BY OYL MILLER

"I AM THE
ORSON WELLES OF POWERPOINT."

---I am the Orson Welles of PowerPoint !"!. Ne#t sli$e. Bestoften$en%&'%o(er'final')r *et The Best of M%Sweene&+s Internet Ten$en%&. I $on+t let mar,etin- -et in the wa& of a )otential master)ie%e. Yo. see I $on+t %reate mere )resentations. I .se te%hnolo-& an$ the lan-.a-e of o.r times to e(o,e h.man emotions from m& a.$ien%e. I $on+t settle for $efa.lt settin-s an$ I+(e ne(er met a tem)late I $i$n+t /rea,. I+m not a 0.nior sales mana-er1 I+m a stor&teller. 2t one )oint1 artists an$ the alle-e$ tastema,ers of so%iet& s%offe$ at the notion of motion )i%t.res. 3owe(er1 -enerations of inno(ati(e film $ire%tors ha(e ren$ere$ fools of those earl& $issenters of %inema. So too will histor& one $a& /e .n,in$ to those who /elittle the artisti% merits of m& PowerPoint 0o.rne&s. M& sli$es are arran-e$ with a %aref.l e&e to t&)o-ra)h& an$ $esi-n4 two well tr.ste$ -.ar$ians of the Mo$ern 2rts. Bestof'0a%,et'final')r'a'%o)& Best of M%Sweene&+s si-ne$ 5 )ersonali6e$7 The transitions I sele%t from the )re-$etermine$ )alette are in$i(i$.all& %hosen with %onsi$eration for /oth aestheti%s an$ narrati(e l./ri%ation. 2s 2lfre$ 3it%h%o%, on%e f.rthere$ the %inemati% transition of the ra$ial wi)e1 so $o I )ioneer with the )ro(o%ati(e )rima%& of the PowerPoint Fire

Transition. No two of m& PowerPoints are the same. While I ha(e &et to %raft m& 8iti6en 9ane1 I %onsi$er the PowerPoint I -a(e at the %onferen%e in 2tlanta last &ear to /e m& Ta#i :ri(er. The re-ional sales meetin- in :en(er was m& Ishtar. 2n$ ri-ht now I+m e#)erimentin- with ;: te%hnolo-& to %reate a (is.all& immersi(e PowerPoint e#)erien%e that will ri(al the %inemati% wi6ar$r& of <ames 8ameron+s 2(atar. I $on+t .se PowerPoint in the same manner as m& )eers. I am a PowerPoint i%ono%last. 2 PowerPoint a.te.r. Breathin- the s)irit of No.(elle =a-.e into ins)ire$ tem)late twea,e$ sli$es. I $on+t .se PowerPoint to s)ew hollow fa%ts an$ meanin-less statisti%s. I aim to $eli(er re(ol.tionar& %or)orate )oetr& into the hearts an$ min$s of mar,etin- (i%e )resi$ents a%ross this %o.ntr&. I /elie(e that sometimes a PowerPoint $eman$s fi(e %onse%.ti(e )a-es of f.ll /lee$ a/stra%t ima-es. <.st to ma,e )eo)le feel. To -et mi$-le(el mana-ers to loosen their ties an$ ta,e off their name %ar$ ne%,la%es. Too m.%h lo-i% is the $eath ,nell of an& PowerPoint ).rs.it. When I+m fa%e$ with a new PowerPoint1 I $on+t thin, a/o.t what m& mana-er is e#)e%tin-. I thin, a/o.t Sha,es)eare. I thin, a/o.t that feather at the /e-innin- of Forrest *.m). I thin, a/o.t Marlon Bran$o+s monolo-.e in 2)o%al&)se Now. I won$er how S%orsese wo.l$ 0.$-e m& se%tion $i(i$ers. I thin, a/o.t how 3omer wo.l$ /rea, the O$&sse& $own into sli$es. I+m tr&in- to fi-.re o.t how %an I .se this ./i>.ito.s PowerPoint )ro-ram as a (ehi%le to /.il$ m& le-en$. To hone m& %raft. To start the ne#t re(ol.tion1 not in /.siness1 /.t in art. 3ow %an I .se this oft-o(erloo,e$ format to -et me into the Tate Mo$ern? S.%h is the st.ff of m& PowerPointin- $reams.