>> hyundai motor, connecting art and technology. ♪ >> when discussing the rise of technology in 1968, public "cpablo picasso declared omputers are useless.

they can only give you answers." fast-forward 50 years, and artists can paint masterpieces in 360 degrees with vr headsets, curating galleries inside world that audiences can only access via augmented reality. this new breed of artists would argue that computers are far from useless, being instead of the core of their creative process. sculptors are using projection mapping to make century-old casts, performance artists are raising societal questions, and painters are turning to augmented reality to break out of their studio walls. while this is an twining technology with creative process and producing exciting and surprising worse, some think that technology could soon surpass the art itself. we put this school of thought to nine radical artists across the world, from boston to barcelona, who are at the forefront of using art and technology. we enter the forefront of art and technology with nancy baker cahill, which empowers virtual

artists to share 360 degree paintings across the world. will patton meyer, and john craig freeman, who uses augmented reality art to where's -- to raise awareness of the plights in local communities. another artist, creator of noise escapes that explore the human impact on oceans, and an exhibitor of technological systems that interact with live organisms. moving and projection mapping, we meet an artist whose videos comment on the relationship between humans and technology. a sculptor who amalgamate's traditional art with projection mapping. and a multimedia experimentalist designing street art on a whole new level. with our artists leveraging a host of cutting-edge alternative technology to design installations that don't traditionally look like art, it begs the question of whether the combination of art and technology is developing a whole new genre.

>> i use a very open definition of technology, i like to use old and new, high and low, and keep the definition as loose as possible. i have this idea that technology is viewed as life by means other than life. if that definition is inclusive and points to the way that technology seamlessly becomes a route -- becomes about living, the core human questions are in a way inseparable from the tools we have created. >> as an artist, i like to apply the artistic tools, which allow us to follow scientific subjects but allow for ways of thought and experimentation that science cannot accommodate by itself. by using robotic studios, working with living organisms or space free church -- space research, i create artistic experiments that reflect scientific methodologies.

>> technology is changing. we need to redefine our concept of realities. my background is changing, which is about trading illusions on a dimensional campus. i treat rescission mapping more like a sculptural painting, to talk about the shifting boundary. it exists but at the same time it disappears. >> i think art and technology are affecting each other. we try to bring both of it together science has this amazing -- we try to remove it together. science has been amazing drive. there is always something missing. i think it is important to leave space for art in technology, and vice versa. >> technology is allowing me to take a work and put it from the virtual world into the physical world, and into a given site there. i could not do it otherwise.

i could paint a painting with any kind of combination of objects, but it cannot actually make something that is functioning on its own, that combines those two things together. it just became very clear to a number of us that art was going to be forever changed by this, let alone philosophy, let alone every other aspect of culture. we are in a moment of momentous change. >> artists are such an integral part of our cultural imagination at this point. the fascination we have across the board with the technology and with tinkering with our intrinsic makeup is so profound. narrator: this artist builds hypothetical narratives that reflect politics, industry, and people. by combining biochemistry with performance art and virtual reality, she bakes huge philosophical questions about humanity. >> i like to make paintings and video.

video, live action and 3-d. for several years i have been doing work around industrial labor and factory production and meet as kind of a national cultural resource. china has already arrived at its resource -- in terms of meat production, they literally can't grow any more feed. so what does a company do than or what does the nation do? so a lot of my work, regardless of medium, starts with these really simple problems. i am intrigued in one area of this meat production, synthetic meat. it is an actual meat and is some cell -- stem cell technology. it is extremely easy to use the

self as a carrier -- use the cells as a carrier for secret messages. to speak about any aspect of biological or genetic work elicits questions about who we are, how we imagine our lives to be, and the future of humanity as we know it. so these are really big things already that you can tap right into. narrator: while leveraging technology into the form of artistic tools is nothing new, the automated nature of her scenes -- of machines raise questions as to whether the images are truly created by the artist. which raises the question, does technology undermine artistic integrity?

>> art and technology as they exist today have a long tradition, and i think there is technology behind the most important arts and movements throughout history. the camera obscura dates back to ancient greece, and if it was not for that, we would have never achieved the level of perspective as we did. regarding the line by which an artist crosses over into technology to a point where it -- where the aesthetic value is lost, it is an interesting question but not one i regard so much, because the technology is a parcel of my creative practice. i do not see a distinction between the two. i am trying to make authentic work that is of our time. >> projection mapping, in the same art that street art is, is transient. it can be there for a moment and gone the next. often, the work i produce is created for a live output. i am there in the environment, manipulating content live. you have a pure performance with

the digital footage. if -- every time someone sees it, it will be completely different. you can transform spaces with it. you can be transformative with light, which is really beautiful in the same way you can be with a brush stroke or spray can, which is beautiful. >> we started out in a critical position to museums, but very quickly they started to commission our artworks very much as part of our program. i have done a lot of commissions for museums and that is likely to happen more. what i would like to develop as a much more mixed reality project, in the sense that it would be sort of sculptural elements into mixed with -- intermixed with a are elements, it would be in an exhibition space. >> for thousands of years, the scientific method has been the way that we find our way in the world and how, as a species, we have developed what we are and what we are capable of doing. what we understand about the world around us. it is not the art and science context, it is that art allows

us to elaborate on the context of science. art does not gives us -- give us answers about anything, it gives us tools to explore the answers that we might have already been given, or questions that don't have answers yet. >> at the end of the day, drawing on the foundation -- drawing is that the foundation of everything i do. so the fine art practice is everything i do. whether it is in vr or the real world. narrator: not only does this enable the public to access and enjoy her work in impact the locations, but invites other artists to take part. she has essentially created a new model for public art, which democratizes fine art and challenges the traditional landscape of studios and galleries. >> i think the drawings on paper, they are the foundation, the conceptual foundation of what i and of trying in vr. i make finished the art drawings, and -- finished the art drawings, and those are translated into ar and offered through this public art app. the way i have designed the vr drawings is the same way i have

designed these drawings, you sort of decide how you want to experience the work. when i have the opportunity to migrate into augmented reality and create this app that allowed me to translate those vr drawings, dimensional drawings into augmented reality so that people anywhere in the world could walk through, record, place in situ any of these vr drawings, there is a reason we call the app fourth wall. not everyone is versed in this language, and i have spoken to artists that have enormous distrust of technology. they do not necessarily see its potential or opportunity. i wanted to say look, we can take sculpture, painting, other traditional forms of art and translate them using this tool, give them a different iteration. represent them in a new way and have people experience them in a new and unexpected way.

♪ >> hyundai motor, connecting art and technology. >> hyundai motor, connecting art and technology.

>> hyundai motor, connecting art and technology. ♪ narrator: each of our artists are incredibly passionate, proactive individuals, designing and sharing important narratives around causes posted their hearts, -- causes close to their hearts, from the environment to making art more accessible to audiences. and while this might not feel like art for the masses just yet, there is a goal of creating change in the digital world and the wider world.

but how do they find themselves working in such a niche corner of the art industry? >> my experience came from teaching, really, -- from dj-ing, really. i want to look at how the crowd is experiencing the piece. my background influences that slightly, coming from the dj, turntableism aspect. that is something that influenced me when i was younger and i loved seeing audiences going into a journey with me. i try to take the audience on a journey as the same way as the visual content. >> i have always drawn emercifully. i loved drawing on a huge scale. i always tried to create the sense of being involved in art

viscerally. when you draw in 360, it changes your life. it actually changes the way your body moves and the way you are embodied. i no longer see the white paper. here is a square i will fill with a composition. to me, i just see that infinite void, and the infinite void is limitless. >> i like to make real-time experiments, artistic experiments. reflect and elaborate on scientific processes about why we are here, what things mean, and weapons. this is a project i made last year. it is a survey, an examination of a 50 micron long fragments of --. i made a synchronized video with

the piece that is focusing through it. i was inspired by text on the back of it, and that is by a person coming to the end of their life, and they are thinking about moments of significance in their life and what that means when you are on your own in the dark. this fragment is around the birth of the solar system, saw the birth of the son, saw the slight and had a vast journey through the cosmos. it ended up near a microscope i was looking through. narrator: while some of our artist pieces might be more difficult to understand than traditional art, our artists are striving to seek new ways to seek viewers growing up in the fourth industrial revolution. does art have a bigger impact on society in a time of ar, vr, and the internet of things? >> we not only need to reassess what we believe to be real, we need to reassess why and how we have come to understand what we think israel is actually real. the virtual space i am trying to address in my work is the

virtual space that we are all having day-to-day interactions with, and we are not even thinking twice about it anymore. every time you try to connect to a wi-fi network work get a better cell signal, you are interacting with this new virtual space that we now know is out there, and it corresponds with a one-to-one ratio in our living experience. but it calls into question the border between that reality and what we already view as reality. it is my hope that the work can act as a catalyst for action within the culture, so it is simply not enough to draw attention to something in the world. i want to act meant -- i want to activate people, use augmented reality to cut through the noise about public -- noise of our public sphere and push people to

do something. >> my art form takes subjects and raises awareness for them. we can create a massive spectacle on the huge scale. that gives us a gift of being able to highlight things that are important to us. >> everything that technology has that is a plus, there is a minus also. some people look at ar, and think, why do i need one more thing in my life to be in my way of seeing the real world? my answer to that is, all of art is, on some level, an augmentation. it is adding something to the world that is your vision. ♪ >> my work recently has focused on issues of biodiversity and environmental change. i started to make work about

that process of observing the change in the environment. my work has had much to do with being a witness or an observer in a fragile system. the interface between humans and nature through technology is one of the core questions within my work. for me, it is an open-ended question. it is one i am always delving into and returning to, because i think the relationship is always changing. >> i would like to make the invisible visible, to raise the discussions about [inaudible] narrator: this underwater art begs a series of important philosophical questions about the human impact on our oceans. she explores aquatic bio cu sticks, recording the sounds of live -- aquatic bio acoustics. this is both an expression of aquatic communication and a demonstration of how humans are interfering with it. >> i was interested in electronics for many years. i started to see how -- systems are even more interesting for me. i was spending a lot of times in different marine stations.

i was researching how pharmaceuticals are influencing microorganisms and how this is actually coming back into our bodies. our bodies digesting 20% of each food we take in, everything else goes into the dark water, the oceans and seas. it is interesting to see how invisible it is but how visible it can be when it comes back into our body and we start to treat it. when i started to record, i was not aware there was such a strong human presence. only taking the soundscape's of the animal life. doing the performance and mixing the sound of the finals into new sound composition, which is bringing sounds of different seas and oceans together into one song.

there is a mixture between natural sounds and human presence in the devices. but there is a collaboration between art and science, you come to a point of all things we don't know, and commanding on our presence on the planet, and especially the human presence and the aquatic environment. narrator: if combining technology with art helps it resonate on a more impactful scale, this will grow from strength to strength as we become more reliant on technology. despite witnessing an astounding collection of work across this series, our artists are confident that there are far more showstopping experiences to come. what is next for art and technology?

>> the future of art is technology, or should i say, the future of the best art is technology and the future of the best technology is art. my practice falls around the power of seeing art as emerging technology to create new forms of public art. as a new media artist, it is in my practice and in my nature to be a constantly moving target. the work is always in a state of becoming. it is always evolving, and augmented reality is a vital way of working for me right now in 2018. >> in many ways, video is still being invented. it is a media without a specific body. the way we present video keeps changing, and something about that transformation and that trance vision of form -- transposition of form video possesses excites me. >> even though all the discoveries being made and to be made, in relationship to

biotech, they are only in their infant stage. for myself, what is particularly interesting is to note the limitations of science, and i think artists are particularly well-placed to explore the limitations in ways that are very, very underexposed in other fields. >> the future of ar technology, i think, is likely to go and already is moving from your cell phone to glasses of some kind. my guess is that a lot of software companies envision no longer having a computer on your desk and a monitor on your desk, but having it through a set of glasses. so you are operating on some kind of a device and it is just

visible around you, wherever you want to go, whichever way you want to look. >> i think with projection mapping, boundaries are starting to blur now. looking forward into the future, the boundaries between different art forms are going to melt more as technology aids them. so i think technology will merge with ar, vr, and enhance the audience experience. it will be a big assault on the senses. not just visual, it is smell, it is touched, it is absolutely everything. it creates an amazing user experience. >> i would just say what i hoped, and what i hope is that we as artists can carve out a territory that is different and other, that may be small but mighty, and offer an alternative that is a little richer, a little more poetic, little more grounded in content and a little more electrifying in terms of the soul.

♪ >> hyundai motors, connecting art and technology. ♪

♪ joel: grant reid leads the company with global success and some of the most well-known brands in the world. but he keeps his focus firmly on the future. mr. reid: my job is to make sure i'm setting us up for the next 100 years. joel: his vision for growth is linked with an insistence for principle. an emphasis on transparency. mr. reid: we are trying to move with the consumer, give choice, and i think that is working well. joel: and a commitment to sustainability. mr. reid: we are cutting greenhouse gas emissions ourselves. joel: we talked about much more than candy and it was a treat. a conversation with grant reid

on this "bloomberg businessweek debrief." ♪ joel: grant reid has been ceo of mars since 2014. he previously led the company's chocolate business. when i spoke with him at bloomberg global headquarters, i began to asking him why he thinks mars' legacy candy brands remain so popular. mr. reid: i think it is the emotional connection with the consumer. you look at some of those brands, i remember i was skiing some time and was on the lift on the way up. there was a young guy next to me who was in there early 20's. he probably is thinking, i have this old guy i have to chat with. he said, oh what do you do? i said, i work for mars. he looked at me vaguely and i said we make m&ms, and he literally shouted out, "m&ms! what a great brand!" that is the emotional connection. when you make that connection, it is part of the heritage and

part of the culture, you also add the consistent quality and the brand is a promise to the consumer. as long as you keep meeting that promise over the years, your consumer will keep coming back. joel: mars today so much more than candy. what has been your vision for the company since taking over? mr. reid: i start with the gross, not just us, but back into doesn't 11, the average growth was probably in the five or six in the upper quarter, and that has come down quite a bit to today and it is no more than two or three. if you want to be a vibrant, relevant company -- we have been in the business for more than

100 years, subdivision was really to build great businesses and build categories. investing in your core business as well as your new businesses, and do that and they sustainable manner with a higher purpose. joel: if i were to simplify in the portfolio, it breaks down into the food, the candy, the pets. that is not a logical pairing, right? how do you make sense of that? mr. reid: it seems logical to me. they are very different businesses, but there's a lot of transfer over, particularly in terms of the supermarket and other places, but the setup of categories and the way we structure it, they have all got their individual vision. confection includes not only the chocolate brands but skittles and also wrigley, a brand i bought in 2008, 2009. so they are very vibrant.

there is a lot of crossover in terms of the way you build a brand, the geographies they are in, but they are separate categories. joel: mars, 100 years old. 100 plus. family owned, privately held, also very secretive for much of its history. what are some advantages as a leader that provides you? mr. reid: i work for real people. the mars family are very knowledgeable about the business. very interested in the business and for them, it is more than just financial performance. a lot of people think you do not have to perform financially -- you do. but it's much more than that. they believe that it's not just what we do, but how we do it. the five principles for how we do business, the difference

differential is supply. they really believe in the economics of mutuality, which is putting something back into the communities and environments and supply chains and stakeholders. they were talking about that way back in the 1940's, long before it was fashionable. and i think that is a big difference. the fact that i can sit down and talk to family members and it is their business, and they really care not only about the business, they care about the brands, they called their employees associates, the associates are part of that. that is a real difference. they take very little out. they reinvest in us, reinvest in the consumer, reinvest in the environment that we operate in. that is one key difference in terms of some other companies, and i think it is just their approach as well, you know, love for the business. >> how far do you think they view it as something the company can continue for?

mr. reid: i think my role is fairly straightforward. it has been in business for 100 years. my job is to make sure that i'm setting us up for the next 100 years, and to do that, you need a vibrant company that is growing, that is bringing in the best talent. we see it. our vision is to keep our privately held company forever. joel: mars is about a $35 billion a year business. where do you want that number to be, and how do you get there? mr. reid: we think we can double it in the next 10 years, but it's not just about growth for the sake of it. the way that we do business today creates the world for tomorrow. that is why you have seen us so active in things like sustainability. we believe we have a sustainable generational plan. we are working with farms in côte d'ivoire, climate change,

and we believe the bigger we are the more good we can do. it is not just because we are egalitarian, we really think the economics really work. going back to the norman friedman time, which was shareholder value was rule number one, we believe there's a balance between the financial performance but the social, human, and natural capital as well. you put that together and that is a great package. that is why we attract such great talent. it's not about just being big. it's a combination. performance without purpose we say is meaningless but similarly purpose without performance just is not possible and that is that magic combination. joel: it is also a challenge when you do something like the

vca, something that is challenging, and yet this is a service-based model. so how's that gelled within the company, now that you have a different style of business? mr. reid: that's a great question. the services side of our business is already about 20% of the mars incorporated business. it is about 50% of our associates. it's very substantial. when we look at potential acquisitions, not only the health but any acquisition and a consumer good product as well as services, we look at is it a match between the philosophies and cultures of the business? we have a strategic partnership with a company called kind, so when we went to visit daniel, it was more than just a product. it starts with nuts and the nutritious products first, but his whole philosophy, his whole raison d'être, the way who wants that she wants to drive us is to do the kind thing for the world, so it's a combination of the product but also what he's putting into society. when we met, you could tell

right away that that was going to be a tremendous acquisition. not without issues as you go along, but you can tell that the cultural fit was going to be strong. that's why we put the partnership together. joel: how do you decide if you are going to acquire something versus do something more homegrown? mr. reid: we do both. that is the important fed. we want to double the size of the business, but it's a combination of organic growth in things we already have, and the other 50% is from inorganics. it's about that balance of the two. ♪ joel: later, grant reid explains the philosophy that cushions mars from global trade wars. mr. reid: when we go to a new geography, we build manufacturing plants and buildup raw material capabilities in those countries. joel: coming up, how the company

is taking action to mitigate climate change and support the environment. mr. reid: we have football billion dollars in sustainability generation plan. ♪

♪ joel: welcome back to this "bloomberg businessweek debrief." mars ceo grant reid believes he can double growth at his company in the coming decades. that is even as consumers of become more health-conscious slowing interest in the candy category. mr. reid: i think our confectionery brands are treats and should be eaten as such. i love our confectionery brands. they are great brands. i can give you an example. my daughter thought i was a boring dad until her friends heard i worked for m&m mars and suddenly, i was interesting. [laughter] mr. reid: i could not maintain that interest for long, but i tried.

we are very aware about the growth in obesity. the amount of hidden sugar, so we like to do -- and we have done this the first, in 2007, to have a marketing code, so we do not advertise to kids specifically. we were the first to put nutrition and calories on the front of pack. we were the first to really look at renovating products and trying to change any saturated fat/unsaturated fat. we have been very diligent. caloric size under 200 calories, so we're trying to give the consumer choice and i think that is working well. we were the first to support -- we do that for a number of reasons. one, because it's the right thing to do. two, we want to be very transparent. we know that sugar products should be enjoyed as treats and

if you do it that way, it's fantastic. joel: mars is such a global company. your business is so dependent on raw ingredients, many of which come from exotic locations, many of those are being impacted adversely by climate change. where are you seeing the impact on your business? from climate change per se? mr. reid: we are basically an agricultural company that takes agricultural products and we turn it into brands. we're very dependent on the supply chain and the farmers. we believe climate change is real. we believe in adherence to past agreements. we have been cutting our greenhouse gas emissions ourselves. initially we would look at our operations, we would look at just our operations. we have done some great stuff

with zero waste to landfill. we have renewable energy to cover all of our electricity needs in the u.s.,, u.k., mexico, and soon to be australia. we also realized that the metrics and capability to examine that got more complete, that's only a small part of the impact that we have in the world. mars incorporated, we found, has a greenhouse gas emission equivalent to somewhere like panama, so that is not insubstantial. that is where we would like to play our part. we looked at our whole supply chain so we are working with cocoa farmers and cote d'ivoire and another great example that we are doing as a part of collaboration again with madagascar and manila. we are working with partners to

manage some of the effects that are going to come with that change. joel: which is safeguarding your supply chain. mr. reid: exactly. it is a win-win. back to cocoa, i've worked a law of cocoa farms in côte d'ivoire and ghana -- i have gone to a lot of cocoa farms, and when you see them, it is a tough existence for them. when i was there, i probably asked 20 kids what do you want to be when you grow up? not one of them said cocoa farmer, so that is obviously a challenge for our business. joel: what did they say? mr. reid: everything from school teachers, doctors, but not one of them said cocoa farmer. that is part of the challenge is

how the you make them more attractive place. a disposable income so they can afford to send the kids to school, and you put that together. joel: he did mention sustainability a little bit. where else is there room for improvement, not just at mars but through the rest of the industry's you are in? mr. reid: i think there's opportunities everywhere. in the pet area, there's a challenge with fish and -- in thailand, so a lot of the fishermen there -- we got a lot of fish from thailand where there were human issues and people were being kept on boats too long. we worked with other ngo's and said let's see if we can solve this together because we want a vibrant thai fishing, but we do not want them to do that the cost of the people who operate there.

not just us but with collaboration with others, a gps tracking system allows you to see where the fishing boats are, how long they have been out there, are they coming back to port, and it allows much more transparency. similarly on cocoa, we are looking at tracking which cocoa batches are coming from which particular areas so we can ensure they are not coming from areas protected to avoid deforestation. there are opportunities everywhere. the mission is to try to prioritize those, which we've done around some of the key areas. and make sure we are putting $1 billion into a sustainability generation plan. not just a healthy planet where we are focused on climate change, greenhouse gas emissions, and other things, but

thriving people. there are 26 million people according to the statistics from the international labor organization of human issues and slavery in all industries. we know we cannot solve it on our own. i am actually -- the sustainability goods forum took over, and i work with the other members of the forum to try and create this movement of forward momentum, and we have done it in different places, so it's working well. joel: one thing i'm interested in is packaging. packaging is this thing we all kind of take for granted, and throw out our window, and all of a sudden, the oceans are clogged with plastic. how do you guys talk about it in that setting that consumers should be aware of? is there some hope for where

packaging might be able to go? mr. reid: there has to be hope and you touch on a big challenge. 90% of mars packaging is recyclable, but still 10% is an issue. it is even broader than that. even if it is recyclable, is it really being recycled? is it really being recycled? part of the work of the consumer goods forum, we are looking at a multitude of solutions. how do you get away from plastic itself? it's very difficult with multiple components connected together, so single plastics are you can actually recycle it, but much more importantly, how do you get it recycled? that is going to be a big challenge. it is not easy and we do not have the answer for that, but we are working with ourselves. and others at suppliers. joel: you mentioned zero waste at least being a mars initiative. what has to be done -- is it viable to imagine a world where packaging would just decompose naturally.

mr. reid: that is the ultimate goal, i think. it is going to take a lot of work. it's not an easy solution but we have zero waste landfill in our operation. how do we do that in our supply chain, and how do we take accountability for it even when it leaves us to go to a store and the hands of the consumer, i still feel an obligation to do that. joel: still ahead, mars ceo grant reid discusses challenges facing global business in the near term -- trade war and brexit. mr. reid: we are hoping that level heads will prevail. ♪

♪ joel: another great thing about being a global business is you have unique insight into trade. and both the united kingdom and china are important for mars. in take united kingdom to start

with in britain, what is your brexit plan? mr. reid: i think we have been fairly consistent -- actually very consistent on our view. before the referendum, we came out publicly to say we believe that the u.k. is better to stay in europe. the public voted and we respect the public's vote. if it is coming out, and there is a brexit, it is very important not just for asthma for the u.k. and europe, it is a large issue -- which is let's have an ordered withdrawal so that we can manage that. it is critical not only for us -- we are relatively fortunate compared to some in that we have a big manufacturing base in the u.k., but still, we have to bring in raw materials and ship some products around, so it is still a challenge for us as

well. no deal would be a worst-case scenario. i think. so i'm hoping that level heads will prevail, that discussions will go beyond politics and really try and make it happen. joel: what impacts are you seeing from the trade war with china? mr. reid: again, just speaking for mars, we see very little, mostly because of the philosophy. when we go into a geography, we put in manufacturing plants, we build up raw material capabilities in those countries, however, we understand the pressure. so philosophically, we believe in free trade. we believe in the free products moving towards a global company. we are benefiting from that. we generated great livelihoods for not only our associates but for our supply base, so we really believe that free trade is good for the economy. we speak for all the economies

in the world, and again, we hope that level heads will prevail. as we will get to a satisfaction, but the bigger issue is not so much the transparence of commodities or finished products. i think it is the uncertainty in creates in the minds of the consumer. it's bad for markets, but it's also bad for consumer spending. consumers typically, you probably know this better than i do -- when consumers are nervous and not sure what is happening, they tend to pull back a little bit. if that is mars or anyone else, that is a potential impact and we are seeing some of that softening around the world. joel: as a business leader, what advice would you give to president trump? mr. reid: i do not think it is about giving president trump -- we tend to stick away from politics. we have been in business 100 years. joel: seen a few politicians come and go. mr. reid: a lot of politicians not just in the u.s. all over the world. we are in 80 countries, 450

sites all around the world. it's not about the politics, it's about the policy. my advice would be, let's think about what is right for the consumer, what is right for the country, put it in a broader perspective, treat everybody with respect, just like we do at mars. have a sensible discussion, come up with a sensible solution. joel: you should be in politics. [laughter] mr. reid: thank you, i was going to declare my running. joel: final question -- at halloween, how much pressure do you face to provide full-sized candy bars instead of little mini ones? mr. reid: that's a good question because i live in a place called alexandria, and they actually restrict halloween to one street and i'm not on that street, so it's a beautiful thing. [laughter] joel: it worked out really well for you. mr. reid: i do not have to make that difficult decision, but if i did have to make it, it would be full-sized.

joel: good. grant reid, everyone. thank you for joining us. [applause] mr. reid: thank you. appreciate it. ♪

>> the following is an independently produced program. views expressed do not reflect bloomberg lp. kim: the mother of all data breaches. over three quarters of one billion email addresses were uploaded online. were you one of them/ i will tell you what happened and how to check. every week, we talk about robo calls. we put together a guide to help you block these calls. i will tell you the tools your and apps ands tactics to stop the calls.