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The annual conference on Experience Design SATE 2012 hosted by the Themed Entertainment Association (TEA) will start this Wednesday at Disneyland Paris, Europe’s most important tourist destination.
More than 100 professionals that work in creating themed experiences for visitors (ie designers, architects, developpers, scenographers, technicians, experts or master planners) are expected to attend this event during which about thirty international speakers will share their experiences around the topic of the cultural diversity in themed entertainment industry. Co-chaired by the American Imagineer Joe Rohde and the French producer Yves Pépin, SATE will be divided into several working sessions with presentations, case studies, discussions and Q&A.
After interviewing TEA’s President Rick Rothschild and EME Division President Philip Hartley in a previous article, we wanted to ask some questions to one of the speaker invited by the association : Matthew Jessner, the artistic director of Franco Dragone Entertaimnent Group (FDEG), a company based in Belgium and led by famous show director Franco Dragone that creates internationally recognized shows such as Le Rêve at Las Vegas or The House of Dancing Water at Macao.
Interview with Matthew Jesner of Franco Dragone Entertainment Group
NewsParcs : Could you explain us the content of your presentation?
Matthew Jessner : The axis of our presentation would be the aspect of developing mega-production type shows in newer territories, some of which may not even have a previous history of entertainment on an international or long-term scale outside of representations of their local culture.
Often, such territories have a history of welcoming itinerant Entertainment products only, and thus audience tastes are much more directed and pre-programmed by packaged marketing and international media. What we are doing is trying to bring something to these areas that they don't already have and that is related to them in some intrinsic way. Searching for a resonance on a cultural level rather than viewing them as a market opportunity.
NP : What are the challenges of developping these mega-production shows in newer territories?
MJ : One of the biggest challenges is to open up the understanding to treating a region as such; with all of its variables in order not to overly target a particular audience - realizing what the mere word "Audience" means. By excessively selecting anything or anyone, one winds up inevitably "de-selecting" many others, and that is not at all the goal of bringing in entertainment culture with the intention of enduring and pertinent impact.
In the kinds of shows that we construct, we are often in collaboration with local partners that are involved in generating the Entertainment element in a larger scale development project. In this way, we are involved in something more broad, we become part of a new facet of the local landscape in more than a mere architectural way.
In the cultural research that we do in preparation, we don't intend to reproduce their own folklore with sophisticated and opulent financial means. What is means in a tangible sense is that we undertake the initiative to study, understand and resonate with what their demographic and cultural makeup is in order to open channels of resonance and not to search for "hooks". It is more often the case that we learn what doors not to close rather than those that we wish to herd the audience through in our story driving. In that process, we are also nourishing the depth of our own cultural understanding and it is an enriching experience on a fundamental level for us as well. That is the key to remaining innovative; we must grow from our experiences more than just learn from them practically.
NP : Is there any risks to offend local methods with innovative ideas?
MJ : There is of course the sensitive aspect of dealing with perceptions of work methods. In spite of our tendency to want to impose our methods because they ARE tried and true, we need to understand context.
Understanding context is more sophisticated than taking into account parameters and limitations. In an environment whereby we would need to develop ambitious projects that are even life threatening when one doesn't take into account the project development protocol – the "teaching" needs to take on more of a form of "transmission". In that manner, the fundamental understanding of the why's and what for's allow us to open the door for inclusion of new perspectives rather than reproducing or transposing our methods. What we really don't want to do is open up a Tupperware full of our familiar foods at a when we have been invited to a traditional meal on a rice field in Indonesia.
NP : Is there something you want to add about your presentation?
MJ : I will also develop the subject of working with Local Artists and Creative Talent, up until now I would have mainly spoken about the general production and creative approach – but the specificities of working with artists is very vast subject.
NP : What are the benefits for you, and for your company, to come and share your experience at SATE?
MJ: Sharing knowledge and perspective with other creative producers and innovators from varying backgrounds is extremely enriching. To re-think and review what and WHY we do what we do. This type of Forum is much more than Show and Tell; it is part of a creative process. To present information can be a one-way "pitch", yet to share it in a forum such as the SATE is an entirely different format and spirit. This forum is not intended as publicity and the knowledgeable exchange, challenges and welcome interrogations are something that allows us to better forge the mettle of which we are made.
NP : Why is that important for a professional working in your industry to attend this event?
MJ: As I stated before, the visibility in this type of realm is important, and that cannot be denied. There is also the potential for sharing of resources, but the most important shared resource is the stimulation of the imagination. Our networking society permits us to exchange resources very easily, yet a forum such as the SATE is more like a fusionary reaction.
The engineering and how to make it happen, the do's and don'ts and watch out for this' and that's are also of value - but the principal focus should remain the storytelling to each other and not to an audience that we wish to seduce. We've opened up the curtain to reveal the intricate workings – take it apart and put it together publicly, again whilst taking a good moment to ask ourselves again collectively what we are doing and why. NP : What are the benefits for your company of being a TEA member?
MJ : The FDEG is in the process of becoming a member of the TEA. We are looking beyond the horizons than we have to now. We've been very busy producing in a very specific vein, and now that we are really moving into diversifying our creative vocabulary and different territories than the first two shows…. Vegas…. We have raised our sights from the steering wheel, and are delighted to find the TEA on the horizon, and better yet; in the midst of the landscape that we are now becoming a part of.
More than 30 speakers to talk about cultural diversity
Among the others topics to be discussed at the conference, there will be for example case studies on the project Big-O (Yeosu 2012 Expo in Korea) and the implantation of Disney in China with Shanghai Disney Resort. Companies represented by the speakers will come from around the world, such as Walt Disney Imagineering (with Joe Rohde, Bob Weis, Carmen Smith and Jeannette Lomboy), ECA2, WET Design, Jack Rouse Associates, Forrec, BRC Imaginations Art, Electrosonic , Jora Vision or Les Petits Français .
Attendees will also have the opportunity to discuss during informal networking meetings and special events including a look at the brand new nightime spectacular show Disney Dreams! introduced for the celebrations of the 20th anniversary of Disneyland Paris.
For more information about the conference program, download the brochure with all the details on sessions, speakers bios and networking events. It is still possible to register for this unique event that professionals of the experience design should not missed.
NewsParcs is one of the media partners for SATE 2012. Our editor François Mayné will be attending the whole event. Contact us if you want to fix a meeting. Follow us also on Twitter (@NewsParcs) for more coverage during the conference.
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NewsParcs will do a full coverage of the IAAPA Attractions Expo 2013 in Orlando to have a look at the latest trends and developments of the global theme park industry.
In the kinds of shows that we construct, we are often in collaboration with local partners that are involved in generating the Entertainment element in a larger scale development project. In this way, we are involved in something more broad, we become part of a new facet of the local landscape in more than a mere architectural way.
