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When I was a kid,

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I experienced something so powerful,

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I spent the rest of my life
searching for it,

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and in all the wrong places.

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What I experienced wasn't virtual reality.

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It was music.

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And this is where the story begins.

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That's me,

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listening to the Beatles' "White Album."

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And the look on my face is the feeling

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that I've been searching for ever since.

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Music goes straight to the emotional vein,

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into your bloodstream

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and right into your heart.

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It deepens every experience.

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Fellas?

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(Music)

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This is the amazing McKenzie Stubbert

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and Joshua Roman.

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Music --

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(Applause)

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Yeah.

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Music makes everything
have more emotional resonance.

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Let's see how it does for this talk.

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The right piece of music
at the right time fuses with us

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on a cellular level.

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When I hear that one song

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from that one summer

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with that one girl,

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I'm instantly transported
back there again.

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Hey, Stacey.

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Here's a part of the story, though,
where I got a little greedy.

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I thought if I added more layers
on top of the music,

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I could make the feelings
even more powerful.

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So I got into directing music videos.

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This is what they looked like.

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That's my brother, Jeff.

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Sorry about this, Jeff.

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(Laughter)

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Here's me, just so we're even.

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Incredible moves.

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Should've been a dancer.

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(Laughter)

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These experiments grew,

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and in time, started
to look more like this.

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In both, I'm searching
for the same thing, though,

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to capture that lightning in a bottle.

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Except, I'm not.

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Adding moving pictures over the music
added narrative dimension, yes,

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but never quite equated the power

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that just raw music had for me on its own.

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This is not a great thing to realize
when you've devoted your life

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and professional career
to becoming a music video director.

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I kept asking myself,
did I take the wrong path?

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So I started thinking: if I could
involve you, the audience, more,

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I might be able to make you
feel something more as well.

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So Aaron Koblin and I began
auditioning new technologies

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that could put more of you
inside of the work,

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like your childhood home
in "The Wilderness Downtown,"

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your hand-drawn portraits,
in "The Johnny Cash Project,"

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and your interactive dreams

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in "3 Dreams of Black."

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We were pushing beyond the screen,

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trying to connect more deeply

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to people's hearts and imaginations.

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But it wasn't quite enough.

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It still didn't have the raw
experiential power of pure music for me.

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So I started chasing a new technology

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that I only had read about
in science fiction.

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And after years of searching,
I found a prototype.

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It was a project from Nonny de la Peña
in Mark Bolas's lab in USC.

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And when I tried it, I knew I'd found it.

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I could taste the lightning.

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It was called virtual reality.

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This was it five years ago
when I ran into it.

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This is what it looks like now.

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I quickly started building things
in this new medium,

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and through that process
we realized something:

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that VR is going to play
an incredibly important role

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in the history of mediums.

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In fact, it's going to be the last one.

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I mean this because it's the first medium
that actually makes the jump

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from our internalization
of an author's expression

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of an experience,

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to our experiencing it firsthand.

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You look confused.
I'll explain. Don't worry.

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(Laughter)

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If we go back to the origins of mediums,

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by all best guesses,

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it starts around a fire,
with a good story.

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Our clan leader is telling us

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about how he hunted the woolly mammoth
on the tundra that day.

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We hear his words

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and translate them
into our own internal truths.

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The same thing happens

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when we look at the cave painting
version of the story,

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the book about the mammoth hunt,

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the play,

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the radio broadcast,

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the television show

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or the movie.

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All of these mediums require
what we call "suspension of disbelief,"

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because there's a translation gap
between the reality of the story

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and our consciousness
interpreting the story

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into our reality.

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I'm using the word "consciousness"
as a feeling of reality that we get

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from our senses experiencing
the world around us.

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Virtual reality bridges that gap.

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Now, you are on the tundra
hunting with the clan leader.

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Or you are the clan leader.

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Or maybe you're even the woolly mammoth.

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(Laughter)

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So here's what special about VR.

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In all other mediums,

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your consciousness interprets the medium.

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In VR, your consciousness is the medium.

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So the potential for VR is enormous.

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But where are we now?

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What is the current state of the art?

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Well,

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we are here.

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We are the equivalent
of year one of cinema.

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This is the Lumière Brothers film

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that allegedly sent a theater full
of people running for their lives

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as they thought a train
was coming toward them.

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Similar to this early stage
of this medium,

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in VR, we also have to move
past the spectacle

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and into the storytelling.

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It took this medium decades

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to figure out its preferred
language of storytelling,

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in the form of a feature film.

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In VR today, we're more learning grammar

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than writing language.

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We've made 15 films in the last year
at our VR company, Vrse,

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and we've learned a few things.

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We found that we have a unique,
direct path into your senses,

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your emotions, even your body.

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So let me show you some things.

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For the purpose of this demo,

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we're going to take every direction
that you could possibly look,

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and stretch it into this giant rectangle.

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OK, here we go.

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So, first: camera movement
is tricky in VR.

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Done wrong, it can actually make you sick.

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We found if you move the camera
at a constant speed in a straight line,

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you can actually get away with it, though.

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The first day in film school,

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they told me you have to learn
every single rule

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before you can break one.

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We have not learned every single rule.

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We've barely learned any at all,

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but we're already trying to break them

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to see what kind of creative things
we can accomplish.

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In this shot here, where we're moving up
off the ground, I added acceleration.

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I did that because I wanted
to give you a physical sensation

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of moving up off the ground.

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In VR, I can give that to you.

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(Music)

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Not surprisingly, music matters a lot
in this medium as well.

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It guides us how to feel.

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In this project we made
with the New York Times, Zach Richter

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and our friend, JR,

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we take you up in a helicopter,

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and even though you're flying
2,000 feet above Manhattan,

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you don't feel afraid.

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You feel triumphant for JR's character.

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The music guides you there.

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(Music)

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Contrary to popular belief,

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there is composition in virtual reality,

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but it's completely
different than in film,

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where you have a rectangular frame.

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Composition is now
where your consciousness exists

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and how the world moves around you.

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In this film, "Waves of Grace,"
which was a collaboration between Vrse,

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the United Nations, Gabo Arora,
and Imraan Ismail,

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we also see the changing role
of the close-up in virtual reality.

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A close-up in VR means
you're actually close up to someone.

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It brings that character inside
of your personal space,

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a space that we'd usually reserve
for the people that we love.

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And you feel an emotional
closeness to the character

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because of what you feel
to be a physical closeness.

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Directing VR is not like
directing for the rectangle.

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It's more of a choreography
of the viewer's attention.

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One tool we can use
to guide your attention

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is called "spatialized sound."

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I can put a sound anywhere
in front of you, to left or right,

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even behind you,

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and when you turn your head,
the sound will rotate accordingly.

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So I can use that to direct your attention
to where I want you to see.

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Next time you hear someone
singing over your shoulder,

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it might be Bono.

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(Laughter)

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VR makes us feel
like we are part of something.

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For most of human history,
we lived in small family units.

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We started in caves,

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then moved to clans and tribes,
then villages and towns,

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and now we're all global citizens.

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But I believe that we are still
hardwired to care the most

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about the things that are local to us.

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And VR makes anywhere
and anyone feel local.

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That's why it works as an empathy machine.

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Our film "Clouds Over Sidra"
takes you to a Syrian refugee camp,

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and instead of watching a story
about people over there,

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it's now a story about us here.

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But where do we go from here?

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The tricky thing is that
with all previous mediums,

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the format is fixed at its birth.

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Film has been a sequence of rectangles,

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from Muybridge and his horses to now.

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The format has never changed.

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But VR as a format, as a medium,

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isn't complete yet.

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It's not using physical celluloid
or paper or TV signals.

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It actually employs what we use
to make sense of the world.

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We're using your senses
as the paints on the canvas,

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but only two right now.

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Eventually, we can see if we will have
all of our human senses employed,

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and we will have agency to live
the story in any path we choose.

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And we call it virtual reality right now,

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but what happens when we move
past simulated realities?

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What do we call it then?

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What if instead of verbally
telling you about a dream,

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I could let you live inside that dream?

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What if instead of just experiencing
visiting some reality on Earth,

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you could surf gravitational waves
on the edge of a black hole,

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or create galaxies from scratch,

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or communicate with each other
not using words

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but using our raw thoughts?

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That's not a virtual reality anymore.

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And honestly I don't know
what that's called.

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But I hope you see where we're going.

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But here I am, intellectualizing
a medium I'm saying is experiential.

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So let's experience it.

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In your hands, you hopefully hold
a piece of cardboard.

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Let's open the flap.

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Tap on the power button
to unlock the phone.

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For the people watching at home,

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we're going to put up a card right now

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to show you how to download
this experience on your phone yourself,

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and even get a Google cardboard
of your own to try it with.

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We played in cardboard boxes as kids,

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and as adults, I'm hoping we can all find
a little bit of that lightning

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by sticking our head in one again.

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You're about to participate

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in the largest collective
VR viewing in history.

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And in that classic old-timey
style of yesteryear,

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we're all going to watch something

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at the exact same time, together.

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Let's hope it works.

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What's the countdown
look like? I can't see.

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Audience: ...15, 14, 13, 12, 11, 10, 9,

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8, 7, 6, 5, 4, 3, 2, 1

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(Birds singing)

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(Train engine)

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Audience: (Shreiks)

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(Video) JR: Let me tell you

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how I shot the cover
of the New York Times Magazine,

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"Walking New York."

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I just got strapped on
outside the helicopter,

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and I had to be perfectly
vertical so I could grab it.

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And when I was perfectly above --

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you know, with the wind,
we had to redo it a few times --

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then I kept shooting.

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(Video) Woman's voice: Dear Lord,

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protect us from evil,

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for you are the Lord,

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the light.

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You who gave us life took it away.

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Let your will be done.

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Please bring peace to the many
who have lost loved ones.

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Help us to live again.

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(Music)

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(Video) (Children's voices)

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Child's voice: There are more kids
in Zaatari than adults right now.

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Sometimes I think

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we are the ones in charge.

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Chris Milk: How was it?

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(Applause)

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That was a cheap way of getting you
to do a standing ovation.

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I just made you all stand.
I knew you'd applaud at the end.

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(Applause)

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I believe that everyone on Earth
needs to experience

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what you just experienced.

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That way we can collectively
start to shape this,

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not as a tech platform

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but as a humanity platform.

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And to that end, in November of last year,

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the New York Times and Vrse made
a VR project called "The Displaced."

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It launched with one million
Google Cardboards

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sent out to every Sunday subscriber
with their newspaper.

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But a funny thing happened
that Sunday morning.

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A lot of people got them

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that were not the intended recipients
on the mailing label.

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And we started seeing this
all over Instagram.

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Look familiar?

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Music led me on a path

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of searching for what seemed
like the unattainable

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for a very long time.

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Now, millions of kids just had
the same formative experience

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in their childhood

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that I had in mine.

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Only I think this one

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surpasses it.

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Let's see

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where this

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leads them.

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Thank you.

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(Applause)