Welcome back, it is Thursday, that means acting analysis, finding meters. And today we're gonna take a look at the fantastic show on HBO called Chernobyl. That's right, it is fantastic. It's in fact so good, I love everything about it. The music is great, the sound design is fantastic. The cast, the acting, the composition, the colors, just everything, so good. Actually I have so much to talk about that I wanna do a series for every episode. So it's gonna be up to one, two, three, four, five because I can't talk about everything, it would be hours. But anyway, so there's a long list for episode one, let's get straight to the clips. First up is this tiny little thing here as he prepares the tapes and wants to roll them up or does roll them up in newspaper here. What I love about this is that it's just slightly off, whoop, he stops and corrects. Now, besides prop handling, that's always interesting to me in terms of animation, but it's just an interesting detail that if you do have a character and there are props in the scene and they're aligned or it's something like a book or something where anything where you can show off that the character is very particular about details. I think it's just an interesting character moment. It doesn't have to be so on display, it can be a tiny thing like one of the previous acting analysis that I did where the character just adjusts the shoes and because she's so picky about this, she knows that a book is kinda misplaced. So there are little things that you can push in terms of character for a sequence but just as a tiny thing here, I like this. Next up, after the incident, the explosion occurred and I love this here. I love the introduction of the character and what the camera does and the change of composition. Now, you could technically cut out that middle part but what I wanna show you here is how it ends. So A, you have somewhat of a full body, you know, a full body kind of a waist out thing but so it can show a lot. It's a bit more about body posture and silhouette and everything. And then you have an intro of the second character. He just kinda comes in when he was sleeping but you can argue that maybe in your shot the character can stumble in or run in or maybe something happens in and pushes off the door or maybe still it comes in from the outside and there's a coat on and takes the coat off or whatever you wanna do but I think it's cool that you have one character here and because so much is empty here, you expect another character to enter. So I think it's a cool two character set up and I like how it goes from this to that and you can show this through just a simple pan followed by the characters and then you can show off full body, somewhat full body, right? Body mechanics, two facial close up. It's also interesting, we can see both of them but it's mainly that as a focus, although that with the hair you won't see much but it's something that you can obviously tweak but still you can show off multiple things in terms of body mechanics and then get into a close up. I think that's a really, really cool change of character composition.  He is a firefighter, he puts on boots. Puts on the boots and then that's it, second one, you talk about things and he gets up. So what I like about this is that the character does something that he would do and it's not specifically framed for that. Obviously you want to see the face and he just happens to put on the boots which kind of reminds me of that spider-verse shot where the character closes the door but it's not super visible, it's kind of just with his leg. I'm just a big fan of that more naturalistic performance where the character does something but we are focused on this and we just happen to kind of see what's going on off screen, it's not distracting, we still don't understand what's going on and it's not overly presentational. This section is really neat because I'm always a huge fan of putting characters in sets, using props and having environments and using environments to change specific acting choices or drive certain acting choices. And what I like about this is that if you are putting a character in an environment, make sure that the character is aware of the environment of what happened, what's going on and can you use this to your advantage? So in this case, given that this is all broken even if you watch this, you're here, stuff is breaking and creaking and the specific sound right as it goes in. And what I like about that is that he is aware of the environment. The sound of the environment influences him and his acting. Because if you just have a walk and opening a door can be interesting from a mechanics point of view but if you let's say, whatever set you wanna add it could be something where stuff is broken and then there's maybe water dripping out. So as the character starts to open maybe because of the opening of the door or something happens and stuff drips on his face and then he or she can wipe that off. So anything that makes it a bit more interesting than just having a character, as I always say in an empty scene. So having a character in this here and having that, even if it's just through sounds but it will still be something that triggers more interesting acting choices. And speaking of set, here's another one. What I love about this is that as the characters go into this and they are framed by the door frame look at what this character does. The talk can exit and you just see the hand, yes he comes in and it's an interesting thing of A you can show off two characters and then you can do something where you only act through a hand which to me is always very interesting where you can kinda push certain things where a character is kinda cut off and a character can even hold a newspaper and flick it or just do this but also for contrast what I like is that he's doing this and it comes back in just for a little bit of contrast and change and then out and then he does this thing here but something like that to me is again interesting where it's not just we have two characters and you gotta watch them and it might be boring you can add something a bit more interesting a bit more contrast and also do some interesting finger acting and if you need to hand finger acting watch anything with Harrison Ford. This one I thought was neat because he is talking but he's not in focus, we are looking at him. So he says something and we did everything right whatever the line is and there's just that reaction the doubts and potential panic what I like about that is I'm always a big fan of characters reacting and listening to what another character says now this is kinda neat because this could function as your first time lip sync so that you're doing the lip sync for this and because it's out of focus you won't really pay attention to it but you can still kinda practice but the focus is all on this character listening, taking all this in thought process and reacting this could be something more subtle like that a little bit of a swallow which I'm always a big fan of because that's not really available in rigs or you can do something bigger could be a smile, could be a bigger reaction but kinda like this idea that you do have a two character shot and you do have technically lip sync but you can kinda like, let me just practice and there won't be so much focus because it's actually not in focus and everything that I'm gonna polish is on this character listening. Here is a classic wait assignment he is carrying another victim of this accident but it's not like it's a bag of potatoes that he just kinda swings over and just kinda lets it fall look at how delicate he is with putting it down read lots of little adjustments there making sure that the character is not getting hurt despite being already extremely hurt and even at the end here that little bit of a there's that little extra long hold on the hedge just I care about this character make sure that this character doesn't fall onto the ground but again, if you have something where it's a wait assignment what is the character carrying? Could be against a bag that's uneven so it makes it more challenging to hold kinda like the way you have it here with a lot of adjustments versus a big box that you have very obviously very strong corners and areas where the character can hold and always have a steady grip so to me it's if you do a wait assignment where the character carries something think about what is the object obviously and that will drive the acting choices and does this character care about what he or she is holding and carrying and putting down or lifting or whatever your assignment is this is all about lip sync but to me it's always what's after the lip sync that's also interesting so he kinda threatens this character saying you know I can't make it better for you but I can certainly make it worse and then he realizes all right well this is not a good thing here I'm not gonna fight this then he says well do the thing that I'm telling you to do I'm paraphrasing horribly by the way and then he says yeah, yeah, yeah but I like it about that is the end so after he says yes long look and then that turn I love how he turns away I love that actor that look, blink and then turn and he's constantly so kinda relaxed but also it doesn't really give a crap about things attitude in this despite the horrible incident but I love this technically so you would have lip sync and then your audio file kinda stops but you don't really have to stop the shot what if you add one more thing especially if you start with the shot like this it's on a weird ending kinda book ends you know this and this but I love this I love that you have that and then his long judging look and then turn away and I love that he doesn't blink either so one of those things where when do you wanna blink? lots of blinks, no blinks very threatening just that stare so good but the one thing is that so if this character talks you know obviously you got your wave file your sound file and blah blah blah and you got noise and if you stop then you suddenly have just dead silence so what I would do is I would find files that give you room tone, room noise whatever you wanna call this and actually I'm gonna put a link in description that has all kinds of stuff so if you have something where your audio stops here maybe you know this is your lip sync and then you wanna add one more thing at the end that's this reaction here so what you can do if you have this here find room noise and then put it over the whole thing now this clip might already have room noise you gotta find something that's similar and make it very small you know in the volume and then obviously bring it up more here but I would just pay attention to those kind of things where if you do have something where the sound cuts off it's not noise, noise, noise in music and then suddenly silence anything you can do to smooth out that transition it's very picky this might just be me but something to potentially pay attention to but again I love that this is such a cool ending to obviously the whole episode is awesome but as I'm picking out this moment here it's a good exchange especially his lines and again you don't have to stop when the lip sync stops you can still add one more thing to give him more character is he more menacing or okay or suddenly he could smile and make it a creepy smile or is he smiling and realized hmm he actually wasn't that serious he was just kind of a joke so whatever you can do you can change the scene by adding one more thing at the end now this is not potentially something you can do in your reel but just speaking of that sequence I love this moment where he tells him he tells the other guy on the phone if I'm up then he's up but what I like about that editing is that when he says that if I'm up he's up then it cuts to bam we know exactly oh well that's what he is talking about and it's a simple thing that again you can't really use on your reel potentially but what I want to show you is this he is waiting and this is your classic waiting assignment but I like the changes especially like the little swings and how the fingers are in you can barely see this but that little thing there a little nervous tap there he does a bit of a scratch which classic already does that but I love the pacing then he sees the car and I also love that and then he changes straight to a fast little move and again the fingers a little tightening there lots of things even here getting ready okay I'm gonna start talking to him nervous just all those little things here I love that and this is your classic waiting assignment that you might get at whatever school or that you wanna do at home for yourself and you can do again something where you have a full body shot waiting assignment in terms of I'm gonna show this my arms and my legs and everything or do this or both right you do full body and then you wanna cut to something that's a bit closer for more detail in the face potentially but I wanted to show this as an example because a waiting assignment is a classic thing that students do at school I mean at least I did it I'm assuming nowadays it's still being done I think it's a good exercise but anyway, that's just an example I wanted to show and that's it now speaking of something that students do is at least to me I think it's too much gesturing with arms and then you end up being in a pose where it's too twinned and it's just too gesturing and too big and it's always kind of the default thing that students usually go or gravitate towards what I like about this is that he does have, I wouldn't say gesture but it's a smaller thing with his fingers he's somewhat frustrated he's bored on angry but he's also a bit nervous and I like that little tiny thing now sometimes you shoot this reference and then you start adding this in animation and it becomes too poppy and it's weird and you might not be able to exactly take all of this and use the fingers but my thing is always if you start a shot and you act it out, put your arms behind your back and just act it out just with the body and the head that to me will always be more interesting and then you will add one or two gestures for contrast and emphasis but I do like that little thing on the finger end up the hands in general even here on the second shot just that, just those little things here you can show all of this all of the tension, the impatience and everything and it doesn't have to be a big hand or arm gesture but just that tiny thing here still adds to the, you know, again so the panic or to the nervousness that this character goes through or feels this one is potentially tricky again not, I don't know if you can take this directly for your for a shot, as a real shot or for an exercise but I wanted to show it anyway I love this guy that comes in look at that face it seems like he's just judging fam, judging that guy right away or judging the environment but as this guy stood out to me I love what he does afterwards so watch him he goes and then walks around and then he checks the chair he checks the chair and goes, nope I'm gonna sit somewhere else who does that? who does that? did the director tell him to do this? this is something that he decided to do I don't think you would see this in an animation movie this is something so weird and specific actor-wise I don't know this is so cool it cracked me up but anyway, do you wanna do this in your shot and your reel? maybe maybe not, I'm not sure and again, the same thing with this afterwards but basically what I wanna show you I just love this whole this first episode it's so good throughout just everything again, sound design and acting but these guys have to brief everybody else and obviously they're slightly nervous and they wanna make sure that they don't say that everything is horrible they're making a joke mainly this guy makes a joke and I love the reaction of this guy he goes, hey, hey, right? right guys, right guys? then he goes back to maybe it's not that funny but also I like the reactions of other people there's a slight little smile maybe he does something maybe but I love this I love that you have that nervous moment here and that okay, well, let's diffuse attention then make a little joke and that little weasel does, yeah, yeah, yeah, I find this funny even though it's not funny at all anyway, can you use this for a shot? maybe, I mean, you can argue that in the audio that you chose for your lip sync that it's clear that this character is nervous and is making a horrible joke trying to distract those people from the horrible truth and maybe you wanna put another character as kind of a sidekick that's kind of that weasel that does this actually, why not? This could be an interesting thing if you just take this moment imagine it's a longer shot not this here but this goes on for a bit longer and that's the end of it could be interesting I just love that guy, such a weasel now I talked about exercise and here's another one it's not just sitting down but a standing up is also an exercise what I like about this is that if you are given the exercise of the character has to stand up while you can just do a regular stand up or you can do a stand up with a prop but you can also do a stand up with character and I like that he is so impatient and he's like, eh, waves the guy off I love how he waves he uses this one thing so you can almost imagine your shot would be this without these guys and you have maybe whatever maybe it's a person in the hospital and someone, a nurse maybe the nurse wants to help him and he just waves him off or her and it's something that just adds one more thing in terms of character so it's not just body mechanics it's also, this is what the character feels that's his character here in terms of being kind of rude and then maybe you can have a funny reaction of how this character stops but I like this it's a simple thing it's not huge so if you do have a sit up assignment that could just be something that you want to add to give this a bit more flavor and you can see that the cane is a little wobble there I mean, obviously it's old but anyway, I thought this cracked me up when I saw it and it made me think of an exercise right away because a stand up is an exercise that you could attempt speaking of gestures I love this here the soldier tells him that he is waiting for him I don't know why I'm drawing all this but I like to draw so I'll love this here again, as you can tell in the especially if you watch my channel I'm a massive fan of long judging looks where you are confident enough in your shot that you take the time for character to just wait and look and judge and stare and also what's cool is this ah, I love this he doesn't say get up and it's this kind of a this board let me almost start to look away right before it cuts and I love that it's kind of a it's a very simple gesture, right? there's nothing fancy with a wrist flick or anything with the fingers or but it's just that look that pose and just that is such a I don't want to see you but I guess all right, come on, get up I'm ordering you to get up here such a cool move oh, I love this with this working animation this might even be too simple you never know, sometimes stuff in live action works then you put this in your animation it feels like well did you forget to animate the wrist or the fingers you want to add some contrast in there it doesn't always translate but I wanted to show it anyway and also this and you don't really hear what they're saying or whispering so this would be kind of a pantomime thing and I love that, I love that he's already seeing him but he does that extra ah stare, no blink ah, so good this is a long shot I'm including the subtitles so you can read what they're talking about or especially what he is listening to and I love this too in terms of reactions I love that as he listens to and he realizes what he just heard about the running per hour there's no blink, right? there's almost no darting here just kind of listens then he realizes the way, what? and it's that little anticipation where that you start with the eyebrows and then he goes, wait a minute I think this is pretty significant he gets cut off throughout the sequence he gets cut off all the time and it's a simple thing here too with his lips together and the lifting of the head and if you watch my channel you know I'm a massive fan of head accents so you could just leave the character always in this pose but I love that little change through there but the main thing I want to show you is mainly his eyes and the blinking when does he blink? when does he not blink? now he's being told he's being roughly again and being told what he's supposed to do here and you can see that little squint there but not that much blinking and then he realizes, wait what? and you can see again the widening with the eyes and the brows going up and then he just processes what he just heard and you can look at the blinks lots of blinks, lots of processing and wait, wait, wait, what's going on here? and again, think about that as you do your shot, when do you blink? when do you not blink? do you have something where the character just kind of listens and he's not blinking that makes him very concentrated or maybe kind of spaced out and actually not really listening or something where like, wait did I just hear this? oh, I got to process what I just heard and then he got more blinks like that that could be something that's nervous or something where there's just so much going on that he just heard that he has to take a second before he answers lots of good stuff and the funny thing is if you have a two character audio maybe you wanna be fancy with your audio editing but maybe the original shot is two characters talking but you eliminate one and whenever that character talks you put an audio filter on it so it sounds like he's on the phone or she and then you can concentrate on just one character on the phone listening to the other character and it's all about listening, reacting and having fun just with those moments of when do I blink, when do I not blink when they're putting eye darts do I have a bigger reaction do I move my body with a reaction it's even like something like this that I love so again, if you do have a two character dialogue you don't have to have both characters in the scene you can actually have none of the audio performed on screen it's one character listening to two characters so you have this constant back and forth of who I'm listening to or what I showed before where one character is blurry it's all about the character listening and reacting so this could be something where like I said the foreground is blurry but you can do some sort of lip sync and it's gonna add some balance to the composition you wanna do a character shot that way or like the last thing that I looked at where you take one audio and you tweak it it sounds like it's always on the phone or maybe behind the wall and then you just have a character listening and then do the lip sync and reacting and then that constant back and forth could be really interesting so you don't have to stick to if you hear two voices to portray and animate two characters there you go, that's it, episode one I will hopefully see you next week for episode two and so on because there's so much to talk about so much to show next week, lots of stuff with props but anyway, I hope you're gonna watch the show and if you have, let me know in the comments let me know what you liked or did not like about the show and if you watch this until the very end as always, I appreciate it you know, I am very appreciative of the time that you take to watch this and if you like this, you can give us a like also, if you think that all that stuff is interesting and you wanna use that in your shots you can sign up for my workshops where we can talk about that stuff and we can work together on your shots where we can implement those acting choices and take your shots to the next level if you want to, my sign ups are always open for my workshops and that is it if you don't wanna miss all that stuff that I'm posting then don't forget to subscribe hit that bell button for all notifications if you want to get notified about all my uploads because I do upload almost every day and that is it if you're still here, you're a champ and I will see you tomorrow and next week


Good morning, and thank you for joining us. This is the opening press conference for the Welcome to the Co-Chairs of the 2019 Sustainable Development Impact Summit. Just a note on format. After a brief introduction of the summit, I'll then invite each of our co-chairs to talk a little bit about Why did they accept this role to be a co-chair and what does it mean for them? After all of the co-chairs have spoken, then we'll open up the floor to questions for about 10 minutes. Great. So in this third edition of the Sustainable Development Impact Summit, it feels that we're at a bit of an unprecedented moment. So a bit of a tipping point where we have the science and the data and we have the technology and the know-how, and we have the public demanding concrete actions from us all, especially to resolve the challenges of climate change, inequality, inclusiveness and jobs. This summit aims to respond to that call to action by spotlighting the world's leading examples of public-private cooperation to advance on the Sustainable Development Goals and the Paris Climate Agreement. And it's by showcasing these initiatives that we're hoping that connections can be made and synergies can be struck and through this interaction that the most impactful initiatives will rise to the surface and will prevail and be scaled. This gathering that therefore is more than just a meeting, it really represents a new way of doing business, a new way of operating and new forms of deep collaboration. And as the International Organization for Public-Private Cooperation, we really feel it's our duty to offer a platform like this that can basically spotlight these kind of initiatives and really honor the kinds of action that all of the co-chairs and the participants are leading and this to be held alongside the UN General Assembly. Today, I'm delighted to be joined by three of our summit co-chairs who are really exemplifying going beyond the talk. So please welcome to my left Prime Minister of the Netherlands, Mark Rutte. Yes, very well pronounced. Beside him, Malate Wysen, founder of Bye Bye Plastic Bags and finally Jesper Broden, Chief Executive Officer and President of INCA Group and that represents IKEA Retail INCA Centres and INCA Investments.  Really look, thank you for taking the time out of a very busy week, I'm sure, to join us here today. So Prime Minister, let me start start with you.  But you've recently announced an agreement to reduce your carbon emissions by nearly 50%. That's quite bold. Can you tell us more about that and what are the practical actions that really implies? Well, let me first of all say that I'm so excited to be part of this panel and to co-chair and also very happy that the REF is taking this initiative on this important day in which we will also have, of course, the climate summit at the UN. And I think this has an excellent fit. Talking about the Netherlands, what we did about a couple of years ago, we decided we wanted to have an ambitious target. The 49% CO2 reduction by 2030 and climate neutrality by 2050. But then, of course, the question is how to achieve it. And we have been quite unsuccessful, I think, for about a 12 out of the 18 months it took us to come to the plan. It took us 12 months to struggle, to try to find the right balance of policies and support. But somehow in the last six months we were able to achieve that support level, also from society, to come to a very concrete plan, which is focusing on action. It has to be actionable, so no vague words, but very clear policies. Secondly, it all comes down to an agreement which has to be feasible and implementable, but also for the general population, for them to be able to drive their cars, to live in their houses, and to still go on holidays, so not to have to change their lives all of a sudden. So we have to take the whole of society along. And the third pillar is that next to mitigation we also need to focus on adaptation. The Netherlands half of the Netherlands is below sea level, so we have to make sure that the country keeps its feet dry. So next to mitigation it's also very much focusing on adaptation. I will chair a meeting tomorrow on the global commission of adaptation, climate adaptation, which was founded a year ago in The Hague. So there's really a pillar next to mitigation to make sure that also in terms of our dykes and our systems to control the rising sea levels and all the impact climate change has that we can still maintain the country as it is. So focusing on those issues and particularly bringing the whole of society along and the best Dutch traditions of our polder model, which means talking, talking, talking, and then agreeing, and then making speed and implementation, because it took us so much time to come to the agreement with such a broad support that we can really implement it. Yeah. Well, they always say, if you want to go fast, go alone. But if you really want to have impact, go together. That's it. But that takes time to come there together. It takes time to get there. And we made mistakes in the first half year, 12 months to get there. And then we accelerated. So if you were going to do this all over again, what advice would you have then to other governments who want, you know, I think who want to make those kind of changes but maybe don't have the courage or the confidence to go forward as you did? Exactly. Well, we had the pleasure of hosting the German climate cabinet under the leadership of Angela Merkel and her minister for environment and finance and economic affairs. And we basically spent the afternoon telling them what we did wrong. And the most important thing is that you have to be very clear in your communication on what you want to achieve. Then you need to tell people we think by then that we know the next step. Because if you are not very clear in your communication and that was what you learned over time, is what you are communicating is insecurity, is un-clarity. And people start to think, yes, of course we want to avoid this CO2 emission issue. We want to avoid the fact that the climate is changing, but can we still live our lives? What does this mean financially? Can we still raise our children? And all these insecurity issues started to come up because we were not able over time, soon enough, to tell people what we wanted to achieve with this broad support from companies, societal organizations, the industrial sector at large, but also Greenpeace and the whole environmental sector. That took time. And I think that was the main lesson, that you have to be very clear by which date are you going to communicate what instead of saying, well, in 12 months we will be there. And in the meantime, the press and others starting to speculate and then people starting to become unclear on what is happening and therefore unsecure on what it will mean for their own personal lives. You really have to have that resolve to push through. Exactly. And it takes time. So you cannot really allow yourself to do it in a shorter time span, I guess, because you want to take so many companies, organizations, NGOs along in the whole process. But in the meantime, be very clear on by what date you can communicate what outcome. And we didn't do that. Lessons learned. Absolutely. So Milate, the Prime Minister has outlined a very inclusive process. You've spent nearly half your life, actually, bringing awareness to these topics, mobilizing, I guess, a grassroots kind of backing behind you. Tell us a little bit more about Bye Bye Plastic Bags. Yeah. So Bye Bye Plastic Bags is a story that started about six years ago at the age of 12. And when my sister was 10 years old, we learned about significant people all around the world. World leaders Nelson Mandela, Lady Diana. And I remember going home that day thinking with my sister, what can we do as kids living on the island of Bali and Indonesia, what can we do right now? We didn't want to wait until we were older to start making a difference. And so the idea with Bye Bye Plastic Bags is 40 other countries around the world at the time had already banned single-use plastic bags. So you can imagine in the minds of 10 and 12-year-olds, we said, well, 40 other countries already did it. Come on, Bali. Come on, Indonesia. We can also do it.  But the power of, I think, Bye Bye Plastic Bags is really that we were youth led, that all of a sudden on the island of Bali, here came the voices of the young people. And we would go knocking on the doors of our government, writing the letters, picking up the phones, writing the emails and saying, this is something that we truly see as a solution. And only after six years of campaigning, continuous efforts on a daily basis, only two months ago, or three months ago at this stage, the ban on plastic bags, straws and styrofoam has finally come into effect on the island of Bali. Okay, so one year's not too bad. It took 60 years to get the legislation. Yeah, definitely. And I really related to the fact of clarity within regulations and clear communications from government to public, because I think one of the most frustrating things as a young changemaker is access to information at high level gatherings and high level political meetings. So I think young people have a very important role to play to act as that bridge between all of these industries and connect the dots, because currently it's not happening enough. And that is where the frustration of things happening too slow comes from. It's that clarity within our community that is lacking, where we all, I think at this stage, we all have to be on the same page. We all know that 2030 is around the corner. What are those tangible action steps that we can implement today? And I think while having set in stone regulations for timelines like 2030, it shouldn't have taken six years to implement a ban on one single-use plastic item. So starting today with those actions that we know are already solutions that exist, start implementing them. And I think investing in people is how we get those solutions to come into reality. Fantastic. It's great. Well, we'll speak to Ikea in particular in a moment, but you were just at a youth summit yesterday, and you were highlighting some of the great takeaways that you had from that gathering. Maybe as a connect, why don't you start? That was very scary. I mean, inspiring to meet. So basically it was just an evening and a workshop with some 15 youth leaders and 15 representatives of big companies. And the inside is that there is a gap between us, and there is a dialogue. And sometimes the assumptions might be right, and sometimes they're very wrong. And in a time that we are in now when humanity is facing the biggest crisis ever, we simply don't have time for misunderstandings. So dialogue, bringing people together, courage to open up, to be transparent, to be with both your intentions and your weaknesses, et cetera, is, I think, incredibly important. So that was an appetizer for something that we think needs to happen much more. Very good. Well, you have a very credible story. So maybe you can talk through some of the changes that you've made throughout the companies and organizations that you're responsible for. Yeah. No, I think we are here to be part of a big movement. You know, nobody can do everything, but all of us need to do a lot in order to resolve the crisis. And I think of the last decade or more, it's been a growing insight within the community of all of IKEA that this is not only a responsibility for us, but it's a matter of survival for a business model going forward. You can say there are three reasons that each one of them are enough for us to take actions. And the first one is interesting enough, the awareness in the world is on a rise. We made a survey last year, 14,000 people in 14 markets were asked and more than 90% today are deeply concerned about climate change and global warming. And only 3% know how they can contribute. So there is a frustration and a gap between the issues that we all see, but also the solutions that are there and how we can scale them. So we think customers should deselect companies that are not doing their part.  Now, secondly, which is I think one of the fascinating things that the world still believes that sustainability is going to come at the premium and that sustainability is going to be a cost that we have to take. But it is the opposite. It's a matter of timing maybe in some cases, but we see in area after area that we will simply not be able to serve the many people within a wallet unless we take back materials. We discussed before here about taking back mattresses in Netherlands, which is great, but it's also probably the only way we can do it affordable tomorrow. And the third reason is it's just the right thing to do for ourselves and for generations to come. But you touched upon kind of the fiduciary responsibilities and in terms of a driver of where you're feeling, you know, the contrast in the pressure from consumers or from the public. Some would say because you're a private company, it's actually easier for you to make those ambitious commitments. Tell us more about that. I think there are some realities around what we need to help each other with. I think also in the collaboration, not at least between governments and companies, if you're in financial stress to have the guts to take investments going forward, it can be difficult. So I think in certain sectors, we need courageous governments who give, who basically reverse the models of what you incentivize in society. But I'm sort of saying not here to negotiate, but more to say, I think for us being a private company, we are today not in a place where people think that we and I try to convince our board, but it's the opposite. Our board is putting pressure on us in the management to do more. So it is a conviction that is growing, I think throughout. And here, I just wanted to add that also, we believe the important thing, what you were referring to, Mr. Prime Minister, is that good intentions are important and words give them power. But in the end of the day, it's actions that's going to change things. So how do we lend ourselves to principle of actions, support each other to have speed, make sure like in this headline of this summit that symbolic actions are nice and can inspire. But we need to have impact and be able to measure impact. And finally, we need to prove that together, we can change the models of the 1900s into something new. Could I very much stress this last point because what I found in creating this climate agreement in the Netherlands with the right to organizations, NGOs, but also the industrial sector is that you need them on board in two ways. First of all, because some of them, actually a lot of them are inspiring. Comes in the Netherlands like indeed Ikea, but also DSM, Unilever, others, are inspiring to raise the bar because they are really at the forefront. And it's in very practical terms, very action oriented. But secondly, because you need to dialogue, for example, to discuss a carbon tax. And there are many ways to deal with this carbon tax issue. You could say we raise the overall carbon tax, the base level, and then we have exemptions for, for example, the steel industry. Or what we decided, you have the European trading system, the European tax, the European carbon system. But on top of that, we will have an excess levy by which you stimulate companies to be best in class. And if you are, you don't pay. If you are not, you have to pay. And that will incentivize companies to become the best in class. So you get a sort of raise to the top. So these are various ways to do that. And you need the dialogue, for example, with the steel mill industry, because if you don't do that, there is the risk that they will then decide to take their investments to Germany or to Belgium. So there's also the issue of the level playing field with other countries. And this is not because the steel industry is not interested in CO2 emissions. They are. But of course, they also have to stay competitive. And by doing it this way, also with countries like Germany and France and Belgium, you are able to create that level playing field. You need that intense dialogue within this tree and their knowledge and expertise. And of course, at the end, it is the political class which has to take the decisions in a democratic society. But you need maximum input. So in these two ways, I found that industry has been very helpful in creating, helping to co-create that climate agreement. Yeah, it's almost like we have the perverse incentives right now that that's what we have to reverse to get to the right economic model. And you're saying you've got to take that outside of your boundaries for it to be effective. Because if the other markets offer something, you know, are incentivizing in a different way. Exactly. We have one of the most environmentally friendly steel mills in the world in the Netherlands. They employ 8, 9, 10,000 people. But at the same time, you also want them to become the industry standard worldwide and stimulate that process. And we also know that of course steel mills and in general, let's say, the oil industry or the chemical sector, they of course are responsible for large parts of CO2 emissions. So we have to bring them down because you still need those products. Absolutely. And we need the jobs and we need these beautiful companies to stay healthy. That's good. In fact, the World Economic Forum was managing the industry track of the UN Climate Action Summit that's launching almost as we speak. And it's 30%, you know, the seven hard to abate industries of shipping, cement, aluminum, mobility or tourism. These account for 30% of greenhouse gas emissions. So if you can make a difference and transform those industry sectors, you can have a significant impact on reaching. Very good. Maybe just to make a comment, I think from what I hear from fellow leaders of companies, there is actually three things we ask for governments. One is the collaboration of the borders because otherwise it becomes complicated to move, as you said, from a competition point of view. And including that level playing field dialogue. Then long-termness, meaning that even if politics can go left and right, etc., this change requires predictability. If we're going to invest our way forward. And finally, to have some, to make time a friend, even if, to your point, the clock is ticking, give us and the industry two, three, four years to shift. Like some now cities are very clear on saying that by 2023, 2025, you will not enter the city without being electrical. And that's giving enough time for companies to do the hard work to shift. Where we, for example, will be 2025, we will be aiming to the only electrical deliveries, home deliveries worldwide. First city, Shanghai is up and running. Paris, that's a secret, but it's going to be announced in half a year or so on. Amsterdam, New York, etc. And a lot of cities is basically doing the hard work that it takes governments, infrastructure, providers of electricity and providers of mobility to actually do the job together. But that takes a couple of years to get it in place. Right, right. I'd like to add something as well, just because this week has been full of conferences and different gatherings. And a lot of them are high level, at least the ones that I've attended. And we stress the fact that the time for talking is over. And it's really this action that we need to have. And a lot of the timelines that we're looking at is 2030. I'll be 30 years old. And I'm 18, and that seems so far away. So I think that starting with the two to three years where we see the change happening with clear guidelines and clear outcomes is so important. And actually, that's where in two weeks you'll be coming to my home country in Indonesia. And I think one of the things we struggle with is clarity within policy, but also policies that invite businesses, invite the communities to start adapting to the changes that we need to see. And so having the government really creating those platforms for us to be able to make the difference, instead of it being a struggle and a fight or a continuous dialogue, it needs to start turning into an implementation of action. Honestly, what we have learned only by co-creating, because if government would only take the input and then take the decisions, that's good. But if you are able to come to a sort of agreement in which parliament and government together with societal organizations would say, this is the way forward, that's the best way. Because otherwise, well, governments try to govern and to take decisions as good as possible, but of course they don't have all the knowledge and all the latest expertise and the real innovative ideas typically come from you, come from companies, come from small or large-scale societal organizations. Then you have to be sure that they are not too much driven by a particular interest group or a lobby because that doesn't work. If it is a lobbying issue, the whole thing gets killed. But if it is true input based on lessons learned, the latest insights, then you get a broad base and then you're able to take the whole society along. Of course, we still have to prove whether that will work. I mean, I'm fairly confident that where we are at now, that we have created something collectively which will inspire others in society to join. But of course, to prove that the pudding is in the eating and that eating has started a couple of weeks ago. Very good. Maybe you'll start that. I also think it's a bit of an old dilemma about how do you share, how do you avoid being perceived as greenwashing, for example, when it comes to companies. I think for myself, I think we're almost to say we have to take the risk to be wrongly perceived here because the sharing of examples is so important. And here we need to collaborate also, I think, with you in WEF to say, how do we share more examples? The network that you have, because we believe when we start to look into the problems that the solution is already here, some can get better, but it's about scaling existing technology. And that requires a dialogue between all of us. Absolutely. Well, it looks like, thank goodness, we've got two days of dialogue to go because it looks like we could carry on this conversation. We're saying considerable carbon footprint by traveling here, but we have to make the best of it. Make it worthwhile. Absolutely. And thank you for your time on that. Indeed, I've got, I would say three real takeaways from this discussion so far, really make time your friend. So embrace the fact that this is going to take a long time, but communicate that. Lay out the plan and manage expectations on that. I think go together. That dialogue does take time, but you've got to do it now. And to Malati's point about, the time for talking is over, except I think if it's to really get to a point of constructive collaboration. But she's also proved the fact that one person can make a lot of impact or two, you and your sister. But still, two people, it's a very small group, still a very small group. And now you've gotten rid of all the plastics on the whole island of Bali. So let's see how we can help to get rid of these plastics on the whole of Indonesia. Yeah, I mean, I think also just representing the larger younger generation, we're unstoppable. And you saw us on the streets on Friday. Millions of us came out, and it's this unstoppable movement where we are demanding a change in the community. We're recognizing that at the rate that we're going at, we can no longer continue. And there are exactly that existing solutions that we can plug into our everyday life. So it's about time. All right. I am going to open up the floor for the last five minutes for questions. Before your question, please state your name and affiliation. And I will try and take a few questions. So please raise your hand if I see three, four. We'll take them all, and then we'll turn to our panelists for answers. My name is Jochen Wiermoet. I, we are just about to travel to Holland on the Newtage von Prinz Constantine to go to your patrol ships and islands to talk about innovation. The mission innovation countries committed in Paris in 2014 to double innovation in renewable energies from 15 billion to 30 billion. And yet some of the innovations needed hasn't happened. So the World Economic Forum supported by KPMG has come up with an initiative to establish a global fund, the Sustainable Energy Innovation Fund, which would invest globally in innovations, both technology but also business innovation. If you already know how to do it in New York, then we should be able to do it in Sydney. And so that's an initiative where we hope the German, Dutch, other governments will be public participants as well as private participants matching public private money. And we look forward to doing that. And I just wanted to congratulate you on introducing a price mechanism. Greg, thank you, many Nobel Prize winners want a price for carbon and well done because the market can fix it. So thank you. Thank you. Thank you. We could get the questions very quickly. Thank you. I'm Steve Hamm. I'm from the innovator in Paris. And my question goes, comes off of that idea that we have much of it. We have many of the solutions, technologies, things like that. We need to scale. What's a great example of scaling right now? Yeah, I think there are many good examples, but some of them are actually a little bit in the background. If I look in my own company in the network, we have been scaling, moving from wooden pallets to paper pallets with a lot of saving in that. We have been scaling. We are right now scaling from assembling of furniture to clicking furniture with a lot of tons of material saving, et cetera, but actually enabling that you can start to rent and lease furniture because you can not only assemble, but you can disassemble, assemble again with higher quality. We are part of looking into not inventions, but scaling fibers and materials that has been on the radar for a long time, but there was no urge really to take the first investments to move up with them. Yes, I just want to move to the last two questions. Yes. I thought I had an hour to give examples of that. Such enthusiasm on this topic. Last question. Thank you so much for this hugely inspiring briefing. My question goes to the Prime Minister. You are going to be at the UN and meet all the world leaders. First of all, how did you manage to get the momentum in your country in the last couple of months to get the public opinion and the companies finally going to do the necessary changes which are inconvenient? And secondly, when you meet all the world leaders, how can you convince them that it is really, really urgent to take these measurements like taxes on carbon and how can it be done with an incentive? I think to the first question, because we were able to explain to the general public, people felt that we could do this in a way that they didn't have to change their lives all of a sudden, that they could take use of the logical decision moments like buying a new home, buying a new car, that these are the logical moments in the private lives of people to connect to what we want to achieve collectively. On the other issue, I think it is because it makes sense, but also because all evidence is there and there is, if you don't believe in all the evidence, at least there is a reason for the business opportunity because countries on the forefront, like the Netherlands or France or Germany, I am absolutely convinced, will also benefit economically from this because you will be the first with innovative technologies which will then be spread worldwide. So if you don't believe in the issue of climate change and there are not many people any longer there who don't believe in it, but even then do it because of the huge economic impact it can have. All right, with 30 seconds to go, I'm going to ask each of you 10 seconds, what's your one message to the audience today? I would say it is accountability and action-oriented. Very good, Milati. Holding those in power accountable. Great, Jesper. We're going to fix this. All right, thank you. Thank you so much. Great discussion. Great, thank you. Thank you. Thank you. Thank you all for joining us.


Michelle asks, I've created an Excel spreadsheet with lots of SharePoint links. I've copied the link from SharePoint and pasted it into Excel, but others in my organization are unable to open the documents. What am I doing wrong? I've created lots of documents like this recently. We'll have to update them all if I can't find a solution. I'm not the owner on the site, but I am a member. I have added other members onto it. What do I need to do to make the Excel spreadsheet work so others can see the links? Define C. C to me means they can't see the links in the spreadsheet as a hypertext link. I don't understand why they wouldn't be able to see the links, but if they can't open the links, that's going to be a permissions issue. Yeah, I was assuming it was open, so see the links, see them in Resolve. Yeah. I wonder if it's open in Protective View or content, external content is somehow at play here, and you need to click an extra button to get the, I don't know. Could also be the default sharing link type, so only specific people, any people, whatever is set at the organizational level. And that could be preventing the link itself from being available to non-specified members or members of the site or people that you explicitly name. That's likely, more than likely what's happening, Norm. I envision Michelle building this curated list of SharePoint links, right? And when they go to click on it, it doesn't open. And that, yeah, that, if that's the case, yeah, you've got to be very careful on that ShareLink. Number one rule in anything SharePoint is check permissions first. You've built it, you can click and get to it. That means nothing. If you've built it in a location and everyone else doesn't have access to the site, to each of those assets. If you're pulling from across the SharePoint environment, guarantee you that not everybody has access to all of those things. Just because you can see it doesn't mean other people can see it. It's all, it's based on permissions. Have you seen organizations, clients, be so disciplined about the container being the site collection now? And you do not, you do not do anything more granular than that with permissions. Have you guys seen that? Is that a trend that you're noticing? No, that's why they flattened the structure because permissions and broken permissions were such a problem. I think that's why they decided, subsites are bad. But yeah, I always tell them if you need a different audience, don't do a document by document. Create another library in the site and change the permissions there and then move the document into that library, but yeah. So what I'm noticing is it would be a new site entirely if you needed a different audience for that. Oh, that's bad governance, my opinion. But the other thing, here's my backwards hack for her. If you change to classic view and copy the link using it from there, it actually gives you the clean link and not the big encoded encrypted gobbledygook that they add 500 characters at the end of your file path. And I prefer to use those because it just takes it correctly to the document. And if you have permission, you have permission. If you don't, you don't. So that's my backwards little 20-year-old SharePoint hack. And Sherry, just to clarify, is gobbledygook a technical term or? Yes, it is, yes. I think we'll have to add that into the glossary for the video, yes. Let me try to get this one right there. That's right.  There's really quick to go in and do a search on what permissions are available for this location for each of those, or go to an individual user that is unable to get into multiple links and use that as a test and see very quickly your locations and whether you've just added content into locations that no one else has access to.