It’s a cloudless summer Sunday and the vast parking lots are filling early at Saddleback Church in Lake Forest, 50 miles south of Los Angeles. New SUVs, guided by marshals, queue for the best spots before their occupants spill out happily into the sunshine, heading for a huge auditorium.
They make their way up imposing steps, past palm trees and crystal-clear waterfalls tumbling down artificial rocks. The children’s play area has a stream that parts like the Red Sea, courtesy of two invisible plastic sheets. On a nearby hillock, a replica of Jesus’s tomb has a hydraulic stone that can be rolled away.
The Saddleback campus, opened in 1992, has the eighth-largest congregation of any church in the United States – expanding from its first gathering of 200 in a high school gym in Easter 1980 to a current average weekly attendance of 17,500.
Inside, the only religious symbol is a wooden cross and, during the service, there is no communion and none of the familiar liturgy. Instead, there’s slickly executed Christian rock from a live band.
Saddleback’s founder is Rick Warren, 57, the US’s most famous pastor. He bounds across the stage wearing his trademark goatee, a black T-shirt, Converse trainers and jeans. He is preaching about self-examination: “If you’re doing something that’s messing up your marriage or destroying your finances, it’s because there is some kind of emotional pay-off. I don’t know what it is – maybe it’s to mask your pain, maybe it’s to cover up a fear, maybe it’s an excuse to fail, maybe it’s to compensate for guilt.”
Daily Archives: August 14, 2011
Reinventing Conferences, Again
Is it time for a new twist on the TED model? The esteemed Technology, Entertainment and Design Conference, soon to be pushing 30, has become a juggernaut–what with sellout events, the viral success of online TED Talks, and the spin-off of smaller TED-X conferences. But the conference’s original founder, Richard Saul Wurman, is working on a new creation that radically overhauls the formula used by TED–much as TED itself reinvented the standard business conference model when Wurman launched it in 1984.
Wurman, who is no longer affiliated with TED (he sold most of the rights to Chris Anderson’s Sapling Foundation back in 2002 and broke off his remaining ties with the spin-off TEDMED Conference earlier this year), recently announced plans for his new WWW.WWW conference, slated to debut in Fall of 2012. So far, he has lined up some heavyweight collaborators—R/GA’s Bob Greenberg and @radical.media’s Jon Kamen are on board, GE is an early sponsor, and Yo-Yo Ma and Herbie Hancock will see to the music. Featured guests are still to be determined, though Wurman promises that the conference will be “like a dinner party with a hundred of the world’s greatest minds having a conversation, two at a time.”
But here are a few things the show won’t have: Speeches, slide shows, or tickets. Wurman’s plan is to stage a series of improvisational one-to-one conversations, held in front of a small invitation-only audience and then disseminated to the outside world via a high-quality, for-sale app that captures the event.
The Quietest Pitchman
On a Hollywood soundstage, Adam Lisagor walks an actor who looks like him through a set that looks like a living room. Sort of: The actor is a taller, skinnier doppelganger for the 33-year-old director, and the set, just a few modern pieces arrayed against bare walls, suggests less a living room than the Platonic ideal of one. The scene is slightly, stylishly unreal. At the moment, though, Lisagor isn’t worrying about style. He’s shooting a promo video for the streaming music service Rdio and wants the tone to be as real as he can make it. “You’re going a little commercial,” he softly chides the actor. “Take it down. Keep it dry.”
Advertising takes place in half-worlds of its own devising, and this one is carefully crafted by Sandwich Video, which Lisagor runs out of his Los Angeles apartment. It has quietly, dryly become the premier producer of online product videos for web services and tech gadgets, cultivating a tone that perfectly reflects a generation of creators who are more interested in (or at least, more comfortable with) invention than hype.