | 1:05:16 | |
because I assume you're Jewish. | 1:05:16 | 1:05:17 | |
Are you Jewish, Goldberg? | 1:05:17 | 1:05:19 | |
Cos otherwise you'll be the only guy with the name Goldberg that isn't. | 1:05:19 | 1:05:22 | |
And he doesn't want to get angry at the rock star | 1:05:22 | 1:05:25 | |
because he wants to keep... You know, it's a very tough... | 1:05:25 | 1:05:28 | |
And I don't know what we can say about Curtis. | 1:05:28 | 1:05:30 | |
-He's like... -He's a cook. | 1:05:30 | 1:05:32 | |
He's, like, central casting WASP. | 1:05:32 | 1:05:34 | |
But, now when you think about his position, | 1:05:34 | 1:05:36 | |
I think he's in a very tough position, | 1:05:36 | 1:05:39 | |
and I think you're a guy with great courage, | 1:05:39 | 1:05:42 | |
because I know people that get into trouble | 1:05:42 | 1:05:45 | |
and they just want to go home to Mommy. | 1:05:45 | 1:05:47 | |
I see them fold like a tent. | 1:05:47 | 1:05:51 | |
Now can I make a case for why I should stay? | 1:05:54 | 1:05:55 | |
Yes. | 1:05:55 | 1:05:56 | |
Well, I feel like... | 1:05:56 | 1:05:57 | |
I thought we had a winning project. | 1:05:57 | 1:06:00 | |
See, even that's great. | 1:06:00 | 1:06:02 | |
You know, he doesn't want to hear this. | 1:06:02 | 1:06:03 | |
He just wants to go on and win. | 1:06:03 | 1:06:05 | |
OK, so why shouldn't you be fired as the Project Manager? | 1:06:05 | 1:06:08 | |
Well, we're on a two-game losing streak going into this. | 1:06:08 | 1:06:10 | |
Now it's three. | 1:06:10 | 1:06:11 | |
I think we've made real progress in this last project | 1:06:11 | 1:06:14 | |
than we did in the previous two. | 1:06:14 | 1:06:15 | |
I'm trying to make some adjustments within our team. | 1:06:15 | 1:06:17 | |
It's a delicate dynamic. | 1:06:17 | 1:06:18 | |
I think we did real good on this project | 1:06:18 | 1:06:21 | |
in that we really focused. | 1:06:21 | 1:06:22 | |
Who uses words like, "It's a delicate dynamic"? | 1:06:22 | 1:06:24 | |
-A politician. -A politician, because you go, | 1:06:24 | 1:06:27 | |
"What the is he on about?" | 1:06:27 | 1:06:29 | |
..which was the Wizardry World of Harry Potter. | 1:06:29 | 1:06:32 | |
That experience. I think we captured it. | 1:06:32 | 1:06:33 | |
You know, it's actually The Wizarding World of Harry Potter. | 1:06:33 | 1:06:36 | |
-The Wizarding World of Harry Potter. -Wizarding. | 1:06:36 | 1:06:38 | |
-Wizarding World of Harry Potter. -Wizarding. -That's correct. | 1:06:38 | 1:06:41 | |
We focused on what was the most visually, | 1:06:41 | 1:06:44 | |
recognised part of that Harry Potter Experience, | 1:06:44 | 1:06:48 | |
and that was the "Hogworth" Castle. I'm very pleased with the decision | 1:06:48 | 1:06:51 | |
to make Bret the Project Manager when I'm going to be away | 1:06:51 | 1:06:55 | |
and all I can do is gather information | 1:06:55 | 1:06:56 | |
rather than make some of these decisions by committee, | 1:06:56 | 1:06:58 | |
which happens in this kind of a dynamic. | 1:06:58 | 1:07:00 | |
-To give it to him... -Curtis, how good was Bret? | 1:07:00 | 1:07:03 | |
Bret was very creative, as he always is. | 1:07:03 | 1:07:06 | |
All of our creative energy was directed through Bret. | 1:07:06 | 1:07:09 | |
We gave him our ideas. | 1:07:09 | 1:07:10 | |
But who was running the task, Bret or Rod? | 1:07:10 | 1:07:13 | |
Bret was. | 1:07:13 | 1:07:15 | |
And do you think that's appropriate for a Project Manager? | 1:07:15 | 1:07:18 | |
No, I don't. | 1:07:20 | 1:07:21 | |
Well, you could also say it's great delegation. | 1:07:21 | 1:07:24 | |
You know, I mean, there's nothing better | 1:07:24 | 1:07:27 | |
than somebody that knows how to delegate. | 1:07:27 | 1:07:29 | |
He delegated to somebody that obviously did a good job. | 1:07:29 | 1:07:33 | |
Goldberg, Bret seems like he was the one | 1:07:33 | 1:07:35 | |
who was really in charge. | 1:07:35 | 1:07:37 | |
Did you support him? | 1:07:37 | 1:07:39 | |
Absolutely. | 1:07:40 | 1:07:42 | |
Goldberg worked his butt off. | 1:07:42 | 1:07:44 | |
This guy almost passed out. | 1:07:44 | 1:07:46 | |
It was it was ridiculous, the amount of... | 1:07:46 | 1:07:47 | |
-Did you almost pass out? -Yeah. Very close. | 1:07:47 | 1:07:49 | |
For a tough guy, you come close to passing out... | 1:07:49 | 1:07:51 | |
Did you see what I was wearing today? | 1:07:51 | 1:07:54 | |
-No. -A tree. | 1:07:54 | 1:07:55 | |
When you see what I was wearing today, you'll understand. | 1:07:55 | 1:07:56 | |
Yeah, but you don't pass out. Who passes out? Do you pass out? | 1:07:56 | 1:07:59 | |
Yeah, I've... Well, no, I never have before. | 1:07:59 | 1:08:01 | |
This tough, strong guy? What's with you, Goldberg? | 1:08:01 | 1:08:03 | |
Governor, you relied so heavily on Bret. | 1:08:10 | 1:08:13 | |
Will you be bringing Bret back to the boardroom? | 1:08:13 | 1:08:17 | |
I will not. | 1:08:17 | 1:08:19 | |
-Because you think he was good. -I thought he was very good. | 1:08:19 | 1:08:22 | |
Who will you be bringing back to the boardroom? | 1:08:22 | 1:08:25 | |
This is hard, but I would bring Curtis and Michael back. | 1:08:27 | 1:08:32 | |
Curtis and Michael. What do you think of that, Michael? | 1:08:33 | 1:08:36 | |
I expected that. | 1:08:36 | 1:08:37 | |
Why? | 1:08:37 | 1:08:38 | |
Well, because, uh, every time we've been in here, | 1:08:38 | 1:08:42 | |
you've asked me, "Michael, who was the weakest player," | 1:08:42 | 1:08:45 | |
and I've said, "None of us were weak. | 1:08:45 | 1:08:47 | |
"We were all great, but Rod was the least great," | 1:08:47 | 1:08:49 | |
-and he took offence to that. -So, you think he's bringing you back because of the fact that | 1:08:49 | 1:08:52 | |
you weren't as nice to him as some others. | 1:08:52 | 1:08:54 | |
Because I ranked him last, yes. | 1:08:54 | 1:08:57 | |
OK. Curtis, what do you think? | 1:08:57 | 1:09:00 | |
Um, I'm disappointed, | 1:09:00 | 1:09:02 | |
but that's his choice. | 1:09:02 | 1:09:03 | |
I think that, you know, Rod needs to take some responsibility | 1:09:03 | 1:09:06 | |
for how he delegated, | 1:09:06 | 1:09:07 | |
but he has to choose two people, so... | 1:09:07 | 1:09:09 | |
Bret, what do you think of the fact that you ran the task and you lost | 1:09:09 | 1:09:12 | |
and you're not being brought back in? | 1:09:12 | 1:09:15 | |
Well, first of all, I feel sick at my stomach | 1:09:15 | 1:09:17 | |
that Curtis and Michael have to come back in. | 1:09:17 | 1:09:19 | |
And you don't like to lose so much. | 1:09:19 | 1:09:21 | |
I don't like to lose at all, | 1:09:21 | 1:09:22 | |
but at the same time, I thought we did a fantastic job. | 1:09:22 | 1:09:25 | |
When he delegated me to do this and Curtis entrusted in me | 1:09:25 | 1:09:28 | |
and Goldberg and Michael to get the job done, | 1:09:28 | 1:09:30 | |
it makes me sick at my stomach that we lost. | 1:09:30 | 1:09:32 | |
I want to ask just something, cos it seemed | 1:09:32 | 1:09:34 | |
that the reason that you lost to the Universal management | 1:09:34 | 1:09:38 | |
was because some of the inconsistencies with the story, | 1:09:38 | 1:09:40 | |
and you kept saying the wrong title, right, | 1:09:40 | 1:09:43 | |
when you were correcting him, You also were saying "Hogwarfs" and it's "Hogwarts." Right? | 1:09:43 | 1:09:46 | |
-Hogwarts. -You used the term "Classes" Instead of "Houses." | 1:09:46 | 1:09:50 | |
-Yes. -It seems that the reason you didn't win | 1:09:50 | 1:09:52 | |
was less because of the concept | 1:09:52 | 1:09:54 | |
and more because of the actual execution. | 1:09:54 | 1:09:56 | |
So, I'm just trying to get a sense of who made some of those decisions | 1:09:56 | 1:10:00 | |
that might have put it over the edge and had you lose. | 1:10:00 | 1:10:03 | |
Which one of all five of you did the research | 1:10:05 | 1:10:07 | |
-to see what words they use and so forth? -Right. | 1:10:07 | 1:10:10 | |
I mean, as a lawyer, if you use the wrong word, | 1:10:10 | 1:10:11 | |
you're in serious trouble. | 1:10:11 | 1:10:13 | |
Who did that? | 1:10:13 | 1:10:14 | |
Well, this is where I think some of the individual players could have performed better. | 1:10:14 | 1:10:18 | |
No, wait a minute. Did you delegate anybody to do the research? | 1:10:18 | 1:10:21 | |
Or did any of the five figure, "Maybe we ought to find out more | 1:10:21 | 1:10:24 | |
"about what makes Harry Potter what it is"? | 1:10:24 | 1:10:26 | |
There's no-one that you would say was responsible | 1:10:29 | 1:10:31 | |
for more of the specific decisions than someone else? | 1:10:31 | 1:10:34 | |
No, no. I'm responsible for a lot of the decisions, | 1:10:34 | 1:10:37 | |
and I embrace it, and I'm not going to throw | 1:10:37 | 1:10:40 | |
him under the bus and bring him back here. | 1:10:40 | 1:10:41 | |
But why aren't you bringing him back in? He led the team. | 1:10:41 | 1:10:44 | |
He was the guy leading in your absence. | 1:10:44 | 1:10:45 | |
-So, that's what we're confused about. -Because I chose him. | 1:10:45 | 1:10:47 | |
I believe I chose him correctly, and I think we lost because maybe | 1:10:47 | 1:10:51 | |
there wasn't enough help for him while I was gone | 1:10:51 | 1:10:54 | |
and enough follow-up for him when I was gone. | 1:10:54 | 1:10:57 | |
But he's the person that you delegated to do the task, | 1:10:57 | 1:11:00 | |
and you lost. | 1:11:00 | 1:11:02 | |
I would be the one to say I stood up, and I want to say this. | 1:11:02 | 1:11:06 | |
If he was to bring someone back in the room and I was in his shoes, | 1:11:06 | 1:11:08 | |
I would put my butt right back in this room. | 1:11:08 | 1:11:12 | |
Governor, do you want to change? Do you want to take Bret back | 1:11:12 | 1:11:15 | |
instead of Michael or Curtis or whoever? | 1:11:15 | 1:11:18 | |
I believe... | 1:11:20 | 1:11:22 | |
You just thought he was so good that you can't do it. | 1:11:22 | 1:11:25 | |
Bret led the team to a good performance, | 1:11:25 | 1:11:28 | |
which seems to be the consensus, and... | 1:11:28 | 1:11:29 | |
-But you lost. -We lost. | 1:11:29 | 1:11:31 | |
And he led the team. | 1:11:31 | 1:11:32 | |
Why aren't you bringing him back instead of Michael or Curtis? | 1:11:32 | 1:11:36 | |
Because I don't know that Michael was as strong a player in this task | 1:11:36 | 1:11:39 | |
as Bret or Goldberg, | 1:11:39 | 1:11:41 | |
and, again, it's not a reflection on Michael, | 1:11:41 | 1:11:42 | |
and this is not what Michael suggested it is, | 1:11:42 | 1:11:44 | |
and I believe, if you're asking me, between Goldberg and Curtis, | 1:11:44 | 1:11:48 | |
it's a tough call, but Goldberg's willing to do | 1:11:48 | 1:11:50 | |
everything and anything you ask him to do. | 1:11:50 | 1:11:51 | |
-Is that true? -Yes. | 1:11:51 | 1:11:53 | |
Who was your most difficult person, in terms of running this team? | 1:11:56 | 1:12:00 | |
No-one is difficult. | 1:12:02 | 1:12:04 | |
It's a little bit tough for me to communicate with Michael, | 1:12:04 | 1:12:05 | |
just cos there's a different vision. That's all. | 1:12:05 | 1:12:07 | |
Michael, should Curtis be brought back, in your opinion? | 1:12:07 | 1:12:11 | |
No. | 1:12:11 | 1:12:12 | |
Should Bret be brought back? | 1:12:12 | 1:12:15 | |
-Yes. -Because of the fact that he was so involved. | 1:12:17 | 1:12:20 | |
-Yes, because... -Should you be brought back? | 1:12:20 | 1:12:24 | |
I don't think I should be brought back. | 1:12:24 | 1:12:26 | |
Curtis, should Bret be brought back instead of you? | 1:12:26 | 1:12:29 | |
Yes, I think he should. | 1:12:29 | 1:12:31 | |
I think Bret took on the creative vision | 1:12:31 | 1:12:33 | |
for the challenge, so I think that... | 1:12:33 | 1:12:34 | |
-All right. -Let me say, if I could, | 1:12:34 | 1:12:36 | |
I think Bret is a real asset on this team. | 1:12:36 | 1:12:39 | |
This is the one Project Manager who won. | 1:12:39 | 1:12:41 | |
I think he's a real asset, also, | 1:12:41 | 1:12:43 | |
but he's also the person that you delegated to do the task, | 1:12:43 | 1:12:46 | |
and you lost. | 1:12:46 | 1:12:47 | |
Right, but we could have won, maybe, if there was a little bit more work in the right direction, | 1:12:47 | 1:12:52 | |
possibly, if the other two stepped up. | 1:12:52 | 1:12:55 | |
Some of the decisions, again... I think Bret was a superstar. | 1:12:59 | 1:13:02 | |
I made the right decision there, and I don't believe we lost because of Bret. | 1:13:02 | 1:13:06 | |
-What I think happened was... -Well, but he led the task. | 1:13:06 | 1:13:09 | |
-Well... -And you did lose. | 1:13:09 | 1:13:11 | |
-We did lose. We did lose. -You lost because of somebody, and it seems to be Bret. | 1:13:11 | 1:13:15 | |
And I know what you are saying, he did a good job, but you lost. | 1:13:15 | 1:13:19 | |
-We lost or they won. -OK, governor. | 1:13:19 | 1:13:21 | |
Do you want to change? | 1:13:21 | 1:13:22 | |
-You know, as a governor, you have to make decisions, right. -Right. | 1:13:22 | 1:13:25 | |
And sometimes you change your mind, | 1:13:25 | 1:13:26 | |
-and that's for the good of the people. -Right. | 1:13:26 | 1:13:28 | |
For the good of your charity, do you want to change your mind? | 1:13:28 | 1:13:31 | |
No, I do not. | 1:13:33 | 1:13:34 | |
All right. Bret, Goldberg - you go. | 1:13:42 | 1:13:46 | |
Michael, Curtis, Rod, please go to the lobby. | 1:13:46 | 1:13:49 | |
You'll come right back. Somebody will be fired. | 1:13:49 | 1:13:52 | |
-Tough guy. -Yeah. | 1:13:59 | 1:14:00 | |
You know, he's like a piece of steel. Won't change his mind. | 1:14:00 | 1:14:03 | |
He stuck to his guns. | 1:14:03 | 1:14:05 | |
Puts himself at a great disadvantage. | 1:14:05 | 1:14:08 | |
That was a bad move. | 1:14:08 | 1:14:10 | |
-What's that? -Not picking Bret. | 1:14:10 | 1:14:12 | |
-I can't. -I feel you, but... | 1:14:12 | 1:14:13 | |
I-I just have a responsibility to him, | 1:14:13 | 1:14:15 | |
and I felt like he did a good job. | 1:14:15 | 1:14:16 | |
-You got to go with what you're feeling, man. -Yeah, yeah. | 1:14:16 | 1:14:18 | |
Got to go with what you're feeling. | 1:14:18 | 1:14:21 | |
'Amanda, let them in.' | 1:14:32 | 1:14:34 | |
Gentlemen, you can go back into the boardroom now. | 1:14:34 | 1:14:37 | |
Sit down, please. | 1:14:50 | 1:14:51 | |
So, governor, you've proven that you have a lot of fight in you. | 1:14:56 | 1:14:58 | |
For years, you've proven that, but you've certainly proven it now. | 1:14:58 | 1:15:00 | |
What do you have to say? | 1:15:00 | 1:15:02 | |
Well, again, I think we did a very good job, | 1:15:02 | 1:15:05 | |
and that seems to be confirmed by what Erin says | 1:15:05 | 1:15:07 | |
and what, uh, what the other feedback was. | 1:15:07 | 1:15:10 | |
I know we lost, but you can also say they won. | 1:15:11 | 1:15:14 | |
They were just a little bit better than us, | 1:15:14 | 1:15:15 | |
and I think that, you know, the fact that we lost | 1:15:15 | 1:15:19 | |
I think maybe is because some of the other component parts | 1:15:19 | 1:15:24 | |
didn't work as well with the vision that, you know, I take responsibility for | 1:15:24 | 1:15:29 | |
and my creative-design guy, Bret, takes responsibility for. | 1:15:29 | 1:15:32 | |
But why didn't you bring him back? | 1:15:32 | 1:15:34 | |
-Yes. -I'm not saying he would have been fired, | 1:15:34 | 1:15:35 | |
and everyone said he did a great job, | 1:15:35 | 1:15:37 | |
but why didn't you bring him back? | 1:15:37 | 1:15:39 | |
Because if Erin and the feedback was that our project was poor, | 1:15:39 | 1:15:45 | |
I'd have brought him back in a second. | 1:15:45 | 1:15:46 | |
So, Rod, who should I fire? | 1:15:46 | 1:15:47 | |
You have Michael. You have Curtis. | 1:15:47 | 1:15:49 | |
Who should I fire, and why? | 1:15:49 | 1:15:52 | |
If it's judged just based on this project alone? | 1:15:52 | 1:15:55 | |
It's really based on this project alone, yes. | 1:15:55 | 1:15:58 | |
I would reluctantly say Curtis, | 1:15:58 | 1:16:01 | |
only because he has a lot of skill and talent | 1:16:01 | 1:16:04 | |
and maybe he didn't help out as much | 1:16:04 | 1:16:06 | |
with communication as he should have. | 1:16:06 | 1:16:08 | |
But that's a hard thing to say, | 1:16:08 | 1:16:09 | |
cos Curtis is very good and has been very... | 1:16:09 | 1:16:12 | |
Curtis, what do you say about that? | 1:16:12 | 1:16:14 | |
The reality, Mr Trump, | 1:16:14 | 1:16:15 | |
is that Rod wouldn't know what we did, | 1:16:15 | 1:16:17 | |
you know, who worked well and who didn't, | 1:16:17 | 1:16:19 | |
because he didn't keep in touch with us | 1:16:19 | 1:16:21 | |
very well throughout the day. | 1:16:21 | 1:16:22 | |
Bad communication? | 1:16:22 | 1:16:24 | |
Terrible communication, actually. | 1:16:24 | 1:16:26 | |
No. Every time we spoke on the phone, | 1:16:27 | 1:16:29 | |
you said very directly, "I'm standing next to Selita. | 1:16:29 | 1:16:31 | |
"I don't want to give any of our game away." | 1:16:31 | 1:16:34 | |
You didn't know how to text. | 1:16:34 | 1:16:35 | |
-You didn't know how to e-mail us. -Right. | 1:16:35 | 1:16:36 | |
I don't know how you can have a response. | 1:16:36 | 1:16:38 | |
Well, do you think Rod was a good Project Manager? | 1:16:38 | 1:16:41 | |
No, I don't. I think he was a poor Project Manager. | 1:16:41 | 1:16:44 | |
Michael, did Curtis fail, would you say, | 1:16:46 | 1:16:48 | |
because of the fact that he was in charge of communications | 1:16:48 | 1:16:51 | |
and he didn't communicate? | 1:16:51 | 1:16:53 | |
No, not at all. Curtis wasn't... | 1:16:53 | 1:16:55 | |
I mean, Curtis talked to him as often as he would call, | 1:16:55 | 1:16:59 | |
and he would say, "Hey, I've got to go. | 1:16:59 | 1:17:01 | |
"I've got to go to a meeting. I'm going to call you back." | 1:17:01 | 1:17:03 | |
And every time... And he would have him on speaker, so I heard it. | 1:17:03 | 1:17:05 | |
Every time he talked to him, he would say, | 1:17:05 | 1:17:07 | |
"Selita's next to me. I can't really talk about much." | 1:17:07 | 1:17:09 | |
Curtis, do you think you failed? | 1:17:09 | 1:17:11 | |
No, I don't think I failed. I think we kept in... | 1:17:11 | 1:17:13 | |
But you were in charge of communicating, | 1:17:13 | 1:17:14 | |
and you didn't communicate. You wouldn't say that's your fault? | 1:17:14 | 1:17:17 | |
Well, during the early part of the task was the creative design. | 1:17:17 | 1:17:20 | |
So, Bret would sign off on the creative design | 1:17:20 | 1:17:23 | |
and tell us what it was, | 1:17:23 | 1:17:24 | |
and then ten minutes later, he'd describe it to someone else | 1:17:24 | 1:17:26 | |
and describe something completely different. | 1:17:26 | 1:17:27 | |
Bret's way of bringing something together creatively, | 1:17:27 | 1:17:30 | |
it's a moving target. | 1:17:30 | 1:17:31 | |
So, we were following that, | 1:17:31 | 1:17:33 | |
and then at any point that we spoke, we were in a decent place, | 1:17:33 | 1:17:37 | |
but then it would continue to change. | 1:17:37 | 1:17:39 | |
Governor, go ahead. Respond. | 1:17:39 | 1:17:40 | |
Yeah, let me - a couple things. Number one. | 1:17:40 | 1:17:42 | |
The Harry Potter thing's pretty self-explanatory, | 1:17:42 | 1:17:44 | |
and if you're working for your team, | 1:17:44 | 1:17:46 | |
and, yeah, there's some creative tension | 1:17:46 | 1:17:47 | |
between a creative guy like him and Bret. | 1:17:47 | 1:17:50 | |
-My feeling was he didn't work as hard... -There was no tension. | 1:17:50 | 1:17:52 | |
He didn't work as hard for Bret or give his best efforts for the team | 1:17:52 | 1:17:55 | |
because Bret was the guy in charge for the creative-design stuff. | 1:17:55 | 1:17:59 | |
Now, again, I had veto power over decisions. | 1:17:59 | 1:18:00 | |
Michael, why are you smiling? | 1:18:00 | 1:18:02 | |
Because every time I've come in here, | 1:18:02 | 1:18:03 | |
you ask me a question, "Who was weakest?" | 1:18:03 | 1:18:05 | |
I give you an answer. | 1:18:05 | 1:18:07 | |
He wasn't giving any answers. Everyone was great earlier. | 1:18:07 | 1:18:10 | |
Everyone was great all of this time, | 1:18:10 | 1:18:11 | |
and now, all of a sudden, ass on the line, | 1:18:11 | 1:18:14 | |
start throwing people under the bus. | 1:18:14 | 1:18:16 | |
No. No. I think Curtis is a guy with real... | 1:18:16 | 1:18:17 | |
So, that sounds like to me you're making things up. | 1:18:17 | 1:18:19 | |
All of a sudden, now Curtis didn't work as hard? | 1:18:19 | 1:18:22 | |
That just doesn't make any sense to me. | 1:18:22 | 1:18:23 | |
No, I didn't say that. I didn't say that. When they don't know the product... | 1:18:23 | 1:18:25 | |
-Well, you did actually sort of say it. -Well, I suggested that... | 1:18:25 | 1:18:27 | |
I think you did say it. Not sort of, right? | 1:18:27 | 1:18:30 | |
Well, I believe what I said was | 1:18:30 | 1:18:31 | |
he had a feeling that he wasn't getting direction | 1:18:31 | 1:18:34 | |
from the deputy in charge on the ground while I was gone | 1:18:34 | 1:18:37 | |
and never brought it to my attention, and I constantly called before | 1:18:37 | 1:18:39 | |
I was on planes and other things to get a sense of what I did do. | 1:18:39 | 1:18:42 | |
OK, but listen. I just want to ask this one question. | 1:18:42 | 1:18:44 | |
Your Harry Potter Facts were not accurate. | 1:18:44 | 1:18:47 | |
Who did the research? | 1:18:47 | 1:18:50 | |
There was not a, uh, specific direction | 1:18:50 | 1:18:52 | |
to do the research on Harry Potter, but the inability to learn the product - | 1:18:52 | 1:18:57 | |
and there was an issue in the... | 1:18:57 | 1:18:59 | |
Was that their inability or your inability? | 1:18:59 | 1:19:03 | |
I suppose I should have directed everybody else to learn the product. | 1:19:03 | 1:19:06 | |
I will say that's sort of an axiomatic thing that you might | 1:19:06 | 1:19:10 | |
want to do as you understand what the challenge is. | 1:19:10 | 1:19:13 | |
I thought...conveyed to them what the challenge was | 1:19:13 | 1:19:15 | |
and what our - what we should do, | 1:19:15 | 1:19:16 | |
collaborated with them over the phone with the limitations, | 1:19:16 | 1:19:19 | |
-having the other Project Manager - -Yeah, but you went to Orlando to learn about Harry Potter. | 1:19:19 | 1:19:22 | |
Nobody else did. So, wouldn't you have been the one | 1:19:22 | 1:19:25 | |
to know the product and learn the product? | 1:19:25 | 1:19:27 | |
Um, I feel like I knew the product. | 1:19:29 | 1:19:31 | |
In fact, I wrote a lot of the text. | 1:19:31 | 1:19:34 | |
You know, I talked about the different houses, | 1:19:34 | 1:19:38 | |
and I was the one who said houses and classes interchangeably, | 1:19:38 | 1:19:40 | |
cos I was trying to be more explicit | 1:19:40 | 1:19:42 | |
so people can get a concept of it, | 1:19:42 | 1:19:43 | |
but it's "Slithering" and it's Hufflepuff, | 1:19:43 | 1:19:45 | |
and it's, uh, "Ravencloth" and it's... | 1:19:45 | 1:19:47 | |
So, are you responsible? | 1:19:47 | 1:19:50 | |
I think we did not win, | 1:19:51 | 1:19:55 | |
but I think, if you were looking at this like a baseball team, | 1:19:55 | 1:19:58 | |
we're making progress. I believe some of our talented players... | 1:19:58 | 1:20:00 | |
Yeah, but you're making progress and you're running out of people. | 1:20:00 | 1:20:03 | |
-I understand. Right. -You know, you're doing wonderfully. | 1:20:03 | 1:20:05 | |
Everything's great, but you keep losing, | 1:20:05 | 1:20:07 | |
-and you're running out of people. -Right, right. | 1:20:07 | 1:20:09 | |
And you're the Project Manager. | 1:20:09 | 1:20:11 | |
Right. I know. | 1:20:11 | 1:20:13 | |
And, governor, I have great respect for you. | 1:20:13 | 1:20:16 | |
I have great respect for your tenacity, | 1:20:16 | 1:20:18 | |
for the fact that you just don't give up, | 1:20:18 | 1:20:22 | |
but, Rod, you're fired. | 1:20:22 | 1:20:24 | |
-Thank you. -Thank you. | 1:20:28 | 1:20:30 | |
-Yeah. -Thank you very much. | 1:20:30 | 1:20:31 | |
-Thanks for the opportunity. -Take care of yourself. | 1:20:31 | 1:20:33 | |
-Yeah. Appreciate it. -Good luck. | 1:20:33 | 1:20:35 | |
Yeah. See you around. Bye, George. | 1:20:35 | 1:20:37 | |
-Thanks, Mr Trump. -Thanks, Mr Trump. | 1:20:38 | 1:20:40 | |
OK, go ahead. Go ahead. | 1:20:44 | 1:20:46 | |
-See you later. -Yeah, I'll see you. | 1:20:46 | 1:20:48 | |
Yeah, thanks. Appreciate it. | 1:20:48 | 1:20:50 | |
No hard feelings. You're a good guy. | 1:20:50 | 1:20:51 | |
No. Hell no. Hell no. | 1:20:51 | 1:20:53 | |
Hey, good luck. | 1:20:53 | 1:20:54 | |
We wish you all the best, mate. You keep in touch with us, OK? | 1:20:54 | 1:20:56 | |
-Absolutely. -All right. | 1:20:56 | 1:20:58 | |
-Hello. -How are you, sir? -How are you? How's it going? | 1:20:59 | 1:21:02 | |
Good. | 1:21:02 | 1:21:03 | |
I feel badly for him. He tried, but I really feel badly. | 1:21:04 | 1:21:08 | |
I think you made the right choice, though. | 1:21:08 | 1:21:10 | |
They lost cos they didn't have the specifics, | 1:21:10 | 1:21:12 | |
and he was the one who ultimately was in charge | 1:21:12 | 1:21:14 | |
of a few of those key mistakes. | 1:21:14 | 1:21:15 | |
He couldn't handle it. | 1:21:15 | 1:21:16 | |
You gave him a task that he just physically couldn't handle. | 1:21:16 | 1:21:18 | |
Yeah. It's pretty sad. | 1:21:18 | 1:21:20 | |
Life is filled with ups and downs. | 1:21:53 | 1:21:54 | |
Sometimes you win, and sometimes you don't. | 1:21:54 | 1:21:57 | |
The real test of who you are is how you deal with it. | 1:21:57 | 1:22:00 | |
I was not going to sell out Bret. | 1:22:00 | 1:22:02 | |
I think it would have been very disloyal and very wrong. | 1:22:02 | 1:22:05 | |
I'm the Project Manager. | 1:22:05 | 1:22:06 | |
I take full responsibility, and I got the boot. | 1:22:06 | 1:22:09 |