Tag Archives: movies

Future Vision XPRIZE: The Top 50 Optimistic Futures

$2.6M+ to Film a Future Worth Building — And Why You Should Vote Now

Future Vision XPRIZE: The Top 50 Optimistic Futures

by Braden Kelley and Art Inteligencia


Innovation Shows Up First as a Story

Innovation almost always shows up first as a story. Someone writes down the submarine, the moon landing, the video call — and decades later we build it. Culture dreams of a destination. Engineering finds the path.

That is the remit of the Future Vision XPRIZE: a global competition — with a $3.5M+ prize pool and a $2.6M+ grand prize path to turn a short vision into a feature film — asking creators to show an optimistic, abundant, technology-enabled future worth wanting. Not a utopia without stakes. Not dystopia as the only imagination we fund. A future where humanity faces real danger and still figures something out — or at least believes it can.

The assignment was clear: a trailer of up to three minutes, plus a treatment of up to twelve pages, depicting a compelling hopeful future. Tools were wide open — traditional filmmaking, animation, AI, hybrids. The spirit was Star Trek’s deeper bet: that humanity can evolve intellectually, ethically, and socially toward greater understanding, possibility, and purpose. Judges for the competition include voices such as Neil deGrasse Tyson, Neal Stephenson, Mira Lane, and Rod Roddenberry. Finals land live at Moonshots LIVE in Los Angeles on September 25, 2026.

Why This Competition Matters Beyond the Prize

Incentive competitions are how XPRIZE has long pulled breakthroughs into the open. Future Vision flips the lens: the breakthrough here is collective imagination. Cautionary tales still matter — they help us navigate risk. But builders also need a north star. Soft landings for technology are designed. Soft landings for culture start with stories that make a better Tuesday feel real enough to pursue.

That is why this prize can inspire more than filmmakers and futurists. When the public watches fifty short visions of progress — climate and cities, longevity and memory, oceans and robotics, first contact and consciousness — people are not only entertained. They are rehearsing what “good” might look like. They are practicing hope with craft. Innovators get a richer brief than a white paper. Citizens get permission to want a future that is not only less bad, but more human.

Key Themes Across the Top 50

From more than 2,500 submissions, Range, XPRIZE, and Google selected fifty official films. Browse them and a pattern emerges — not a single prescribed future, but a cluster of human-centered themes:

  • Connection and consciousness — how we stay human to each other when tools get intimate with mind and dream.
  • Memory, biotech, and longevity — what we inherit, repair, and refuse to treat as disposable.
  • Nature, climate, oceans, and energy — technology solving real planetary constraints, not escaping them in costume.
  • AI, robotics, and cities — intelligence and infrastructure as partners in thriving, not only engines of extraction.
  • Space and first contact — exploration as shared purpose, not only conquest theater.

The competition’s own brief says it well: technology solving problems, humanity thriving (not merely surviving), a future worth building, and stories that move people emotionally. The Top 50 are the proof that creators worldwide answered that brief with ambition.

Trailers Beat Paper Scripts — And AI Changed Who Can Compete

For decades, “vision” in innovation and entertainment often traveled as a PDF: treatments, decks, and scripts that only a small room could feel. A trailer is different. In three minutes you either earn belief or you do not. You show the stakes, the texture, the emotional residue. Creative teams get to demonstrate their thinking — world, tone, character, craft — over and above the traditional paper scripts that usually get circulated and politely ignored.

AI did not invent storytelling. It did change the cost of a compelling, professional-looking trailer. Small teams can now prototype cinematic language that once required budgets only studios could touch. That is not a guarantee of soul — fluency without contact is still decoration — but it is a genuine opening. More than 2,500 submissions is not a marketing slogan. It is evidence that the barrier to showing a future dropped, and the world answered.

Used well, AI becomes a soft landing for creation: glue and production friction absorbed so human judgment, taste, and meaning stay in the frame. Used poorly, it becomes dystopia cosplay at higher RPM. The Future Vision XPRIZE rewards the former — visions with craft and hope that still feel earned.

Pairwise Voting Is Open on the 50 Finalists

Right now the public gets a real job. The SPECS Audience Choice Award puts $100,000 behind crowd favorites — $50K for first, $30K for second, $10K for third, and $5K each for fourth and fifth — decided entirely by vote. Crowdvoting is powered in partnership with SIV.org, and the experience is built as a simple, human question: Which future do you prefer?

That pairwise framing matters. You are not ranking fifty titles in the abstract. You are choosing between living visions — side by side — the way culture actually chooses what it wants more of. Watch. Compare. Vote. On September 25, the Top 5 also screen live in Los Angeles, with the grand prize path aimed at producing the winning feature with Range Media Partners and a $2.6M+ package ($100K cash for screenplay development plus $2.5M equity investment toward production), alongside runners-up and Top 10 prizes across the wider pool.

How to Vote — and a Preview of My Top 3

You can watch the Top 50 and cast your Audience Choice votes at https://vote.futurevisionxprize.com/. It takes about a minute to start — and every pairwise choice is a small act of futurology: telling the culture which north stars deserve oxygen.

Here is a preview of my Top 3 from the fifty. These are not the only films worth your time — watch widely — but they are the three I keep returning to:

1. PROVENANCE — Chris Winterton

Themes: Memory · Biotech · Connection. In 2160, ancestral memory is inherited through craft, and a young ceramicist starts inheriting the one memory she cannot hold. Human-centered sci-fi at its best: technology intimate with identity, dignity still in the room.

Watch PROVENANCE on YouTube · Official selection page

2. Somewhere Past Midnight — Felix Roumagnac

Themes: Consciousness · Connection. Two teenagers meet inside on-demand lucid dreams and go looking for the boundless world childhood promised. A reminder that optimistic futures are not only about machines — they are about what we still long for when the tools get powerful.

Watch Somewhere Past Midnight on YouTube · Official selection page

3. Rock Rider — Christof Vonbank

Themes: Space · First Contact. A space trucker hauling a town-sized asteroid to an Earth he’s never touched finds a stowaway carrying proof we were never alone. Exploration with grit, wonder, and a future that still has room for surprise.

Watch Rock Rider on YouTube · Official selection page

Then go vote for the futures you prefer: https://vote.futurevisionxprize.com/. Learn more about the competition at futurevisionxprize.com.

Stories shape what we fund, what we build, and what we forgive ourselves for wanting. Future Vision XPRIZE is a rare chance to put public imagination on a scoreboard that still has money, stages, and makers attached. Watch the fifty. Prefer a future on purpose. Soft landings for humanity start with north stars we can feel.

I’m curious! Please SHARE YOUR TOP 3 in the comments.

Frequently Asked Questions

What is the Future Vision XPRIZE?

Future Vision XPRIZE is a global sci-fi film competition from XPRIZE (with partners including Google and Range) inviting creators to submit up to three-minute trailers of optimistic, abundant futures. The prize pool is $3.5M+, with a $2.6M+ grand prize path to develop the winning vision into a feature film.

How do you vote in the Future Vision XPRIZE Audience Choice Award?

Go to https://vote.futurevisionxprize.com/ and compare finalist visions in a pairwise “Which future do you prefer?” experience. The SPECS Audience Choice Award distributes $100,000 based entirely on public voting. You can also browse all 50 official selections at https://fvxp.moonshots.com/.

How many submissions did Future Vision XPRIZE receive?

More than 2,500 films were entered worldwide. Fifty were selected as official finalists for public voting and the path toward live finals in Los Angeles on September 25, 2026.

What themes appear in Future Vision XPRIZE finalists?

Finalist themes span AI, biotech, cities, connection, consciousness, energy, first contact, longevity, memory, nature and climate, oceans, robotics, and space — unified by the remit of technology solving problems and humanity thriving in a future worth building.

Can AI be used to create a Future Vision XPRIZE trailer?

Yes. Competition guidelines allowed any production tools — traditional filming, animation, AI, or hybrids. AI lowered the barrier to professional-looking trailers and helped enable the scale of 2,500+ submissions, while human craft and hopeful storytelling remain what the remits reward.

Image Credits: Cursor

Content Authenticity Statement: The topic area, key elements to focus on, etc. were decisions made by Braden Kelley, with a little help from Cursor to clean up the article.

Subscribe to Human-Centered Change & Innovation WeeklySign up here to get Human-Centered Change & Innovation Weekly delivered to your inbox every week.

Dead Actors Society

How AI Synthetic Likenesses, Estate Licensing, and the Experience Economy Are Disrupting the Talent Ecosystem

Dead Actors Society

GUEST POST from Art Inteligencia


I. Executive Summary & Thesis

The Paradigm Shift: Generative AI and real-time neural rendering are fundamentally decoupling an actor’s craft and visual identity from their physical body, availability, and natural lifespan. Cinema is transitioning from a discipline constrained by human logistics to an unconstrained digital canvas.

The Core Thesis: In the emerging era of AI-generated full-length feature films, the estates of deceased cultural icons—unencumbered by living human limitations, scheduling conflicts, or creative resistance—are uniquely positioned to lead the charge in licensing synthetic likenesses for entirely new cinematic roles.

The Macro Impact: This transition extends far beyond Hollywood production budgets. It represents a fundamental restructuring of the creative talent ecosystem:

  • Talent Ecosystem Disruption: Living performers will no longer compete solely against current peers, but against a century of cinematic legends performing at their peak aesthetic and charismatic influence.
  • Strategic Career Pressures: Mid-tier and emerging actors face extreme wage deflation as synthetic legacy assets provide predictable, risk-mitigated alternatives for studios.
  • Likeness Securitization: A high-yield financial marketplace—directly mirroring the multi-billion-dollar music catalog acquisition booms—will emerge to monetize, package, and trade post-mortem digital likeness rights as long-term yield assets.

II. Introduction: The Arrival of the Synthetic Cinema Era

The Friction of Change: For decades, visual effects relied on heavy post-production labor to achieve incremental milestones—de-aging an aging star for a brief flashback or rendering a digital double for high-risk stunt work. Today, generative neural rendering and real-time motion synthesis have crossed a critical threshold. We are shifting rapidly from post-production touch-ups to full-synthesis cinematic creation, where generative models can power entire lead performances across full-length feature films with hyper-realistic emotional fidelity.

The “Dead Actors Society” Phenomenon: As production costs drop and synthetic rendering capability matures, a new content category is taking shape: the deliberate, high-budget revival of iconic performers in entirely original narratives. This is not about re-editing archival footage or stitching together outtakes. This is the era of the Dead Actors Society—a dynamic marketplace where legendary figures from film history return to headline original screenplays, cross-genre experiments, and modern franchises decades after their passing.

The Human-Centered Lens: From an experience design perspective, human beings do not connect merely to high-resolution pixels; we connect to narrative resonance, archetypal familiarity, and shared cultural memory. In an increasingly fragmented media landscape, iconic stars carry immediate emotional context and built-in trust. For studios navigating rising development risks, leveraging synthetic legacy talent offers a powerful mechanism to derisk major film slates while tapping directly into deeply ingrained audience nostalgia.

III. Why Estates Will Lead the Licensing Charge

Incentive Alignment (Frictionless Talent): Unlike living performers who manage complex personal brands, physical constraints, and evolving artistic ambitions, estate management operates primarily as an intellectual property enterprise. For estate trustees, licensing a digital likeness eliminates traditional production friction: there are no onset delays, travel requirements, physical exhaustion, or behavioral liabilities. The actor becomes a predictable, high-performing digital asset capable of infinite deployment.

Algorithmic Consistency & Archetypal Clarity: Iconic stars of cinema’s Golden Age—such as Humphrey Bogart, Marilyn Monroe, or James Dean—possess clearly defined, universally understood cultural archetypes. Because their screen legacies are static, generative models can synthesize their specific charismatic signatures, vocal cadence, and emotional range with remarkable precision. Studios gain access to instant brand recognition and established storytelling shorthand that requires zero audience warm-up.

Economic Incentive for Heirs: For heirs and asset managers, passive ownership of legacy rights often faces diminishing returns over time as catalog titles recede from active streaming discovery. Transitioning static IP into active, synthetic licensing models transforms dormant archives into dynamic, high-margin revenue streams. Through royalty-per-frame or box-office participation models, estates can capture continuous commercial value across future generations of media.

IV. The Squeeze on Living Talent: Pressures and Disruption

The “Infinite Competition” Problem: Throughout cinema history, living actors competed primarily against their contemporary peers for coveted roles. In the synthetic cinema era, that competitive arena expands infinitely backward across time. Emerging and established talent will find themselves auditioning not just against current box-office leads, but against a century of screen legends preserved at their peak aesthetic, physical, and charismatic influence—available to perform on demand without fatigue or scheduling conflicts.

Bifurcation of the Acting Profession: The economic pressures of synthetic competition will restructure the performer labor market into two distinct tiers:

  • The Ultra-Elite Tier: A small upper crust of living megastars whose commercial value relies on genuine human presence, active cultural commentary, live press tours, and authentic real-world fan connections.
  • The Squeezed Middle and Entry Level: Character actors, supporting talent, and working professionals who face severe wage compression and diminishing opportunities as studios opt for cost-effective, risk-mitigated synthetic legacy models for mid-tier roles.

The Experience Value Proposition: As synthetic performances achieve technical parity with human delivery, experience design forces a critical question for creators and audiences alike: What is the intrinsic value of human vulnerability in art? While mass-market entertainment may readily accept polished synthetic performances, a premium live-action market may emerge, marketing the deliberate imperfection, unpredictability, and lived experience of authentic human performers.

V. The Financialization of Likeness: Wall Street Meets Hollywood Catalog Sales

The Music Industry Blueprint: Over the past decade, financial institutions and private equity firms created a multi-billion-dollar asset class by purchasing the publishing rights and master recordings of legendary musicians—from Bob Dylan to Bruce Springsteen. The core thesis was simple: predictable, long-term cash flows from enduring cultural IP. Synthetic cinema opens the exact same financial playbook for screen performance, transforming an actor’s visual and vocal identity into an yield-bearing financial asset.

Likeness Securitization & Valuation Models: As generative models require clean, high-density training data, an actor’s digital archive becomes quantifiable. Wall Street valuation models will price an actor’s “Synthetic Future Cash Flow” based on three core variables:

  • Training Data Quality: The depth, resolution, and emotional range captured in their historic filmography.
  • Archetypal Demand: How universally their persona maps to high-converting narrative genres.
  • Cross-Generational Longevity: The projected retention of their cultural relevance across global markets.

Pre-Mortem Rights Offloading & Likeness Royalties: Living actors will not wait for death to monetize their synthetic value. We will see performers offload their post-mortem rights—or even license mid-career synthetic clones—early in life to private equity funds for immediate lump-sum liquidity. This will give rise to complex likeness royalty structures, fractionalized ownership of synthetic talent libraries, and secondary derivative markets trading on the future performance of digital personas.

VI. Strategic Foresight: Governance, Ethics, and Experience Design Challenges

Human-Centered Change Management for Hollywood: Navigating the synthetic era requires robust governance frameworks that balance creative freedom with ethical stewardship. Labor unions like SAG-AFTRA, estate trustees, and legislative bodies will be forced to continually redefine right-of-publicity laws, digital consent boundaries, and posthumous labor rights to prevent non-consensual exploitation while enabling legitimate commercial innovation.

Audience Fatigue & Experiential Saturation: From an experience design perspective, over-relying on familiar digital ghosts carries significant narrative risk. When iconic faces become ubiquitous across cheap spin-offs, interactive media, and localized ad campaigns, “nostalgia overload” sets in. This erosion of scarcity dilutes the actor’s original cinematic legacy and risks numbing audience emotional engagement through synthetic repetition.

Authenticity vs. Convenience: As synthetic content generation accelerates, experience designers and filmmakers must intentionally craft the boundary between efficiency and artistry. The challenge will not be technical feasibility, but human resonance—ensuring that synthetic revival serves a genuine artistic purpose rather than functioning merely as a frictionless, algorithmically optimized cash grab.

VII. Conclusion: Framing the Future of Talent

Summary of the New Landscape: The arrival of synthetic feature films does not spell the end of human performance, but it marks the definitive end of its monopoly. Cinema is entering a hybrid era where living performers, purely synthetic AI-generated entities, and licensed digital revivals of historic legends co-exist within the same creative ecosystem. Success in this environment will require a fundamental shift in how studios, managers, and audiences conceptualize talent, IP, and performance art.

Call to Action for Leaders and Creators: As leaders in media, technology, and human-centered innovation, our responsibility is to guide this transition with intentionality. We must build business models and governance frameworks that honor human legacy without stifling artistic evolution. By prioritizing authenticity, ethical consent, and meaningful experience design over mere algorithmic convenience, we can ensure that synthetic cinema expands the horizons of human storytelling rather than cheapening it.

Frequently Asked Questions

Why are the estates of dead actors more likely to license AI likenesses than living actors?

Estates operate primarily as intellectual property enterprises focused on asset maximization without the physical, emotional, or ego-driven constraints of living performers. Unlike living actors, deceased legends face zero physical friction—there are no set scheduling limits, press junket obligations, physical aging, or behavioral liabilities, making them predictable, high-performing digital assets for studios seeking to derisk major film investments.

How will the rise of synthetic legacy actors impact living performers?

Living actors will no longer compete solely against current peers, but against a century of film history preserved at peak aesthetic and charismatic performance. This will likely bifurcate the talent market: an ultra-elite tier of living megastars whose value lies in authentic human presence and live connection, and a severely squeezed middle tier of character and entry-level actors facing wage compression as studios adopt cost-effective, risk-mitigated synthetic models.

Will AI actor likenesses generate a financial market similar to music catalog sales?

Yes. Just as financial institutions transformed musician song catalogs into multi-billion-dollar yield-bearing assets, Wall Street will monetize actor likenesses based on training data quality, archetypal demand, and historic box office impact. Living actors and estates will offload post-mortem rights to private equity funds for immediate liquidity, creating a robust secondary market for likeness royalties and fractionalized talent libraries.


Image Credits: Gemini

Subscribe to Human-Centered Change & Innovation WeeklySign up here to get Human-Centered Change & Innovation Weekly delivered to your inbox every week and to be alerted when the guidebooks and DIY tools to implement this discipline locally are available.

Cover versions, Sequels, Taylor Swift and Innovation

Taylor Swift and Innovation

GUEST POST from Pete Foley

An inherent contradiction in almost any new innovation is that it needs to be both new, but also somewhat familiar.  If it doesn’t offer anything new, there is little motivation for consumers to risk abandoning existing habits or preferences to try it.  But if it is not at least anchored in familiarity, then we ask consumers to put a lot of effort into understanding it, in addition to any opportunity cost from what they give up for trying something new.  Innovation is difficult, and a lot of innovations fail, at least in part because of this fundamental contradiction. 

Transformative Performance:  Of course, innovations can be successful, which means we do navigate this challenge.  But how? One way is to deliver something with such transformative benefits that people are willing to push themselves over the hump of learning something new. Huge benefits also create their own ‘gravity’, often spreading via world of mouth via media, social media, and even old-fashioned human-to-human conversations. This avoids the need for brute force mass marketing spend that can create the illusion of familiarity, but with a hefty price tag that is typically beyond smaller companies

Familiarity: The second option is to leverage what people already know in such a way that the ‘adoption hump’ becomes relatively insignificant, because new users intuitively know what the innovation is and how to use it.

Wow!  The best innovations do both.  CHATgpt Generative AI is a contemporary example, where transformative performance has created an enormous amount of word of mouth, but the interface is so intuitive there is little barrier to adoption, at least superficially. 

Of course, using it skillfully is another thing altogether, but I think there is an insight there too.  It’s OK to have an ongoing learning curve after initial adoption, but initial engagement needs to be relatively simple.  The gaming industry are masters of this.    

Little Wows!  CHATgpt is brilliant innovation.  But realistically, few of us are gong to create something quite that extraordinary.  So how do we manage to create more modest wows that still drive trial, engagement and ultimately repeat business?

Science, Art and Analogy:  As a believer that a lot of interesting things happen at the interface between science and art, and that analogy is a great tool, I think we cam learn a little about solving this by taking insight from the arts.  In this case, music and movies. For example, popular music routinely plunders the familiar, and repackages it as new via cover versions.  I often do the same myself!   Movies do something similar, either with the cycle of remakes of classic movies, or with sequels that often closely follow the narrative structure of the original.  

But this highlights some of the challenges in solving this dichotomy.  It’s rare for a remake, cover version, or sequel to do better than the original.  But a few do, so what is their secret?  What works, and what doesn’t? 

  1. Distance from the original.  Some of the best movie remakes completely reframe the original in ways that maintain a largely implicit familiarity, but do so without inviting direct comparisons of alignable differences to the original. For example, West Side Story is a brilliant retelling of Romeo and Juliet, Bridget Jones Diary reframes Pride and Prejudice, She’s All That is a retelling of George Bernard Shaw’s Pygmalion, while The Lion King retools Hamlet, etc.  I’m not suggesting that nobody sees these connections, but many don’t, and even if they do, the context is sufficiently different to avoid constant comparisons throughout the experience.  And of course, in most of these cases, the originals are not contemporary, so there is temporal as well as conceptual distance between original and remake.   Similarly with cover versions, Hendrix and the Byrds both completely and very successfully reframed Dylan (All Along the Watchtower and Mr. Tambourine Man).  Sinead O’Connor achieved similar success with Prince’s “Nothing Compares 2 U”.  For those of you with less grey in their hairl, last summers cover of Tracy Chapman’s ‘Fast Car’ by Luke Combs shows that covers can still do this. 

2.  Something New.   A different way to fail is to tap familiarity, but without adding anything sufficiently new or interesting.  All too often covers, sequels and remakes are simply weaker copies of the original.  I’m sure that anyone reading this can come up with their own examples of a disappointing remake or sequel.   Footloose, Annie, Psycho, Tom Cruise’s the Mummy or Karate Kid are all candidates for me.  As for sequels, again, I’m sure you can all name a respectable list of your own wasted 2 hours, with Highlander 2 and Jaws the Revenge being my personal cures for insomnia.   And even if we include novelty, it cannot be too predictable either.  It needs to at least be a little surprising.   For example, the gender reversal of the remake of Overboard has a point of difference in comparison to the Goldie Hawn original, but its not exactly staggeringly novel or surprising.  It’s a lot like a joke, if you can see it coming, it’s not going too create a wow.    

3.  Don’t Get De-Selected.  Learning from the two previous approaches can help us to create sufficient separation from past experience to engage and hopefully delight potential consumers.  But it’s important to not get carried away, and become un-tethered from familiarity.  For example, I personally enjoy a lot of jazz, but despite their often extraordinary skill, jazz musicians don’t fill many arenas.  That’s in part because jazz asks the listener to invest a lot of cognitive bandwidth and time to develop an ‘ear’, or musical expertise in order to appreciate it. It often moves a long way from the familiar original, and adds lot of new into the equation.  As a result, it is a somewhat niche musical form.  Pop music generally doesn’t require the same skill or engagement, and successful artists like Taylor Swift understand that.   And when it comes to innovation, most of us want to be mainstream, not niche. This is compounded because consumers today face a bewildering array of options, and a huge amount of information.  One way our brains have evolved to deal with complexity is to quickly ignore or ‘de-select’ things that don’t appear relevant to our goals. A lot of the time, we do this unconsciously.  Faced with more information than we can process, we quickly narrow our choices down to a consideration set that is ‘right-sized’ for us to make a decision.   From an innovation perspective, if our innovations are too ‘jazzy’, they risk being de-selected by a majority on consumers before they can be fully appreciated, or even consciously noticed.     

There’s no precise right or wrong strategy in this context. It’s possible to deliver successful innovations by tapping and balancing these approaches in many different ways.   But there are certainly good and bad executions, and I personally find it helpful to use these kinds of analogy when evaluating an innovation.   Are we too jazzy? Do we have separation from incumbents that is meaningful for consumers, and not just ourselves? And the latter is a real challenge for experts. When we are deeply engaged in a category, it’s all too easy to get lost in the magic of our own creations.  We see differences more clearly than consumers. It’s easy for us to become overly excited by relatively small changes that excite us, but that lack sufficient newness and separation from existing products for consumers who are nowhere near as engaged in our category as we are.  But it’s also easy to create ‘jazz’ for similar reasons, by forgetting that real world consumers are typically far less interested in our products than we are, and so miss the brilliance of our ‘performance’, or perhaps don’t ‘get it’ at all. 

For me, it is useful to simply ask myself whether I’m a Godfather II or a Highlander II, a Taylor Swift or a Dupree Bolton, or even Larry Coryell.  And there’s the rub.  As a musician, I’d rather be Larry, but as a record company exec, I’d far rather have Taylor Swift on my label. 

Image credits: Wikimedia Commons

Subscribe to Human-Centered Change & Innovation WeeklySign up here to join 17,000+ leaders getting Human-Centered Change & Innovation Weekly delivered to their inbox every week.

Top 5 Innovation Movies According to Artificial Intelligence

Top 5 Innovation Movies According to Artificial Intelligence

GUEST POST from Art Inteligencia

In recent years, filmmakers have explored the concept of innovation and its impact on the world in a variety of ways. From biopics about trailblazing inventors to stories about the consequences of technological progress, these movies have not only entertained audiences, but also provided thought-provoking insights into the world of innovation. Here are our top 5 innovation movies that will leave you feeling inspired.

1. The Social Network (2010)

This biopic chronicles the rise of Mark Zuckerberg, the co-founder of Facebook and one of the most successful entrepreneurs of our time. The movie paints a vivid picture of the challenges and successes of an ambitious young innovator who changed the way people interact with each other.

2. The Imitation Game (2014)

This biopic focuses on the life of Alan Turing, the British mathematician who was instrumental in cracking the Nazi Enigma code during World War II. The movie explores the power of innovation and its potential to save lives and shape our future.

3. Moneyball (2011)

This movie tells the story of Oakland A’s general manager Billy Beane, who revolutionized baseball by employing advanced analysis to build a winning team on a tight budget. This movie is a wonderful example of how innovation can be applied to any field to improve performance.

4. Hidden Figures (2016)

This biopic tells the inspiring story of three African-American women mathematicians who played a crucial role in the successful launch of the first US space mission. The movie highlights the importance of diversity and the power of innovation to break down barriers.

5. The Man in the White Suit (1951)

This classic comedy stars Alec Guinness as a young inventor who develops a revolutionary fabric that never gets dirty or wears out. The movie explores the power of innovation and how it can disrupt entire industries.

Conclusion

Each of these movies provides a unique perspective on innovation and its power to change the world. They are sure to leave you feeling inspired to pursue your own innovative ideas.

Personally, I was surprised to see ‘The Man in the White Suit’ on the list, and not my favorite ‘Chitty Chitty Bang Bang’, so I guess I will have to see if Netflix or Prime Video has this movie from the fifties. It sounds intriguing.

Another favorite of mine is ‘Flash of Genius’, a movie about the inventor of intermittent wipers and his painful fight against the patent infringement of the major car companies.

Image credit: Pixabay

Subscribe to Human-Centered Change & Innovation WeeklySign up here to get Human-Centered Change & Innovation Weekly delivered to your inbox every week.

Help Support Gender Equity on May 10th

Help Support Gender Equity on May 10th

I am excited to announce on behalf of Innovation Excellence friend Tiffany Shlain that 50/50 Day is less than a month away and we can’t wait for this global conversation about gender equality! For those of you who haven’t signed up yet to host an event at your company, school, organization, or home, there’s still time. Watch a 2 minute trailer and sign up here.

About 50/50

50/50 gives the 10,000 year history of women + power — from setbacks and uprisings, to the bigger context of where we are today. Using her signature, cinematic-thought-essay style, Emmy-nominated filmmaker & founder of The Webby Awards Tiffany Shlain brings us on an electric ride to explore, where are we really on the greater arc of history of women and power? And what’s it going to take to get to a 50/50 world — not just to 50/50 in politics and board rooms, but to truly shift the gender balance to be better for everyone?

50/50 premiered on Oct 27, 2016 simultaneously live at #TEDWomen and 275 TEDx’s globally, online on @Refinery29 and on TV on Comcast’s Watchable. It is the most viewed long form film Refinery29 has released with over 4 million views to date. It will now be the centerpiece film for a global conversation set for May 10th about what it’s going to take to get to a more gender balanced world called 50/50 Day.

Please Join Me in Supporting 50/50 Day on May 10, 2017

We’re also very excited to share the above image, which is the poster that will be included in the free discussion kits provided to participants. The kits, currently at the printer (!), include this poster as well as a deck of 44 discussion cards that go deeper into each of those circles for all age groups and all different types of environments. Organizers only have a finite number of kits, so be sure to sign up to host your event soon.

Click Here to Learn More and Sign Up for 50/50 Day

And if you just can’t wait to until May 10th to see the full movie, then here it is below, just for you:

Let’s support our mothers, sisters, and daughters in their fight for gender equality and as a result help create the conditions for maximum innovation!


Accelerate your change and transformation success

Subscribe to Human-Centered Change & Innovation WeeklySign up here to get Human-Centered Change & Innovation Weekly delivered to your inbox every week.

Another Innovation Movie for Kids

Another Innovation Movie for Kidsby Braden Kelley

If you haven’t watched the Disney movie “Meet the Robinsons” with your kids, you should. It may not inject innovation into their DNA, but it will help teach the role of failure in success.

Here is a great quote from the end of the movie from Walt Disney:

“Around here, however, we don’t look backwards for very long.

We keep moving forward, opening up new doors and doing new things, because we’re curious…

and curiosity keeps leading us down new paths.”

The movie celebrates failure and its importance in driving innovation.

For more celebration of progress and a single-minded focus, check out Honda’s ‘Dreams’ campaign from a couple of years ago.

What do think the place is for failure in innovation?

P.S. And if you missed it, I encourage you to check out my other kids movie post – Innovation and Chitty Chitty Bang

Subscribe to Human-Centered Change & Innovation WeeklySign up here to get Human-Centered Change & Innovation Weekly delivered to your inbox every week.

Shocking People into Buying Your Product

It costs a lot of money to make a television commercial, and at its core what is a television advertisement? It’s a short piece of video designed to reinforce brand values and attachment, or possibly with any luck, to drive purchasing behavior. But there are other ways to distribute video now of course, other than buying time on the major networks or the hundreds of cable networks. And sometimes alternative methods of video distribution actually work better for some creative ideas than traditional media buys.

And what do you do when you have a product that isn’t necessarily that easy to advertise in the traditional ways, for example horror movies or ultra high-definition televisions?

Products that in your advertising that you might WANT to shock people, because they like that, in the case of horror movies. Or in the case of a tech product where people are reasonably happy with what they have, your might actually NEED to find a way to shock people in order them to perceive the incremental benefits of what you’re offering versus what they already have.

In the first case, the people behind the new Carrie movie set out to create a telekinetic café prank in New York City to promote the movie:

While in the case of ultra high-definition televisions, which let’s be honest, aren’t SOOOO much better than HDTV’s that people are camping out in front of the electronics retailers to get one. So, companies like LG are going to have to go to extreme lengths to highlight the incremental value delivered by an ultra high-definition television over an HDTV. LG decided to engage some of the public in shocking scenarios utilizing their product (and film the whole thing) to try and show not just the people involved in the pranks, but the rest of the world at the same time, the shocking visual clarity of their ultra high-definition televisions. A great creative strategy, and a smart value translation approach for their potential innovations.

Here is an LG elevator prank:

Here is an LG job interview prank from Latin America:

And finally here is another LG prank in the men’s restroom:

So, as you are thinking about advertising your own new products and services, think about whether or not buying media is the best way of distributing any video advertising you might want to create. And also think about whether or not you might need to shock people into buying your product or service because they believe their existing product or service is “good enough”?

And is your product or service better than the existing ones by a wide enough margin to make customers care?

Something to think about…


Build a common language of innovation on your team

Subscribe to Human-Centered Change & Innovation WeeklySign up here to get Human-Centered Change & Innovation Weekly delivered to your inbox every week.

Innovation Quotes of the Day – May 31, 2012


“Every bursted bubble has a glory! Each abysmal failure makes a point! Every glowing path that goes astray, shows you how to find a better way. So every time you stumble never grumble. Next time you’ll bumble even less! For up from the ashes, up from the ashes, grow the roses of success!”

– From the movie “Chitty Chitty Bang Bang”


“You can’t really innovate for the past (your offering won’t be innovative and will be beaten easily by competitors). If you innovate for the future, then adoption will be slow until customers become ready. The trick is to task your insights team to provide guidance for the future present.”

– Braden Kelley


“The best way to have a good idea is to have a lot of ideas.”

– Dr. Linus Pauling
– submitted by Khululeka Khumalo


What are some of your favorite innovation quotes?

Add one or more to the comments, listing the quote and who said it, and I’ll share the best of the submissions as future innovation quotes of the day!

Subscribe to Human-Centered Change & Innovation WeeklySign up here to get Human-Centered Change & Innovation Weekly delivered to your inbox every week.

Innovation Quotes of the Day – May 22, 2012


“Comic books had it wrong. It didn’t take a trauma or cosmic rays or a power ring to make a super hero, just the perfect combination of optimism and naivety.”

– From the Movie “Kickass”


“The heart and soul of the company is creativity and innovation.”

– Robert Iger


“Successfully building a strong culture of continuous innovation also represents a huge opportunity for an organization to attract the best talent, to lower costs, to continuously add new revenue streams, and to better achieve competitive separation.”

– Braden Kelley


“The nature of an innovation is that it will arise at a fringe where it can afford to become prevalent enough to establish its usefulness without being overwhelmed by the inertia of the orthodox system.”

– Kevin Kelly


“The five essential entrepreneurial skills for success are concentration, discrimination, organization, innovation and communication.”

– Michael Faraday


What are some of your favorite innovation quotes?

Add one or more to the comments, listing the quote and who said it, and I’ll share the best of the submissions as future innovation quotes of the day!

Subscribe to Human-Centered Change & Innovation WeeklySign up here to get Human-Centered Change & Innovation Weekly delivered to your inbox every week.