 All right guys, so we'll dive into it straight away. What we're basically talking about is something that's, you know, we wake up to WhatsApp, we wake up to Facebook and Instagram and all of that. What we start our day is with stories, right? So all the stories which could be text form, which could be video and so on and so forth. We start our day with stories, we end our day with stories and around this I was having a conversation with one of my friends, film making friends, okay? So there's theatre and screens and all of that. And he was kind of like, you know, slightly derisive about all of what we do at people around in the room do. Basically, you were not pure, right? So what you guys do is commissioned creativity and all of that, right? So you hired guns and all that and you do what, you know, is not really pure and all. So my rejoinder to him was basically, you know, we're coming here. The point of what we do is a lot of times, very, very complicated, very layered. What we have to do is like, at the end of the day, sell stuff. And in the process also sell it through a story which engages people, gets people to, you know, stay with us a little bit longer. And guess what, even with that, 90% of what we do is better than 90% of what you do, right? So I think we owe ourselves a little bit of part of the back for that. With that, I will drive right away into the panel itself and what it means to be an Amitakali, a Pallavi, and Gaurav, and Mukund then, you know, your own individual base of storytelling. How you structure it is a set of questions to all of you and then we'll come to some of the questions which are individually to what you do, your kind of craft and stuff, right? So the first one, you know, I have sent you a sent of, I will discard all of those, right? My first question to the panel out here is essentially about the kind of storytellers, like what makes a great storyteller. And I have seen there is no one way of being a storyteller. There is, let's say, Durga Ish of Panchayat. He's rich with the storytelling because he's rich with the context. There are people like Guzhar who are great storytellers who are great with craft and all that. What do you think is, you know, in your view, when you are putting together a team, when you're getting somebody in for a certain kind of a project, who's a great storyteller? I think in our line of work, and actually maybe in any line of work, observers, good observers are great storytellers, in my opinion. Because, and I don't know, am I the only person who does this? I'm sure there's many in the room who do. You sit in a restaurant, your friends haven't showed up. You're looking at the next table or three tables away thinking, what's the relationship? Is that a bad date? You know, how is this family doing? What's that dynamic? So looking at people constantly, because we're talking to people. You're selling, yes, commercial artists, like you mentioned, but I think it's all done through a sense of observing and making mental notes and tucking things away, you know, so idiosyncrasies. It comes from real people. Sometimes you can't make this shit up, right? It has to be real. It has to be things you've seen in people. You have a friend who talks a certain way, who reacts a certain way, who has a takya kalam. So for me, great observationists make great storytellers and great empaths as well, because we are in a business where we hear it bandied around of an adi, adi kaan hai, right? So I think a good storyteller, as opposed to a regular storyteller, needs to be an empath because the more you actually put yourself in the shoes of people, the less you will strike discordant notes, in my opinion. Stories are about people and the more you observe people, the more you get their context, their motivations, what drives them to do a certain thing in the story, right? I think Pallavi has already, you know, spoke about the observer. And apart from that, I think it's also people who are fearless when it comes to expression. I think expression is super important, where if I want to tell a certain story, I'm not worried about, on day one, how people are going to perceive it, rather I want to actually be true about what I want to express. And we see that a lot with songwriters, especially in music. Folks like Anu Jain, Pratik Kuhar, very true in their own style of storytelling through music. Apart from that, I also think that having a certain command over your mode of expression, especially your format of expression is important. For example, if you are a short format creator who creates 30-second videos and having a good grip on the kind of graph or contour of that 30 seconds is crucial. If I make a three-minute song, then I want to know how the graph of that song plays out. Versus if I make a long format content, which is 20 or 30 minutes in length, I know I should have a good command over that mode or format. So I think apart from the observers, I would like to add this, that probably the element of expression and the element of some degree of mastery over your mode of creating your story is important. So I have a slightly different take on this. I think we're not in the business of storytelling only. We're in the business of storytelling for content. And I think that, a lot of us are advertising people over here and suddenly the whole world has changed to content. We were saying stories through films earlier, through print earlier, and suddenly if you say it through Insta and if you say it through Tinder and if you say it through other platforms. And I think what's helped me at least is being open. I think that's one thing we need in today's day and age to be good storytellers in new formats. So we open to new formats. We open to new platforms. We open to new technology. We open to doing things the new way. I mean, for example, when we did the traveling billboard, we are used to shooting with, this is a traveling billboard for Johnny Walker. And we actually did this campaign with influencers and we're used to shooting with, you know, high-end photographers, spending a lot of time with them, spending a lot of money on them. And suddenly we had no control. We were influencers who would shoot what they wanted to shoot. They're a damn good job, but we had to be open to losing control. Okay, so I think openness is something that will really hold good in today's day and age. So, yeah. Yeah, the only thing I would like to add to everything that's being said is emotional connect, right? Like great storytellers have an emotional connect with their audience. And I think you should go and tell your filmmaker friend, you make a film, you can make the audience smile, laugh, cry, and that's it. I think the kind of emotional connect that we kind of have with audiences, you not just need to make them smile, laugh, cry, but also need to act, right? Pay their money, like, you know, press a button. So there's action involved with emotion, right? And also, I think beyond, once you start looking beyond traditional formats of storytelling, I think collaboration becomes a key. Like, today you want to do an immersive experience. You could have been the best observer in the world, but without a great team of technologists, people who can bring that to life in different platforms, it doesn't matter, right? So I think collaboration is key to, like, storytelling of today is what I would say. So I think what I'm going to talk about is essentially a lot of times in our experience, in my experience rather, I think the best storytellers are the guys who've had experiences, right? All the experiences that we've gone through and how we narrate those experiences. I think all four of us over here, when we kind of caught up this evening, this afternoon, we kind of talked about, you know, a little bit of the experiences that we have. So I think experience really creates the best storytellers. And I think in this day and age of content creation and how quickly we can churn out and create content, I don't think the format is the key maker or breaker of storytelling. I think it's easier to kind of just pick up a phone and if you can tell a story using a mobile phone versus, you know, using a large format camera, it does not really matter what the equipment is, right? It's about, you know, if you have a great experience, you want to tell that experience out, you can go. The experience however has to be authentic and it has to be some experience that you have and you can make a great story by telling. And I think some of the best storytellers are telling stories of their own experiences. Now really beautifully said, I think, experiences and what we observe of the world around us and how do we transpose it to the brands that we are working with so that there is a greater story which pushes the brand agenda forward and gets connections from people in ways that is much more than just a product style and stuff. You know, what we've seen in online storytelling in the last 10 or 15 years or when social has been around, we've seen the whole storytelling change in a dramatically different phrase, right? So what started off with initially Facebook and Orkut earlier, they were one-to-one kind of conversations, right? I'd write a post, you'd have a reaction to it and then it changed to where people would curate, you know, things, interesting things that they'd seen and put it together to where it's become, you know, aggregation of a lot of voices, right? So there are people who are large influencers, there are people who've got a take on fashion and they've got their own narratives on fashion or home and lifestyles and life and all of that. So there have been like major pivotal points in how online has evolved over the last 14, 15 years. What do you think, you know, how do you read the tea leaves going forward, right? How, what is the kind of story that you think will be emerging in the next five years, 10 years and how online storytelling is gonna be changing? You know, you wanna start from there now? Yeah. You know, 15 years ago, 20 years ago, we were all used to the 32nd format and then you had the online format and you had long format storytelling. Then because of the change in platforms, you started telling stories in six seconds, right? And then somebody decided, I'm gonna combine scrolling and video and today you're telling great stories on reels. So I think largely as, like, what happens is as technology shifts, people's behavior shifts, like, you know, how I interact with that content changes and that kind of like changes our thinking and our storytelling, right? So I think, I think largely, I think it's dependent on platforms and I think with the whole gen AI and all of that, who knows, right? Like, you know, what's next? You know, it's so difficult to say what's next, like, you know, even six months from now, right? So I think that's a very tough question to answer, but all I know is I think the next decade or so, it'll break down the walls of production. It'll break down the mighty big walls of budgets and it'll democratize storytelling. Like, and you'll have the most diverse voices telling the most beautiful pieces, right? Your filmmaking could be very, very experimentative. It could be very personalized, right? Something could work, even on a big screen, like, you know, maybe films can be changed in a week. If something is not working for the audience, it can be changed in a week. So I think it's more real time, more personalized. Wrong room you were telling this in, huh? That the story can be changed in a minute and all of that, there are some clients here. You know, what you said, I just have a slightly contrarian view in the sense of, of course, it is anybody's guess where it's gonna go, but I do think what is gonna get tougher, especially when there's this explosion and there will be. You know, exactly like you're saying, there's the kind of timelines it takes for things to get refreshed, et cetera, already shrinking. What is also happening is that people have woken up, so we've been living in an age where brands were talking to people. It was one way thing. Now people are brands themselves, right? And that in itself, I think is leading to everyone realizing that, hey, I can monetize this, right? And that is going to, the problem is in my mind that there's a large plethora of people out there who realize that people are monetizing this. So while the formats will keep evolving and the number of voices will grow, I think keeping the brand alive and all of that is where our challenge will die because the more we push, right, the further away our audiences will shrink. So I think in the ever-changing format, like trying to not make it hard sell is what it's gonna get because people will get tired of being told to buy this, do that from across the board. So that I think for the next generation of creators and even for us, that's gonna be a big, big challenge. Yeah, and I think not making it hard sell, but yet obviously selling and yet obviously keeping it relevant to the brand because that's what we're here for. But I think the biggest change really, and it's happened sometime back, is platforms which Mukund also mentioned. Because the consumers, I mean, the consumers living on platforms, they're not one platform, they're living on 20, 30 different platforms at the same time in the same day. So the same consumers on YouTube, the same consumers on Facebook, the same consumers on Insta, the same consumers on LinkedIn, and we hit very, very differently. I mean, the same consumers on Spotify and sometimes at the same time and behaving very, very differently. So I think stories will need to be created on platforms. I mean, today a playlist, you know, a story could be said through a playlist for interesting playlists. And we actually did that. We did the unheard playlist that, you know, where we actually took playlists and we removed women's voices from it. So the solution actually came through, you know, a playlist. You know, the solution could be, and that's a music platform. The solution on Insta could be very different. The solution on other platforms could be very different. So I think platform first, and these platforms are going to keep changing. I mean, there are platforms that are not, that we don't even know about today that are being created that, and platforms that we know a lot about today that are going to be redundant. But I think the idea would be to constantly know these new platforms and start storytelling according to these platforms. I think that, and that's an opportunity. I think that is damn exciting also. Do you think, you know, in this entire thing, Generative AI will make a huge amount of difference, right? It will place storytelling production in the hands of people. It's possible right now to just click and drop, create, you know, animation films. It's possible to have absolutely stunning-looking visuals and videos and the way, like, you know, Mukund, you said, the way it's changing. Every six months, there is a new generation of Generative AI, right? Do you think that will have an impact on the way stories are owned by so many more number of people? How would it impact, you know, the world of brands and how we tell stories? Will it take it from, you know, the brand custodians like Marketeers and advertisers and take it to a next set of, you know, storytellers like you had the influencers, right? So a net set of people coming in, creating incredible stories on video through Generative AI. Yeah, I think that ship has, sorry, sorry. I think that ship has sailed. I mean, I mean, anybody can make content. I mean, influencers, so I think it's gone, I think somewhere we're custodians and I think how we collaborate with people, how we use people, how we have ideas that those people can then create on. I mean, it's not necessary to create yourself. You know, I think that's the opportunity out there. There are lots of different people, lots of different tools that are going to be creating for you. And I think as a content, you know, as a content head, what you'll be doing is really getting the best out of them and keeping the brand at the heart of all of that. But the other part of it is that I think it's fantastic. I mean, you can do anything on AI, right? And I think the level of, I mean, you can just think it and AI can do it for you. And that's amazing. And the difference will always be how we use AI. I mean, AI is just a tool, but it's an amazing tool. You know, like, I think we created the first-ever, you know, Chargivity launch. This was, I think, Feb beginning or Jan end. And in Feb, we created a campaign where we created a character called Aditya Ayer. And we actually then revealed that Aditya Ayer on Valentine's Day, we revealed that Aditya Ayer was AI. And every post office, every picture of this was either Chargivity or, you know, with Journey. But the fact of life is that, I mean, the idea had to come from us, so, yeah. There are stories getting over around AI, what it'll do to humanity, to creation and all of that. So I think AI is definitely going to aid the story creation and it's going to aid the creators to kind of, you know, probably research better their stories. But I think we just need to be mindful of AI when we're using it, because it has cultural nuances, you know, you're throwing it into AI and you don't know what it's going to churn out, right? And, you know, copyright infringement for some reason, right? You throw something into AI and you say, give me an image or give me a video and you don't know where it's kind of pull things from and put it together. So I think we just need to be a little bit mindful when using AI, but sure, it's definitely a tool that's going to aid in the storytelling build up eventually, is what I think. I think if I were to add, you want to go ahead. I think to some extent, you know, content creation is already pretty easy. I don't think anyone in this room struggles to make videos, but AI will become a big enabler and that will probably shorten the time or make it even easier for folks, you know, who don't want to use, say, a Final Cut or an Adobe Premiere or even an InShot or, say, a Logic Pro to make songs or videos, right? But I feel that one of the most important thing is as a creator or as a brand to sort of maintain your tone or your character and the whole thing, right? Because what you're going to get is essentially what you feed in. And that's not always going to tell you a real story out there. So there will be the human mind that will augment this and take it to the next level. I also feel that as far as video creation is concerned, just like audio saw this extreme explosion of, you know, folks who could now make songs sitting in their bedrooms. I mean, we are living in a time where there are 200,000 songs released every single day. I think going forward, video is going to see that same level of independent creation at a bedroom level, which possibly today is not happening. And that's where I think linking it to the previous point, a brand has a tremendous opportunity to seed in thoughts where, you know, as she said, you don't have to create a story yourself, but probably there'll be a lot of notes, thousands or millions of notes creating stories for you. So I think that's a pretty interesting thing that could emerge. I had a lot of questions, but I think we have only about 17 minutes. I don't want to deprive the audiences of your individual stories. I mean, I know some of the work that you've done, been fascinated with it. I mean, it's a great opportunity for me and the rest of the audiences to get to know about stuff you did and how you came about to doing it. You know, I'll start with Pallavi, the campaign that you've done for Facebook called Puja Didi around the second wave of COVID, absolutely gorgeous film. So if you could tell us, you know, the process, how you got to it, I don't care whether it won awards or not. It was a film that really moved millions, your story behind the story. Yeah, thanks for that. I think nowadays it's honestly very difficult not to win an award because all year round, there are always something. Everybody wants the agency of the year. Exactly, that is the reality. So if you choose to enter somewhere or the other, so I don't think, I think the starting point is never an award, actually. And Puja Didi, of course, definitely wasn't just me. There were a lot of really remarkable minds behind it. Neeraj, who wrote it, Amit Sharma, the director. I think the basics of where we started out and what impacted the thinking stays the same as what I mentioned at the beginning. Empathy and observation, we were living in a time where we were collectively impacted by the pandemic. Some of us more fortunate than others, we still had our jobs. And in advertising, I remember when the early months, when no one knew what was going to happen. I mean, you knew that there was widespread panic, you knew that you were racing against the clock to deliver campaigns that people weren't even asking for. Just to show them, hey, I'm still here, count on me. So I could only imagine when people like us were in that kind of a mad frenzy, the reality of people who actually were, who had lost their livelihoods. So in that sense, marrying that reality with the brand role, I think a lot of us over here have spoken deeply about the fact that, yes, while storytelling is exploding, formats are exploding, ways and means of telling this and getting it across to audiences are exploding, we can't lose sight as brand communicators and guardians of where our brand lives in all of this. And I think the social network, the power, if you come down to brass tax, right, the power of a social network is in harnessing the collective. And that's exactly where the two lay. So it wasn't even hard sell for us. It was just organic. And I think the client team were really brave. So another thing when I was hearing everyone talk is it's not just about storytelling, it's also about storytelling because you're only as good as the stories you manage to sell to people and get out there in whatever shape and form, right? It could be anything, it could be a reel and it could be a film and it could be a post, it could be anything in the world. So you ought to be able to sell it and I think our clients were supremely supportive of a fact where you could just play out a story and let people live and let people, it was cathartic. It was cathartic for us who were writing it, cathartic for the people who were making it and I do believe cathartic for people who watched it. So in that sense, it was just, I think a sign of the times and a tribute to that. Palavi, the story was also richer for the nuance that it had, right? The context that it had of the place, the sense of place that the film had. Paneer, right? So we will never write a film about Facebook and have Paneer as the centerpiece of that. So did the team come from that kind of a background? This is something that you collaboratively did with. No, actually the thing is it just came from looking into a reality. I mean, the core of the reality, like I said, was all of us there, but for the grace of God goes I, right? Is what was in our heads, but who you show and what you're showing, I think we just wanted to get away from the world that all of us live in. We have often been accused that Bombay wale can't look beyond Bombay and Delhi wale can't look beyond Delhi, right? So get your head out of your bum and out of big city phenomenon and look at the reality of the country. We did speak with- You're not saying anything, right? No, no, no, no, no, no, no, no, no. But that was our, you know, Amit actually getting to Amrit sir in the middle of the lockdown and them actually recreating, you know, the vibe of a lockdown when it wasn't actually, we shot it, you know, it was just an exhaustive process. It was really rewarding. So yeah, and why not about Paneer? Like why is Facebook only for, why is it only for the good times? Why is it only for projecting- Bombay na look, Paneer na look. For projecting your best selves, right? So we went real and I think it does help. I'll have the next question for Mukun, the piece of work which I know for a fact that had won awards. It's not like, you know, storytelling in the conventional sense of the word, right? The way you see a story, there is a protagonist antagonist and that kind of attention. But the whole story, right? Which came from a little bit of purpose. I mean, of course a lot of purpose about getting Unilever to get to, I don't know what was the title of this, but where you got smart, smart films, right? To get people interested in a new narrative from Unilever, which they may have seen a certain way and the kind of effort that they have, the kind of initiatives that they're taking with your help, of course. How did this idea come about? How did you operationalize it? How did you, you know, get the technology sorted and all of that? Yeah. Multiple questions, right? I think, so the tenets of storytelling are the same, right? Even if you're doing a product innovation or a film or anything, the core of it is, are you solving a real problem, right? And does that product have a great reader experience, viewer experience, user experience, whatever you wanna call it, does it have a great user experience, right? And can you set a narrative around that product that can build a community, right? Say for example, the smart fill innovation that you're talking about enables people to bring their own bottle and fill in a unilever product, like a detergent or something, right? Now if you, of course, it's a cost reduction of 20% if you bring your own bottle and fill the one liter of detergent, right? But now if you set a narrative on cost reduction, does it build a community or not, right? So I think the larger narrative was that of sustainability, right? So it built a community of people around the product, a core set of believers, so it's gone from one outlet to 12 outlets and now it's being rolled out in Bangladesh. So I think storytelling also comes into play when you have a tech product. I think it's not devoid of it, right? And just to give you a bit of a trivia of how we made it happen, so there are those oil-vending machines, right? But the viscosity of the oil is very, very different from the detergent, right? So we had a start. We had the oil-vending machine as a start, but we had to work with technology people. We had to work with people who understood the science of liquids to kind of make that nozzle work for detergents, right? And also what I've observed is if you're coming up with an innovation and if that innovation tries to change the behavior of people, it's difficult for them to get used to it or adapt to it. But if you're playing on existing behavior, people are used to carrying bags to grocery stores. All they have to do is put a can inside, right? So it played on its... Sorry, just rewind a little bit. When figuring out the nozzles of this, the viscosity of this, I'm sure there were a lot of engineers needed. Did they come? Did the agency hire them? Did you speak to the client team? Get people from Unilever to get those engineers who'd work this out. So I think the prototyping was done by us and then we worked with Unilever's vendors to kind of do up the final one and roll it out to 12. But even before that, to tell it works, right? I mean, we showed them a working prototype. But only asking because most of the times agencies don't have the way to put this together. So maybe that's the shape of the new agency to come that you'd have a lot of... I see, we don't have the... Access to a lot of things. Yeah, we don't have the scale, right? See, if you tell like, I think right now we're doing something for record. It's an, again, an innovative innovation piece. We can do one. We're working with somebody to do one prototype, right? But now we can't do like 20,000 of those, of course. For sure. To you, Mokul, I think you're absolutely right. The purpose of whatever we do is to get the brands to be loved by people a lot more. Whether you do it through the story which is, let's say, a little bit more conventional, like a Pooja Devi story, or you get people to love the brand a little bit more if you're doing, let's say, even an activation which people are really interested in and love the brand more for it, you know. Either way, it works. My question to you is actually what happens when sometimes, right? I've been a victim of a little bit of rap, some of us, and a lot of times, you know, even if it's like 5% of people who don't like it, we're still talking about 5% of a billion and a half of people which is still a super-sizable community. And a lot of them, they are very, very vocal when they don't like what the brand has to tell or sell. In your case, you've done a film for Tanish which did come into, I mean, a lot of love, right? And they were five, six, six and a half person people who made a huge case about it, right? I know, I've talked about this and I don't know if there is any one way or two ways to make sure that your storytelling, come with all the pure intent, doesn't land up in a spot like that, but what's your take on it? You shouldn't even try to make sure it doesn't land up in a spot because, you know, I think you're being true to the story. When we did Tanish, Tanish was literally all our reality, right? I mean, I'm a Cindy married to a Parsi. And again, I mean, there's absolutely, I mean, it was just a normal thing of someone from one community taking care of someone from the other community. And I mean, never would we imagine love Jihad coming into the story, right? And so you just make it from, you know, from the honesty of your heart and you just make it out there and then whatever happens, happens. And I think the good thing is or the truth of the matter is not even 5% who was against it. You know, it's a 0.0005% probably. It's literally 50 names, you know, which are doing it very smartly, doing it very professionally, literally attacking, I mean, sending out 40,000 along with a lot of bots helping them. Of course it's motivated. Of course it's motivated. Of course, yeah, of course, of course it's motivated. And it's literally a, so, but the good thing was that the rest of it, and because this is only 0.005, the reality is that 100% people out there or 99% people out there love it, right? And they kind of rally by the brand when something like this happens. And we saw some amazing stuff happen. So there was obviously content that we created, which was the main film that got then taken out, but for a film that got taken out, it probably created more love for a brand than anything ever did. And what was very interesting was people actually made their own content to support that content. So there was, for example, there was a group of go-bike tanishks. So this is literally not by us. You know, happened with real people out there. There were my tanish story, hashtag going out there. There were people who actually spoke about their tanish stories and about who they had given a tanish to and their tanish marriage stories, et cetera. There was a book that was created by someone who collected these stories. So there was actually content created out of love, out of support for the brand. And that's a very interesting learning we had. So we went through the similar thing, actually. I mean, it's not as spoken about, but the holy campaign we did for Bharat Matamuni, you know, so, which was literally, I mean, it was about the holy festival and about women being abused during holy. And suddenly it took a dissing of attacking, you know, a religion and not a festival and not behavior of a few people. And that was a attack, but there was another piece of content which spoke the reality of a Japanese woman who actually went out there and was abused during holy. And that piece of content actually took the conversation away from this or took the support for this piece of content. So I think one very interesting thing is, I think do it from your heart, but you know, somewhere content itself can be a solution to something that springs up. So, yeah. I'm really loving your story, but the person out there has pointing no interest in attack at all, he's gone to sleep, right? Over there, right? Couldn't help noticing. LAM! He's up. He had a long life. Actually, I thought you were saying he's got to sleep. He's got to sleep. Well, I caught him in the middle of your story. So, you know, got up my question to you, is basically about, you know, how I've read Martin Scorsese and how he spoke about in his book called Making Movies. Okay, if you haven't read it, definitely must the whole process of content and how movies, how a story can be told fantastically, you know, given the constraints and this and that and the other. So, he places music on a, probably one of the biggest pedestals after the story itself, right? And which is where you come in, right? He didn't pay that much attention to editing, which I don't necessarily always agree with. Music is something that he said that can change the whole way people would, you know, get the story or interact with the story or engage with the story, your take on that, right? So, and how does, how do you help brands tell better stories in what you do? So, I've been a, you know, before I started Hooper, I was a music director for a long time, almost seven to eight years I was doing songs for movies and ads and so on. And I realized most brands want to use music, but they often don't know who to go to except for a few music directors or composers in their circuit, right? So, I started this thing, I used to, I created a network of about 100 music directors in Mumbai and I used to reach out to them and they used to give me, you know, I have four love songs, I have four motivational songs, I have a few party songs and so on. So, I started doing my own tagging around it and started creating this bank. And I think, in 2016, 17, I had created a track for Doublemint, which was A. Kajnabi Haseena Sevi had recreated for an ad, which was shot by Chujit Sarkar, that did well. I became friends with the Doublemint folks. And they reached out to me a few years ago saying that, okay, we want to create this IP around music. You know, what could we do? We want music to be a part of our storytelling. And I realized that, okay, Doublemint stands for start something fresh. So, you know, we thought of an idea called Doublemint Fresh Take, where every story is about two people starting something fresh. And that's where that whole bank of songs started coming handy. I started picking up songs and we did a four track IP with Doublemint. And to, you know, sort of accentuate the fresh take, we had regional versions of every Hindi song as a fresh take. So that, that IP did well. We won quite a few awards for it, close to 100 million views on social media. But then we started realizing that brands want local and hyper-local music. And during the pandemic, we also had creators and brands reach out to us saying that, okay, like mama used to reach out to us ki mere pas muskura hat hai as a keyword. Do you have songs? Sunsilk licensed a song. Women empowerment is my keyword. And we send them a bunch of songs. And then we started digging deeper and we realized that, you know, what brands are using the same old Envato, Epidemic, BMG, which are not Indian libraries, and they need Indian music. You know, creators need local and hyper-local music. A guy like Ranveer Brar is cooking Amritsari chole and using some generic EDM track. Why? You know, we need more of Indian music. So then we went out and raised some funds and we built Hooper.ai. And today it has more than 12,000 Indian tracks. And that's where that entire network of, you know, musicians also came handy. We've got 3,000 musicians on our supply, close to 250 musicians contributing music on the platform. And now we are used by Mintra for Mintra Studio, ZTV, HD Media, name the brand, over 180,000 creators. So Ranveer is a client, Tanya Khanejo, Ashish Vidyarthi. All of these guys realized that if I'm catering to an Indian audience then why should I use generic music? I need Indian tracks, right? And the other window that's opened up is brands who take our subscription, coming to us and saying that, okay, I've got your subscription. What more can I do with music? You have 3,000 musicians. Can I create regional versions of my existing jingle, right? And we do all sorts of experiments at our back end. You know, I recently took that close up jingle pass and I threw it to around 100 musicians. We've got almost 40 to 50 different regional versions of that jingle, right? So there's a lot that brands can do with music. I feel that music as a vehicle, you mentioned at the beginning, Bollywood has used it really well. There are films you remember even today or actors who've maintained their stardom because of songs, right? And I think brands and creators need to wake up. And a great question, if you are a brand manager who has got his or her storytelling in place or positioning in place, is you got to ask yourself, what's my soundtrack as a brand? You know, do you have a soundtrack? Do you think of what's my sound? What kind of music, if I were to make an album for my brand, what kind of songs would it have? Right, and that's where Hooper is now helping brands. So that's what we do. Thanks, you got it. Richard, before we close, a quick one. I mean, I know that Connors has a lot of expertise in creating branded IPs, the media brand. You've read a lot of those. I think a lot of brands today also are, in a sense, media brands because their own communities, they have a lot of people that they talk to almost twice in a day sometime. Do you think that they're doing enough, aside from just a conversation with people, in creating IPs for themselves, which are storytelling IPs or branded content IPs, or what could they do to do a little bit more of what, some of the amazing stuff that you guys are doing? Sure, so thanks for asking the question. I think sure enough, some brands are doing enough and some brands are not doing as much. I think there's definitely room for a lot of brands to create IPs. Let's just look at this journey of how these IPs got created, right? I think it all goes back a few years. I think maybe 10, 15 years when there were limitations for the alcohol companies to kind of actually create and connect with their audiences. So they created surrogate marketing. I think from that surrogate marketing, it kind of led to let's create some sort of content. So we had surrogate series, cassette series, et cetera, music companies. And then eventually it went to let's create content that can actually talk to our audiences. So we tapped into the culture of what the audience really wants. Eventually that culture is what brands really wanna connect with and use content to shape that culture in some way. Once that culture is shaped, they wanna help bring people together and build communities. So we've done it a few times. I think we do it all the time with some of our brilliant properties like the forces of fashion that just happened and the Met Gala. But we've also built something for an alcohol company called Diageo called Walk is in Co. Which is essentially a community building exercise where we've kind of, through the power of content, we've kind of brought in a lot of people together, these would be sneaker community people who were interested in sneakers or in music. And so we had Lollapalooza where the brand was present and we've had a lot of like-minded people who'd show up and we launched a sneaker there. That was for the sneaker community. So I think brands are kind of working towards and brands need to kind of understand that when you create an IP, sure enough, you build the IP but you wanna also, the IP needs to have arms and legs that can go the distance and bring the people together whether it's through content or on-ground experiences. I think that's Brody. Thanks Richard and we certainly must talk. We could certainly do some things together. Yep, the board tells me the time's up and we may have actually overshot it. I hope it was useful or interesting for sure for you people. I've been fascinated by some of the stories that these people have told. I hope they were as fascinating for some of you as well. Like you all know our Ari famously said in his book, Sapiens, people, I mean, the whole job of most of the brand is to give out messaging but like you said, people don't think in terms of messaging. It's very easy for you to set out a message out there. That's easy. People think in terms of stories, right? Like BJP has done enough amount of development but what is the story? What is the bigger narrative? Which is what people buy in? Similarly, any other brand, right? So what is the narrative that the brand has? The messaging in common and these are some fascinating ways of telling those stories. I hope we have some interesting nuggets from these. Thank you so much. Thank you so much. Ladies and gentlemen, a warm, warm round of applause.