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Facts, figures, information, PowerPoint slides and data rarely catalyze, excite or incite action, much less motivate others to own and viral market your offering for you-your ultimate goal. But embed them in a purposeful story -- a story with a clear call to action -- that you preferably tell face to face and in the same room, and through the emotional transportation of the story you tell, you will experience a game-changer. A well-told story can drive change, inspire innovation, stimulate more sales, foster collaboration, re-brand a company, incite viral advocacy for a mission or cause, generate more effective management and help overcome resistance. To this, he would argue based on his own considerable successes in entertainment, sports and new media, that when he was successful, he was persuading others through the stories he told. When he failed, in retrospect, it was because he was firing PowerPoint bullets. No wonder he was shooting blanks.

Coke may be new to Sing Sing, but it's a familiar product in New Guinea, where Coca-Cola Amatil (the largest bottler of Coke products in Australia and surrounding areas) has a huge presence. The sport of darts is even referred to as \"Coke\" in PNG, since the winner gets a Coca-Cola. It's a heartwarming testament to the power of branding. Coke may be new to Sing Sing, but it's a familiar product in New Guinea, where Coca-Cola Amatil (the largest bottler of Coke products in Australia and surrounding areas) has a huge presence. The sport of darts is even referred to as \"Coke\" in PNG, since the winner gets a Coca-Cola. It's a heartwarming testament to the power of branding.

Mr. [Bob Yari], who was first denied a producer credit for Oscar purposes by the Producers Guild of America in December, will not go quietly into the night of after-parties. After all, he's being deprived of not just his 15 seconds of glory before the thousands in the theater and the millions at home, but a future obituary that begins ''The Oscar-winning producer.'' In this business, success has many fathers and failure is an orphan; if ''Crash'' had flopped, Mr. Yari might have claimed he only ''put up the money.'' But the film is up for six Oscars tonight, and so in a lawsuit against the guild and the Academy of Motion Picture Arts and Sciences, Mr. Yari asserted that he was the driving force behind ''Crash'' and involved in its every step. Unlike other Hollywood feuds, some good may actually come out of this battle over producer credits. Mr. Yari has proclaimed -- in both his lawsuit and the full-page ads he's taken out in industry trade publications -- that the method by which the guild awards producer credits is patently unfair. Indeed, instead of damages, he wants injunctive relief to change the system so that others like himself will not be ''downgraded'' from creative producer to just ''the money'' who wrote the checks. He proposes to prohibit the academy and the guild from making credit determinations in the future without something like a ''due process'' that casts light on the decision makers, the evidence and the reason behind the credit determination.

AROUND midnight tonight, after what will undoubtedly be an excruciatingly long Oscar kudo-cast, the Academy Award for best picture will finally be announced. The expectant faces of all the pro-...

Over the years, one director after another has nurtured the dream of rehabilitating Marlon Brando. The recent decades of Brando's film career have consisted of a series of train wrecks. His choice of vehicles suggested a path of self-destruction, exacerbated by his record of bad behaviour on set after set. Brando seemed to relish the process of torturing his would-be saviours, constantly prodding his directors and publicly defying them at crucial moments. Even on The Godfather, Brando's finest moment, he arrived totally unprepared, having not pondered his approach. It was not until the third or fourth week of production, after he had \"hung\" with some real-life Mafia dons and learned to emulate their mannerisms, that his performance began to take shape. David Zelon, Mandalay's man on the set, made the obligatory calls to his superiors, then - with airline ticket in hand - marched into Brando's dressing room and laid down the law. Brando would put on his clothes and do his scene. If not, he could catch the next plane to California. The production company still owed him $4m, and he had only 10 working days left. He could either do the work or get sued. Ah, the colour of money! Brando sighed and slowly started getting dressed for his scene. [Frank Oz] had indeed \"rediscovered\" Brando, but had paid the predictable price. It has always been thus. Stars like [Humphrey Bogart] or Clark Gable during Hollywood's golden era were regularly on suspension for turning down roles they regarded as typecasting. When Charlie Chaplin formed United Artists in 1919, together with Mary Pickford, Douglas Fairbanks and DW Griffith, he immediately used his new \"muscle\" to foster a weary melodrama, A Woman of Paris. It bombed. Though such behaviour often turned out to be self-destructive, that didn't prevent stars from replicating Chaplin's actions. When Paul Newman was at his peak in the 1960s, he plunged into a series of \"message\" films that all but destroyed his career - WUSA, for example. Steve McQueen helped set up First Artists in the 1970s and promptly decided he'd do a movie based on the Ibsen play An Enemy of the People. After Titanic propelled [Leonardo DiCaprio] to stardom, he turned down a series of interesting roles in movies, such as The Talented Mr Ripley, to accept a rather pedestrian part in The Beach. Few actors exhibit much ability to view a project in its totality, and instead respond to a particular role or idea that showcases their ability to emote. Sometimes they get away with it. Al Pacino did well as a blind man in Scent of a Woman and [Dustin Hoffman] scored as [Tom Cruise]'s idiot savant brother in Rain Man.

They are the most effective form of human communication, more powerful than any otherwayofpackaginginformation. [...] telling purposeful stories is certainly the most efficient means of per suasion in everyday life, the most effective way of translating ideas into action, whether you're green-lighting a $90 millionfilmproject,motivating employees to meet an important deadline, or gettingyour kids through a crisis. Which brings me to my final point about telling purposeful stories. Because they are so important, it's wise to prepare your stories in advance.