To do a series of paintings that in some way would celebrate the birth of pure adult Francesca. And it was very difficult. For me to imagine how to. Paint pictures that were based on piano until I realized that I could look at the piano as nature that I would have the same attitude towards looking at Paradela Francesca's I would if I were looking out a window at a tree and that was enormously liberating to me and perhaps it's not a very insightful observation but that really started me on the path to be able to do a kind of theme and variations based on a work by Piero in this case. That remarkable. Painting that's in the you feet see the Duke of month the filter of the faces his concert of T. Stuff once I realized that I could take some liberties with the subject I did the following series of drawings. That's the real Piero della Francesca. One of the greatest portraits in human history. And these I'll just show these without comment it's just a series of variations on the head of the Duke of want to felt it was a great great figure in the Renaissance and probably the basis for Machiavelli's The Prince he apparently lost an eye and battle which is why he is always shown in profile and this is about. And then I decided I could move them around a little bit so that for the 1st time in history they're facing the same direction website past each other and then a visitor from another painting by Pierre Oh this is a from the resurrection of Christ as though the cast had just gotten off the set to have a chat and now for large panels this is upper left. Upper right. Lower left. Lower right Incidentally I've never understood the conflict between abstraction and that's realistic. Since all paintings are inherently abstract to begin with doesn't seem to be an argument for. I don't know this subject. I was driving. In the country one day with my wife and I saw this sign and I said it's a fabulous piece of design and she simply talking about I said well it's so persuasive because the purpose of that sign is to get you into the garage. And since most people are so suspicious of the Raj it. And know that they're going to be ripped off they use the word reliable but everybody says they're reliable. But reliable Dutch. And test. Because soon as you hear the word Dutchman which is an archaic word nobody calls Dutch people Dutchman anymore but so he had that's when you get this picture of the kid with his finger in the dike preventing the things performing and flooding Holland and so on and so the Thai issues the toxified by the used Dutch. If you think I'm exaggerating at all in this all you have to do is substitute something else like Indonesian. Sport even French. Now Swiss works but you know it's going to cost a lot of money. I'm going to take you quickly through the actual process of doing a poster I do a lot of work for the School of Visual Arts where I teach and the director of the school a remarkable man named Silas Rhodes often gives you a piece of text he says do something with this and so he did and this was a text and words especially the same rule will hold a like fantastic if to a new or old the not the 1st by whom the new I tried nor yet the less allay the old the site Ike that make nothing of it and I really struggled with this one that the 1st thing I did that was sort of in the absence of another idea was Al sort of write it out make some words big and then I'll have some kind of feel design on the back. Somehow I was hoping as one often does to stumble into something so I took another sort of crack at it you gotta keep it moving I xeroxed some words on a piece of colored paper and I pasted them down on a board. I thought that something would come out of it like words will fantastic in the world 1st last pope and caused by Alexander Pope that I sort of made a mess out of it and I thought I'd repeat it in some way so it was legible that was going nowhere. Sometimes in the middle of a resistant problem I write down things that I know about it. But you can see the beginning of an idea that because you can see that the word new emerging from the old that's what happens is that there is a relationship between the old and the new the new merges from the context of the old and then I did some variations of it still wasn't sort of coalescing graphically atoll had this other version which had something interesting about it with in terms of. Being able to put together in your mind from clues that W. Is clearly a W. The end was clearly and even though they were very fragmentary and there wasn't a lot of information in it that I sort of got the words new and old as and now I had regressed back to a point where they seemed to be no return and I was. I was really desperate at this point and so I did something I'm truthfully ashamed of which is that I took 2 drawings that I had made for another purpose and I. Put them together. And it says dreams at the top and I was going to do the thing I said well change the copy led to say something about dreams in the compass V.A. And you know sort of fulfill your dreams. But to my credit. I was so embarrassed about doing that that I never submitted this sketch. And finally I arrived at the following solution now it doesn't look terribly interesting but it does have something that. Distinguishes it from a lot of other posters. For one thing it transgresses the idea of what a post is supposed to be which is to be understood and seen. Immediately and not explained and I remember hearing all of you in the graphic go nuts if you have to explain it and I can't work and one day I woke up and I said Well suppose that's not true. So here's what it said in my explanation at the bottom left thigh it says thoughts. This poem is impossible Silas usually has a better touch with his choice of quotations this one generates no imagery at all I am now exposing myself to my audience right which is something you never want to do professionally. Maybe the words can make the image without anything else happening what's the part of this poem don't be trendy if you want to be serious is doing the post in this way trendy in itself I guess one could reduce the idea further by suggesting that the new emerges behind them through the old like this and then I show you a little drawing you see you remember that old thing I discarded wife on the way to use it so there's that little alternative over the. And I say not bad at criticizing myself but more didactic than visual maybe what it wants to be said is that the old and the new A locked in a dialectical embrace a kind of dance where each defines the other and then more self questioning am I being simple minded is this the kind of simple that looks obvious with a kind that looks profound there's a significant difference this could be embarrassing actually I realise fear of embarrassment drives me as much as any ambition do you think this sort of thing could really attract the student to the school. Well I think there are 2 fresh things here to thresh things one is. The sort of the willingness to expose myself to a critical audience and not to suggest that I am confident the but what I'm doing and as you know. You have to have a front I mean you've got to be confident if you don't believe in your work who else is going to believe in it so that's one thing that sort of to introduce the idea of doubt. To graphics that can be a big contribution the other thing is to actually give you 2 solutions for the price of long you get the big one if you don't like that how about a little. And that too is a relatively new idea and there's just a series of experiments where I ask the question of does a poster have to be square but this is a little illusion that posters not fold it. It's not folded that's a photograph and it's cut on the diagonal same Cheap Trick and the upper left hand corner. And here. Is a very peculiar post because simply because of using the isometric perspective in the computer. It won't sit still in the space at times it seems to be wider at the back on the front and then it shifts and if you. Sit here long enough it will float off the page into the audience. We don't have time. And then experiment. A little bit about the nature of perspective where the outside shape is determined by the peculiarity of perspective but the shape of the bottle which is identical to the outside shape is seen frontally and another piece for the our direct this club is on a reed is casting long shadows this was another post from a School of Visual lots of there were 10 artists in Vita to participate and it was one of those things where it was extremely competitive and they didn't want to be embarrassed so I worked very hard on this the idea was that there was a brilliant idea was to have 10 posters distributed throughout the city subway system so every time you got on the subway you'd be passing a different poster all of which had a different idea of what art is but I was absolutely stuck on the idea of art is and trying to determine what art was but that I gave up and I said Well art is whatever and as soon as I said that I discovered that the word hat was hidden in the word whatever and that led me to the inevitable conclusion but then again it's on the So my list of didactic posters if I intend this to have a literary company meant that explains the post in case you don't get it. That this said no to the viewer I thought I might use a visual cliche of our time and greets every man to express the idea that art his mystery continuity and history I'm also convinced that in the age of computer manipulation surrealism has become but now a shadow of its former self. The phrase art is whatever expresses the kind of the inclusiveness that surrounds art making a sort of It ain't what you do it's the way that you do it notion the shadow of the grete falls across the central part of the post of poetic event that occurs as the Shadow Man isolates the word happed hidden in the worried whatever the 4 hats shown at the post suggest how art might be defined as the thing itself the word for the thing the shadow of the thing and the shape of the thing whatever. And the one I had that I did not submit with which I still like I want to use the same phrase sort of. There's some wonderful experiments by brutal. Letterforms some years ago see how far you could go and still be able to read them and sort of that idea stuck in my head but then I took the pieces that I had taken off and put at the bottom. And thought of course those are the remains and they so labelled But what really happens is you read it as art is whatever remains. Thank you. It was chilly in Greenwich Village and most of the Beat generation activity was indoors However the few who were not allergic to FRESH AIR were on the streets. And in front of the ponytails were mostly pretty nice kids right now they believe in abstract art and poetry Zen Buddhism faith the folly Thomas success of faith is the big generation really be. Believe in shaping money women children and maybe station wagons as for myself I was headed for studio. I assume they wanted me to contribute to his poetry magazine. I worked on a film called Apollo 13 and when I worked on this film I discovered something about how our brains work and how our brains work is that when we're sort of infused with either enthusiasm or. Fondness or whatever it changes and alters our perception of things that changes what we see changes will remember and as an experiment because I. Create a task for myself of recreating a Saturn 5 launch for this particular movie because I put it out there I felt a little nervous about it so I need to do an experiment and bring a group of people like this in a projection room and plays this stock footage and when I played the stock footage I was simply wanted to find out what people remembered what was memorable about it what should I actually try to replicate what should I try to emulate to some degree . So this is the footage that I was showing everybody and what I discovered is because of the nature of the footage and the fact that we're doing this film there was an emotion that was built into it and our collective memories of what it what this launch meant to us and all these various things when I showed it and I asked immediately after the screening was over. What they thought of it what was your memorable shots they changed them they were had camera moves they had all kinds of things shots were combined and I was just really curious I mean what the hell were you looking at just a few minutes ago and how come you know how to come up with this sort of description and what I discovered is the what I should do is not actually replicate what they saw is replicate what they remembered so this is our footage of the of the launch based on basically taking notes asking people what they thought and then the combination of all the different shots of all the different things put together to create their sort of collective consciousness of what they remembered it look like and what it really looked like so this is what we created for Apollo 13. a wax that I threw in front of the lens to look like ice and so basically if you believe any of the stuff that I just showed you what you were reacting to what you're remoting to is something that's. Total falsehood and I found that really kind of fascinating and in this particular case this is the climax of the movie and you know the way to achieving it was simply take a model throw it out of a helicopter and shoot it and that's simply what I did that's me shooting and I'm a fairly mediocre operator so I got that nice sense of versatility that of a kind of you know following the rocket all the way down and giving that little sort of I just desperately trying to keep it in frame so then I come up to the next thing we had a NASA consultant who was actually an astronaut who was actually on some of the missions of Apollo 15 and he was there to basically double check my science and I guess somebody thought they needed to do that. I don't know why but they thought they did it so we were you know he's a he's a hero he's an astronaut and we're all sort of excited and you know I gave myself the liberty of saying you know some of the shots I did didn't really suck that bad and so maybe maybe you know I was feeling kind of good about it so I had brought him in here and he needs to really check and see if we were doing and basically give us our A plus report card and so I showed him some shots we're working on and waiting for the reaction that you hope for which is what I got. So I showed him these 2 shots and then he basically told me what he saw. OK. It's what you dream about. So what I got from him is he turned to me and said you would never ever design a rocket like that you would never have a rocket go up all the games your arms are going out you imagine the tragedy that could possibly happen with that you would never ever design a rocket like that and you're looking at me it's like I don't know if you noticed but I'm the guy out in a parking lot recreating one of America's finest moments with fire extinguishers already. And I and I'm not going to. Argue with you you're a national hero and I'm from New Jersey so. I'm just going to show you some footage I'm just going to show you some footage and tell me what you think and then I did kind of get the reaction I was hoping for so I showed him this and this is actual footage that he was on this is Apollo 15 this was his mission so I showed him this . And the reaction I got was interesting. So and what happened was I mean I what I sort of been tuned in that is that he remembered it differently he remembered that was a perfectly safe sort of gantry system perfectly safe rocket launch because he's sitting in a rocket that has like 100000 pounds of thrust built by the lowest bidder he was hoping it was going to work out. So he twisted his memory right now Ron Howard ran into Buzz Aldrin who was not on the movie so he had no idea that we were faking any of this footage and he just responded as he would respond and run this Buzz Aldrin came up to me and said you know launch footage. I saw some shots I'd never seen before. Did you guys. Did what BALL Did you find that stuff and I said well no we you know we generate all that from scratch and he said Oh that's pretty good can we use it. I think he's a great American. So Titanic was if you don't know the story doesn't end well. Jim Cameron actually photographed the real Titanic so he basically set up or basically shattered the suspension of disbelief because what he photographed was the real thing. Going down actually to Mir subs going down to the real rock and he created a look at it so here's the behind the scenes a couple of. So when you saw my footage you're seeing this. Guy's flipping the ship upside down and the little mirror. And shot and smoke. Jim went 3 miles down and I want about 3 miles away from the studio. And so what So what I did have another screening room experience where I was basically tracking where I was looking at where we were looking and of course you're looking at the 2 people on the ship and then at some point I'm changing the periphery of the unchanging becoming the. And then I would run it every day and then I would find exactly the moment that I stop looking at them and start noticing the rest of it and the moment my eye shifted to the frame them Oh my eye shifted I immediately started to change them so now somehow you missed where it started and where it stopped time. Literally. Because it really wanted to be. Really wanted to feel like they were. That's where they were buried forever or something like that which. Is incidentally last time I ever saw daylight was a long film to work on. And now you go is another interesting movie because the movie itself is about film illusions about how our brain is tricked into seeing a persistence of vision that creates a motion picture and one of the things I had to do is we. Is very clever very smart guy comedian wanted to basically do it kind of the Buster Keaton sort of slapstick things and he wanted his leg brace to get caught on a moving train very dangerous very impossible doing particularly on our stage because there are literally is no way to actually move this train because it's fits so snuggling into our set so let me show you the scene and then I basically use the trick that was identified by surrogate Eisenstein which is if you have a camera that's moving with a moving object what is not moving appears to be moving and what is moving appears to be so what you're actually seeing is the train is not moving. And what is actually moving. So this is the shots it's a little video of what you're looking at there which is our little Tasso that's actually what you're seeing and I thought it was sort of an interesting thing because it was part of the margin of the of the movie itself is coming up with this sort of genius trick which I can't take credit for I'd love to but I can't because it was invented like in $1010.00 or something like that is I told Marty you know it's kind of one of those mind things it's really hard to really get into the actually see it work and I said you know what I was going to do and he said let me get this straight The thing with the wheels that doesn't move. And the thing went out the wheels. Precisely. Brings me to the next and final. Marty is not going to see this is. This isn't viewed outside of. The next illustration is something that. Like all one shot theory it's a very elegant way of telling a story especially if you're following somebody on a journey and that journey basically tells something about your personality in a very concise way and what we wanted to do based on the shot in Goodfellas and on the great shots ever. Basically following Henry Hill through what it feels like to be a gangster walk. Being treated in a special way he was the master of universe we want to feel the same way so we created this shot. what was sort of great for me. Was it was probably the best reviewed shot I've ever worked on and. Kind of proud of it when I was done which is which is you should never really be proud of stuff I guess. So I was kind of proud of it I went to a friend of mine and said you know this is. The best reviewed shot ever worked on one of the what do you think was the reason and he said because no one knows you had anything to do with it. So. All I can say is thank you and that's my presentation 3. I wanted to talk to you today about creative confidence and when to start way back . In the 3rd grade at school in Barberton Ohio I remember one day my best friend Brian was working on a project he was making a horse out of the clay that our teacher kept under the sink. And 1 point one of the girls who was sitting at his table seeing what he was doing leaned over and said to him that's terrible that doesn't look anything like a horse. And Brian shoulder saying he wasn't the clay horse and he threw it back in the bin. I kind of never saw Brian do a project like that ever again and I wonder how often that happens you know. It seems like when I told that story of Brian to my class. A lot of them want to come up after class and tell me about their similar experience how a teacher shut them down or how a student was particularly cruel to them and they some kind of opt out of thinking of themselves as creative at that point. And I see that opting out that happens in childhood and it moves in and becomes more ingrained even by the time you get to adult life. So. We see a lot of this. When we have a workshop or we have clients and to work with this side by side eventually get to the point in the process that it's kind of fuzzy or unconventional and eventually these big shot executives whip out their Blackberries and they say they have to make really important phone calls and they head for the exits. And they're just so uncomfortable when we track them down and ask them what's going on they say something like I'm just not the creative type. We know that's not true if they stick with the process if they stick with it the end of doing amazing things and they surprise themselves just how innovative they and their teams really are. So I've been looking at this kind of fear of judgment. That we have you know that you don't do things you're afraid you're going to be judged if you don't you know say the right creative thing you're going to be judged and I had a major breakthrough when I met the psychologist. I don't know if you know Albert bandura But if you go to Wikipedia it says that he's the 4th most important psychologist in history you know like for OJT Skinner of somebody and. Mentors 86 and he still works at Stanford he's just a lovely guy. And so I went to see him because he's just worked on phobias for a long time which of which I'm very interested in he had developed this this way this kind of methodology that ended up curing people in a very short amount of time like in 4 hours he had a huge cure rate of people who had phobias and we talked about snakes we talked about snakes we talked about snakes and fear of snakes as a phobia. And it was really enjoyable really interesting he told me that he didn't fight this test subject in and he'd say you know there's a snake in the next room and we're going to go in there. And to which he reported that most of the Hell no I'm not going in there. If there's a certainly if there's a snake and there have been Dura has a kind of a step by step process that was super successful so we take people to this 2 way mirror looking into the room where the snake was and you get him comfortable with that and then through a series of steps he'd move move them they'd be standing in the doorway with the door open and they'd be looking in there he'd get uncomfortable with that and then many more steps later kind of baby steps they'd be in the room they'd have like a leather glove on and they'd eventually touch the snake. And when they touch the snake. Everything was fine they were. In fact everything was better than fine these people who had lifelong fears of snakes were saying things like Look how beautiful that snake is and they were holding and they were holding it in their laps. Bandura called this process guided mastery I love that term guided mastery. And something else happened these people who went through the process and touched the snake ended up having less anxiety about other things in their lives. They tried harder they persevered longer and they were more resilient in the face of failure. They just gained a new confidence. And Ventura called that confidence self efficacy right this sense that you can change the world and that you can attain what you set out to do. Well meaning Bender was really cathartic for me because I realised that this you know famous scientist had documented and scientifically validated something that we've seen happen over the last 30 years that we could take people who had the fear that they weren't creative and we could take them through a series of steps kind of like a series of small successes and they turned kind of fear into familiarity and they surprised themselves the transformation is amazing we see it that these schools now all the time people from all different kinds of gifts that once they think of themselves as only analytical and they come in and they go through the process our process they build confidence and now they think of themselves differently and they're totally totally emotionally excited about the fact that they walk around thinking of themselves as a creative person. So I thought one of the things I do today is take you through like and show you what this journey looks like to me that journey looks like. It's. Doug Deeds is a technical person he designs medical imaging equipment large medical imaging equipment he's worked for G.E. And he's had a fantastic career but at one point he had a moment of crisis he was in the hospital looking at one of his M.R.I. Machines in use when he saw a young family and this little girl and that little girl was crying and was terrified and Doug was really disappointed to learn. That nearly 80 percent of the pediatric patients in this hospital had to be sedated to deal with this M.R.I. Machine right and this was really disappointing to Doug because that before this time he was proud of what he did you know he was saving lives with this machine but it really hurt him to see the fear that this machine cause thing kids about that time he was at the school at Stanford taking classes he was learning about our process about design thinking about empathy about prototyping and he would take this new knowledge and do something stripe quite extraordinary he would redesign the entire experience of being scanned and this is what he came up with he turned it into an adventure for the kids he painted the walls and he painted the machine and he got the operators retrained by people who know kids like you know children's museum people and now so when the kid comes it's an experience and they talk some about the noise and the movement of the ship and when they come they say OK you're going to go into the pirate ship but be very still because we don't want the pirates to find you. And the results were super dramatic so from something like 80 percent of the kids need to be sedated to something like 10 percent of the kids needing to be sedated and the hospital and she were happy too because because she didn't have to call the anesthesiologist all the time they could put more kids to the machine in a day so the quantitative results were great but the results that he cared about were much more qualitative he was with one of the mothers waiting for her child to come out of the scan and when the little girl came out of her scan she ran up to her mother and said Mommy can we come back tomorrow. And so I've heard tell the story many times of his personal transformation and the breakthrough design that happened from it but I've never really seen him tell the story of the little girl without a tear in his eye. And Doug story takes place in a hospital I know a thing or 2 about hospitals. A few years ago I felt a lump on the side of my neck. And it was my turn in the M.R.I. Machine it was cancer it was the bad kind I was told I had like a 40 percent chance of survival. So while you're sitting around with the other patients in your pajamas and everybody is pale and thin. And you're waiting for your turn to get the gamma rays you think of a lot of things mostly you think about am I going to survive. And I thought a lot about what was my daughter's life going to be like without me. But I think about other things I thought a lot about what was I put on earth to do you know what was my calling what should I do and I was lucky because I had lots of options we've been working in health and wellness and K. Through 12 and the developing world and so there are lots of projects that I could work on but I decided I committed to at this point that the thing I most wanted to do. Was to help as many people as possible regain the creative confidence they lost along the way. And if I was going to survive that's what I wanted to do I survive just so you know. I really believe that when people gain this confidence and we see it all the time at the D. School and ideo if they actually start working on the things that are really important in their lives we see people quit what they're doing and go in new directions we see them. Come up with more interesting and more just more ideas so they can choose from better ideas and they just make better decisions so I know what Ted you're supposed to have a change the world kind of things and that everybody has to change the world if that if there is one for me this is it to help this happen so I hope you'll join me on my quest he was kind of thought leaders would be really great. If you didn't let people divide the world in the creatives in the noncreative like it's some God given thing and to have people realize that they're naturally creative you know and that those natural people should let their ideas fly. They should achieve. The see that they can do what you set out to do and that you can reach a place of creative confidence and touch the snake Thank you. C Make way for. Mr and Mrs Meller looking for a place to live but every time Mr Mallard saw what looked like a nice place this is now it said it was not all good there were short of the foxes in the words or turtles in the water and she was not going to raise a family where there might be foxes or turf. So they flew. The boat. They felt too tired to fly any further there was a nice pond in the public garden with a little island out of. A very place to spend the night back Mr Mallard. Sold down a flight. Next morning they fished for their breakfast in the mud at the bottom of the pond. But they didn't find much just as they were getting ready to start on their way along came a boat pushed by a stranger. There was a man sitting on its back. Good morning pack Mr mountain like. Big Bird was to try to answer. But the people on the boat troop peanuts into the water so the mallards followed them all around the pond and got in on the breakfast 1st. As they climbed out on the bank and the long this is Mallard said I like this place why don't we build a nest and raise our ducklings right and this pond there are no foxes and no turtles and the people feed us peanuts one can do better good said Mr Mallett delighted that at last Mrs Mallard and found a place that sutra. But. It's like this is meant to get run over. And she got her breath she added This is no place for babies with all those horrid things rushing about we'll have to look somewhere else. So flew over Beacon Hill and around the state house there was no place. They looked in lieu of bird. Square but there was no water to swim and. 2 then they flew over the Charles River this is better Mr Mallard that island looks like a nice quiet place and it's only a little way from the Public Garden Yes said Mrs Mallard remembering the peanuts that looks like just the right place to hatch Docklands. Chose a cosy spot among the bushes near the water and settled down to build their nests and only just in time for now they were beginning to most all their old wing feathers started to drop out and they would not be able to fly again until the new ones grew where. Of course they could swim and one day they swam over to the park on the river bank and there they met a policeman called Mica. Michael fed them peanuts. And after that. Called on Michael every day. After Mrs Mallard had laid her eggs in the nest she couldn't go to visit Michael anymore because she had to sit on the eggs to keep them or. She moved off the nest only to get a drink of water or to have her lunch or 2 County Eggs and make sure they were all . 12345678. 1 day that ducklings hatched out. First came Jack. Then. Black. Magic. And wacky and panic and quack. Mr and Mrs Mallett where sting was prompted it was a great responsibility taking care of so many ducklings and it kept them very busy . One day Mr Mallard decided to take a trip to see the rest of the river was like so all off he said. Meet you in a week in the Public Garden facto racial take good care of the ducklings Don't you worry said Mrs Mallard I know all about bringing up children. And she did. She talked them out to swim. And she talked them out to be. Talked into going along to come when they were called and to keep a safe distance from bikes and scooters and other things with wheels and when at last she felt perfectly satisfied with them she said one morning Come along children follow me. Before you could blink an eye lash they fell into line just as they'd been told 1st Jack think can. Make packing quick and they swam to the opposite bank. Then. Where they waited to show. And they. Came to the highway. This is Mallard step down across the road. Corners on a speeding car. Missing. The cars kept speeding by an engine and this is not in the ducklings can't lie down. Again. They made such a noise that Michael came running waving his arms and blowing his whistle. And it himself in the center of the road. Raised one hand to stop the traffic and then beckoned the other policeman do for Mrs Mallory to pass over. As soon as Mrs Mallard on the ducklings were safe on the other side and on their way down Mt Vernon St Michael rushed back to his police believe. He called Clancy at headquarters and said there's a family of ducks walking down the street. He said family watch. Dogs yelled Michael send a police car click Meanwhile this is now it had reached the corner bookshop and turned into Charles Street with Jack cat black. And white all marching in line behind everyone's there. An old lady from Beacon Hill said Isn't it amazing the man who swept the streets and now again. And Mrs Mallard heard them she has some trouble. Chief tipped her nose in the air. With an extra swing in their water. And they came to the corner of Beacon Street there was the police car with 4 policemen that Clancy had sent from headquarters the policeman held back the traffic so Mrs Meller and the ducklings could not pass the street. And they marched right out into the public got. Inside to. Turn jock to say thank you to the policeman the policeman smiled and waved goodbye. When they reached the pond and swam across the line there was Mr Mallard waiting for them just as he had promised. The death leads like the new lion so much they decided to live there. Make way for ducklings that you haven't heard that long time if it was read to you when you were a child. This is it in point 7 K.M.'s AC and thought line we heard it was a very visual night I think. We're talking about design Rob legato a special effects artist talking about creative all Dave Kelly giving us a little creative confidence of course make way for Ducklings So as we tell you each week on thought line if it's something you believe in and get involved in it and don't let anyone make up your mind for you coming up next is P. Dixon till next week Robert I'm not saying the figure. Not necessarily.