Stephen Wynn
Analyst · Tom Marsico with Marsico Capital
And so when we design restaurants, when we think about making a Japanese restaurant -- I'll give you an example. We're talking about a Japanese -- it rains there. It's moist there. The weather is changeable. So when we talk about creating a Japanese restaurant, we create a Japanese restaurant that's on a Japanese garden, and that garden and that restaurant -- the restaurant has no walls. It's an indoor-outdoor restaurant in a beautiful garden. But. way up high is a space frame roof that's coated on the inside with a black, a matte-finish fabric, so that it looks like the night sky because it's an evening restaurant in this particular case. And so the roof and the sky disappear, and you're in an outdoor environment but you don't have to worry about the rain or the wind or the temperature. And then the garden begins to morph while you're sitting in it, and flowers bloom and fountains come up and go down and the entire environment changes while you're having dinner -- several times. That kind of thing is a mixture of public entertainment augmenting, in this case, a Japanese restaurant. And in each of our cases, we have done this sort of thing. In the bus station, we have a tremendous bus arrival with a dancing fountain outside. And the bus arrival, the bus lobby, has been taken to another level, and in it are public entertainment surprises. There's also an opera house, a proscenium theater that has performance in it. So almost everywhere you go in this hotel, and I've just touched -- scratched the surface, this hotel is a bit of a wonderment as far as your experience. Because I want people to say, when they go to South China and they go to Macau, that they have to stay in our place because it's such fun. Another point I would make about this facility -- I'm assuming for a minute, Tom, that people on the call care about this. A lot of the business there is related to high-end Junket business. Right now in downtown Macau, we are smack-dab in the middle of everybody: Lisboa on one side, the MGM on the other, the Arc on the other and StarWorld. We're in the center. And we get a certain percentage of our business as the second play. When someone is unlucky at one place, they'll walk across the street and gamble at our place. That geographic positioning is a factor in our volume. In Cotai, you don't have pedestrian migration because things are too far apart. These facilities have huge footprints, lots of parking, driveways and the weather is, as I say, changeable and in some cases, challenging. So they don't walk. They go around by buses, and everybody supplies free bus transportation. So I have to make sure that this place for the junket and high-end customer is so irresistible that it is the first choice, that every junket operator must be in this hotel, that the customers go there first. I don't really care where they go second. I prefer they go to one of our places. But I -- DeRuyter Butler, my design partner, and I, we have built a product, designed a product, that is so perfectly suited to that marketplace and to do exactly what I just described: force, virtually; compel, a softer word; the high-end players to come here first. And the room product, the public area, the access, the arrivals, the multilevel spaces that are animated. It's a different -- this product would never be built in Las Vegas, ever. It's strictly a product of Macau. And finally, in this long-winded dissertation, I would conclude by saying we did well with Wynn Macau. We took the sensibility of The Peninsula in Hong Kong to heart when we designed it. We had no actual hands-on experience in Macau. We had, after the opening of Wynn, hands-on experience and we designed and built Encore, a very specific kind of facility with amenities that were based upon our insights into our customers to improve the guest experience a la Macau. Forget about Las Vegas, this was about Macau. The Cotai project is, because of the landmass, because of the room we had and the experience we've gained, the Cotai project takes that evolutionary arc way up high. And I hope that -- I'm maybe talking too much.