Seth Godin | If you could only learn one thing, THIS might be enough!

how often are you wrong nowadays how how often are you experimenting with new things i mean someone looking from the outside in might see you iterating sure here's another book but he's the book guy he knows how to do books words on paper digital whatever you know um maybe we don't get to see all the innovation happening behind the scenes but i'd like to know you know how often now are you experimenting and built into that question as a as a backup question which is how often should we be thinking about innovating and then how often are you wrong if i'm working hard i'm wrong almost every single day sometimes several times a day behind me in all these videos you see bookshelves most of the books on these bookshelves are filled with projects i did that didn't work and uh i'm good enough to double down on the ones that do work that it looks like i'm right a lot seven thousand blog posts half of them are below average and 140 podcasts some of them aren't as good as the other ones i work for hours on something it's perfectly polished i go here they say and then i do something because i'm on deadline and i pop it off in eight minutes and people think it's the greatest thing i ever did i don't know i just know that the practice involves showing up and so i'm wrong a lot now we're talk there is a spectrum between being wrong about an interaction with one person who you need to connect with and being wrong on a book that you spent a year writing or business you spent five years building right but we got to do all of them so yeah most of my errors are errors of omission not commission things i should have done things i could have said things i could have written but there's also the stuff where i've had an interaction or written something where history said you weren't that right this time or where the market said yeah we're just not going to sign up for this we don't think it's a good idea and again you protect against the downside the downside for me used to be that if i lost 500 bucks i was out of the game so i had to take very little swings now i can afford to lose 500 bucks and still be in the game so i take slightly bigger swings but no i'm not busy starting a startup with 100 employees because that's a swing that would freak me out [Music] but if we try to attach ourselves to the outcome we will sacrifice the process that the practice says the outcome matters that's why i'm here it's why it's work but no i'm not sacrificing the practice to reverse engineer some outcome that i have no control over because i have no control over it so therefore all i can do is merely do this work [Music] so there are two magic tricks hey it's seth the first magic trick was in the 50s 60s and 70s we gave or sold everyone a television set and suddenly a few people could reach a lot of people with stories and video and the second magic trick you already know it we gave almost everybody or sold everybody a camera and now we're not just consumers we're creators and it's a thrill to be here with my friend brian to talk to you about what it means to be a creator and what kind of ruckus you're capable of making hi brian how are you thank you for being here seth it's always a pleasure the new book the practice is amazing inspiring i think for all of us i speak for all of us in the world all the creatives at this very moment thank you for writing this book it's it's what i personally have needed for a long time and i think there's also several common threads that have run through the 19 other best-selling books that you've written if we're counting that you know maybe this is coming at a really good time in the history of the world at least for me it is and so i want to visit some of these topics i want to break down the practice and i really i want to get tactical too because i know a lot of people who are watching this they're artists they're creators maybe they're writing scripts or screenplays maybe they're editors directors creating some sort of video um and i think they could really benefit from hearing some of the things that are written in the book well i'll tr i will do my best the fact that it's a festival is poignant to me and a little bit ironic so yeah exactly it's a good place to be i want to ask you about self-talk um to me you seem someone who's so resilient someone who's maybe conditioned themselves to shun the non-believers uh something you've talked to me about before but i want to talk about the self-talk that's in your head and and how you are able to either fight off the voices or the voice the resistance if you want to call it that you've talked about steve pressfield a lot the lizard brain but what does seth godin's self-talk sound like right now so high school is a disaster for a whole bunch of reasons and one of the reasons is it happens at the very same time we are developing the ability to intentionally talk to ourselves most people if they're honest cannot remember what they said to themselves when they were seven years old or 11 years old but once we hit high school it's loud that voice in our head it's working overtime i think it might be related to our sexual awakening at the same time but at the very same time that that voice is getting loud so are the other voices in the lunchroom so are the other voices on the bus and we tend to mimic what's around us if you grow up where everyone is speaking french the voice in your head is going to be french and if you come of age with high school voices in your head it's not unusual to develop high school voices and i think growing up is a persistent effort to get rid of those voices and a lot of it has to do with fitting in a lot of it has to do with listening to inappropriate feedback criticism from people who are more afraid than you are a lot of it has to do with surface achievement which isn't really that important compared to the other kind so for me the work and i have to do the work every single day is to calm down quiet down isolate myself from the voices that aren't going to help me do my work and to figure out how to amplify the other kind the ones that are about the practice and the work we do not about fitting in standing out or winning and so what is going through your mind right now what are some of the things that are are trying the darts that are trying to get through but are just pinging off captain america's shield you know you know when i'm doing a video interview i have a different voice than when i'm doing a podcast because when i'm making a podcast i know that there's a hundred thousand people listening but not right this second and right this second i care about making sure i'm landing with bryant making sure i'm leaving space for him and then it reminds me that brian is just a stand-in for 170 million people who might be watching this and what if they don't speak english what if they want something i don't want what if they're dealing with something i'm not dealing with what if they are suffering from trauma or they're just overwhelmed with delight how can i possibly be there for all of them and so it's this balancing act between being present for this person who's so generous to spend time with you and realizing that if i extend myself too far i will disappear so that sounds a little bit like at least the entry into what a lot of people will frame as imposter syndrome or maybe it's starting to worry about the critic can we talk about that a little bit uh personally and you give me a lot of great advice over the years you've said you you don't read your one star amazon reviews because or my five-star amazon reviews you can't have it both ways yeah you don't read reviews you don't have comments open on on anything and that's by design can you talk about that a little bit and then i have a follow-up question so a couple things to say about feedback and criticism the first one is this most of the negative criticism you get is not helpful and it's not helpful because it's simply a way of someone saying it's not for me so if someone who loves a steakhouse leaves a one-star review of a vegetarian restaurant on yelp should the vegetarian restaurant now start serving steak i don't think so this person told us about themselves not about the restaurant and if you give a one star review to a brilliant book like cast by isabel wilkerson you're not saying anything about the book you're telling us something about yourselves isabel should not read that it will not help her and that's the first part and then the second part is people who do exist in your audience who it is for most of them are bad at giving feedback most of them are terrible at telling you something that will make your work better it's a craft it's a skill i'm not surprised they don't know how to do that if you can find someone who knows how to do that what a gift i mean think about a movie like 2001 which is regularly considered one of the 10 greatest movies of all time when it came out people walked out of the theater when it came out ostensibly talented critics hated that movie what if stanley kubrick had had a focus group before he released that movie first 45 minutes with no speaking well we wouldn't be talking about monoliths the way we're talking about them right now would we and the reason is because stanley kubrick had something to say and he willingly ignored people who didn't know how to give feedback so i'm gonna just play the other side of the coin just for fun because i i already sort of know where you're gonna go with this but will you tell the brussels sprouts story and why as a restaurant owner it might be tempting if your customers are coming in for brussels sprouts uh wrapped in bacon to customize something for a vegetarian or a vegan uh when the money is good why shouldn't we do that yeah so i mean you're you told the story it was david chang who is now a big deal he wasn't a big deal when i was going there on saturdays for lunch with my family the place was half empty and there were 22 things on the menu and one of them one of the most popular ones was brussels sprouts with bacon i don't eat bacon i've been a vegetarian a long time and the first three or four or five times we went we'd be sitting at the grill at the you know the little counter and i'd ask for them without bacon now this is a win-win because they don't have to buy the bacon i don't have to separate out the bacon and they said sure and the last time i think it was david i'm not sure the person behind the grill said you know there's 22 items on the menu and only two of them are for vegetarians you'd be better off going to a place a block away in fact there's a good place right over there and that was the day that momofuku became momofuku because there's eight or ten million people in new york city they don't need all of them to be customers they need two thousand of them they need the right two thousand people to love that restaurant for it to be a success and gently and generously asking the non-customers to leave that's a generous act and so i think you will know that you are on the right path when you say to a potential client there's somebody else who can do a better job let me call them for you when you say to somebody who offers you a great gig to do something that you wouldn't be proud of to say no thank you but i know where i should send you this is not offensive to the person who asked for it it's a generous act but if you're not willing to do that then we know who you are you're making average stuff for average people and you can do better than that i love that so many thoughts are going through my mind i mean i think we've all been there we've done stuff or worked places we maybe we stayed working there too long or we we took on a project we knew that the clients were jerks but we did it for the money or maybe we you know we made a bad movie because we needed the money right i mean it's a tough call when you want to stay true to your values but you also need to buy cheerios and milk for the kiddos oh it's talk you know i watched adaptation from charlie kaufman a couple nights ago and i don't know him he is a genius he is a contributor he makes things better and um but i started i was curious so i started looking through his entries online and it turns out he was one of the people called in to make kung fu panda two and i think that charlie might be a little out of balance because there is nothing wrong with doing one for the money and one for the show there's nothing wrong with saying i'm going to make a commercial movie proud that it is what it is for who it is and then i'm going to take the good will that earned me to do a movie that almost nobody understands and i want to do it my way because if you're going to be in this industry and you're not just going to shoot with your sony alpha on your own then you're going to need cash to make your stuff and you can rail against the industry every single day and refuse to be part of it or you could write the funniest comedy ever written knowing that you didn't make great art you just made people smile and then you could take that money that credibility and go make the movie you want to make i don't have any problem with that whatsoever i think where we get into trouble is when we do the work hating it every day and never get around to doing the parts that we love i think we get into trouble when we compromise our reputation and blame it on somebody else if you're going to make a movie it should be a movie you're proud of but that doesn't have to mean it's the movie you would have made if no one else had to say those are different things yeah i like that distinction you've taught me so much about thinking about two really important questions well there's really three but they're they're sort of three baked into two which is the all important what's it for and who it's for and to me the what it's for is the strategy the plan the goal the objective what you want to accomplish and maybe your kung fu panda 1 or your kung fu panda 2 is just a means to an end that you could do your 2001 space odyssey movie and you know have some cash um i want to ask for clarification on probably one of the most profound at least for me inspiring messages in the book which is your recommendation your counsel not to attach the outcome uh to the work to ourselves can you break that down and help us understand because i i hear the words i'm really trying to let that sink in and seep in deep so that i can embrace that and live that but it is so hard yeah all right so uh charlie kaufman made a movie and it got picked by sundance does that tell us something about charlie kaufman or does that tell us something about the movie what does it mean to get picked by sundance to be in a festival does that mean you won as a person okay what about getting rejected if your movie doesn't make it into sundance are you a bad person i think not and i think that you need to make the movie you're going to make in the way you want to make it knowing its trajectory and your goal might be to get into sundance that could be part of the movie you want to make and then when it doesn't get in to whatever festival you have in mind you've learned something about what you made and you've learned something about the jury maybe the jury didn't have room for the kind of movie you made this year maybe the person on the jury had a favor they had a trade to somebody else maybe they just didn't like what you made or maybe you can learn from the fact that you got rejected and the next time you make a movie like that you'll make it better and it will get in but at no point in any of this should you think that getting in is means you're a good person and not getting in means you're not a good person because those aren't the same thing and if you are spending your days willing and wishing and hoping to get picked and you are spending your nights beating yourself up because you didn't get picked you have no time to do your work and so my argument is let us be clear about who it's for and what's it for the change we seek to make and then let us go all in to make our work and leave aside our willing and hoping our attachment to the outcome because the outcome is the outcome whether or not we are attached to it yeah because i can hear the chatter i can hear the pushback like of course the outcome matters right if if we just hear a little bit of if we just hear a partial piece of that advice which is don't care about the outcome well of course we have to care about the outcome we know we don't set out to make bad stuff right unless we do but it is so hard i mean you talk about the 800 rejection letters that you got um do you do you still remember those people do you still remember the words that like me do they ever come ringing back in your ears sometimes especially when you're succeeding does that ever happen to you um it there's only a few i know by heart um i i think it was 40 years ago i think the key is this there's a difference between caring and attachment and there's a difference between it mattering and attachment attachment means i am somehow related to that attachment means it will be the narrative of my days it will be the place i go to determine if i am worthy that never pays off if you spend your whole life thinking about dying you're not spending much time being alive and i got to tell you we're all going to die so you shouldn't get attached to the fact that you want to live forever because you won't and if you get attached to it you won't enjoy the moment and so what i'm saying is when we are doing our work we are doing our work we have a goal we have a destination we are aware of it but we are not attached to it so the the rift that i like is people talk about what would you do if you knew you could not fail which i think is a silly question because i'd want invisibility and flight and time travel and things like that the better question is what would you do if you knew you were going to fail if you were sure you weren't going to get into sundance then what movie would you make if you were sure that your script was going to be turned down by every studio in hollywood then what script would you write what would be worth writing even if you got turned down it turns out ironically paradoxically if that's what you write you're probably not going to get turned down yeah i love that because it is very freeing right it releases you from the pressure both ways because you're right it does success and failure can cut the same way you can start you know drinking the kool-aid and believing you're all that because you won an academy award once because you were in the right place the right time or you had the right jury or the right script or you found magic you know maybe legitimately but you're right if you start attaching yourself to the positive outcome too it's also leads down a roll of trouble correct yeah um let's go back to rejection because it is definitely a trigger for me and i don't know if you can relate with this at all but sometimes when i feel rejected i do this self-sabotage thing where it's like i already it's not it's not just assuming that everything's going to go badly but it's like i deliberately make sure that it happens you know um can you relate with this at all okay so anxiety not the anxiety that a mental health professional might help with but everyday anxiety is experiencing failure in advance and it's even worse than failure because failure is real you don't have to wait and wonder it's here and i experienced it and that sucked but anxiety is imagining all the different ways the failure could come and when it's going to come and suffering the whole time so it's easy to imagine a scene in a screenplay where somebody walks in finally getting the meeting with the studio executive and just punches them right in the face because at least then it's over with yeah right i already know you're gonna say no right there's no chance because it's the chance that makes it even worse because we're so attached to that glimmer that slice that we spend part of our time dreaming that it's true and most of our time in mourning because it didn't work out and so what if you find yourself doing that i used to do it all the time i still do it a little bit um you need to look where the trigger is what starts you on that cycle and work to extinguish the trigger because if the cycles keep expanding they're getting in the way of your work as a creative and don't use it as fuel using it as fuel is really the problem because it doesn't as my friend brian says brian complement it doesn't burn clean if you're using revenge or glory as the fuel to do this work not generosity then you will burn out yeah and and i like the message of the book because it seems to me like the antidote really is as you say in the practice you say show me your bad script show me your you know terrible video and so am i right is that the antidote is is is doing the work day in day out the answer it's the only way forward because if you do the work day in day out you're too busy to develop that noise in your head and your craft has to get better because you're discovering all the things that don't work you're discovering all the dead ends on your way to moving forward so if we're doing that work 7 500 blog posts in a row right if we're doing that work oh here's another one here's another one here's another one everything will get better at the same time that the noise in our head starts to subside i heard a story maybe it was a rumor i don't know where i heard it i heard that you got offered the shot to be one of the sharks on shark tank and you turned it they wanted me to audition to be the nasty judge yeah the the the part played by the other guy with less hair his name will not be mentioned but ironically 40 years ago he bought the company that i worked at a year after i left that weird that is it's almost like um what's that seinfeld episode where he's living in a bizarro world it's like and he is the antithesis of you he's very greedy he's a savage and you're this genuine you know generous that's interesting yeah and i said you mean you want me to trade uh what i stand for to be famous and i said what why is that a good deal i'm not interested again these are the um and maybe that's a good segue into talking about the importance of having a personal brand we've wrestled with this a little bit before where you know i've said that we all are a brand and you said no i'm a human being i'm not a brand but can you talk about personal branding and because i think that's what you're talking about is establishing a set of values parameters limitations if you want to call that constraints you like to talk about constraints maybe break that down a little bit into personal branding well okay so my glib answer to you is incomplete uh everybody has a chance or probably does have a brand a brand is not a logo and a brand does not mean you are a company a brand is a shorthand it is what we expect when we hire you what we expect when you walk into the room what we expect when we see your name on the credits and so if it's a spike jones movie or a spike lee movie these people have brands because they their work rhymes with itself they stand for something and you can have one lots of people have one the class clown when you were eight years old had one that if the class clown opened their mouth people had a hunch about what was going to come out and if you don't want to be a wandering generality if you want to be a meaningful specific as ig would say you have to pick what is that so nike should probably not open a chain of fast food restaurants that would be a mistake because then nike wouldn't stand for anything and you should put not you brian but you the viewer should probably not say what do you need made i will make it for you because now you've given up any hope of standing for anything can we stay on that uh sort of value proposition theme and talk about money i know a lot of creatives have a hard time knowing what to charge for their work or feeling like a sellout and you've talked before about how money is a story can you talk about price and about story and maybe give some advice to creatives who are trying to you know earn what they're worth yeah so there are uh two places where you can succeed in one place where you will fail it is possible to succeed with you can pick anyone and i'm anyone except i'm cheaper than them because you'll have plenty of business all day long you might lose money but you'll have plenty of business and the other thing you can say is you'll pay a lot but you'll get more than you pay for and that means you won't get very much business but people who want a lot more than they want the money will pick you or people like you so if we think about photographers my friend jill greenberg will not shoot a portrait of you for 89 if you multiply it by 500 she might shoot a portrait of you because she's the one and only jill greenberg take it or leave it you'll pay a lot but you get more than you pay for let's go back to this idea of being unique but also recognizing that sometimes you do find a cash cow right not a purple cow but a cash cow in this sense when i worked at universal pictures i was on the brand marketing and strategy team in home entertainment which was responsible for basically movies on demand dvd and whatnot at the time blockbuster was still a thing and we also sold movies and when i was there at the studio we had this a movie that came out called the fast and the furious wildly successful vin diesel movie and you know a great cast and i left you know after a few years and they just kept making that movie fast and furious one i think they've made eight or nine of them by now yep they're just taking it to the bank um so why is that good or not good um because i want to stay on this you know this how to earn what you're worth you know they've they've tapped into something a franchise because we used to call it a franchise yeah um whether it's a movie with a sequel or you know three of them sometimes they make one one too many but what's the difference in the value what's the difference how you know you're supposed to stop after you make one too many yeah i mean and that's the thing as a filmmaker too if if you get a if you have a hit it's really easy to make part two you know okay so how do you know whether or not to make part two a couple things first let me explain what the word cash count means uh it comes from the boston consulting group it's a grid of uh projects that either spin off cash or grow and so you've got something called the dog which is not spinning off cash and it's not growing you should get rid of that it shouldn't be in your portfolio you've got a star which is something that is spinning off cash and growing you love those then you got the cash cow which spins off cash but doesn't necessarily grow that's what sequels do and as an artist a creator as someone who wants to be in culture it really helps to have a portfolio of at least three of the four quadrants because you can use money from one to fund your work on the other so if we look at a visual artist like jeff coons jeff koons makes millions and millions of dollars making balloon animals and he takes some of that money to develop the technology to make the next thing a studio says we know we're going to make bank making another james bond movie we can't make james bond movies every day but we can make one this year and we'll use that money to make four other movies hoping that one of them turns into something that we can build our future on and if you're an individual you can do the same thing now morally is it okay to make a fast and furious movie well the last time i checked they weren't forcing anyone to pay to watch one so if it's voluntary and it's not making anything worse then i think morally you're off the hook i don't think it's okay to market cigarettes i don't think it's okay to open a vape store i don't think it's okay to dump stuff in the river because those hurt thing people you're trading money to be a bad person but in the case of film film has no promise guarantee that every single film you make is going to open people's eyes and expand their horizons in ways that no one else could imagine you can do that if you want but you're also allowed to just let people have a pleasant sunday afternoon so i think morally you're off the hook but we need clarity because if you set out to do something in film that has never been done before and you make seven uh fast and furious movies in a row well now you're being incoherent and you're gonna die with your dreams inside of you you use the phrase off the hook let's uh now re contextualize that phrase and you talk about being on the hook and why on the hook is where you want to be can you talk about that a little bit okay so fish don't like to be on the hook for understandable reasons very few good things happen if you're on the hook and you're a fish but creators that's the only place we can be because what it means to be on the hook is you made a promise to somebody and now you have to keep it what it means to be on the hook is that you claimed something and now you have to deliver and so our goal as generous creators is to be able to go to the people we serve and say please put me on the hook i will make this promise if you will give me a chance to keep it what's the difference between like if i've got a video on vimeo that's on private and public how do i know when i should be on the hook or off you know private or public that's hard right so what's the what's it for right if the goal of a video is for eight people to engage with it in a way that takes them to a new place it should be on private and you should in you should invite those eight people to see it if the goal of the video is to spread to people you have no contact with if its goal is to bump into people who don't expect it and who aren't necessarily engaging in a bargain with you then it needs to be in public but you got to be really clear about what you're going to do with the feedback you get so if you take a video that's particular and personal idiosyncratic and you make it public and no one watches it that's not your fault that's not what you didn't set out to make a thing that was popular you set out to make a thing that was personal they're not the same and social media has taught us that likes mean people like you and friends mean people are your friends they're not that's just what they call that button and so don't play into the social media trap instead be really clear with yourself about what it's for people have shown me stuff and they've said this is my best work but no one's watching it and i said did you try to make something that was viral because this seems pretty intellectual for something that's viral like no i wanted to make something intellectual i said so then what are you complaining about you made what you wanted to make you have to forgive the audience for not wanting to go on the journey that you want them to go on because they don't want to go how much of your work in advance let's take the practice for example do you send just a chapter or do you send half the book or the full galley copy for feedback to the right people and how many do you send them to so there are very few people i ask for feedback from because it's a skill and it's a huge ask if i'm very good at this sort of thing i've advised you know 20 people who've written important bestsellers on their books i do it for free for my friends but if they're going to ask me for my feedback they better take it because it's a big gift to do that for somebody so when i said to peter gabriel would you mind blurbing this i wasn't asking peter please help me make this a better book i wasn't looking for feedback uh so the feedback on this book came from my editor nikki papadopoulos a couple people in my family and brian koppelman and the best feedback i got was not surprisingly from my editor she changed the title and helped me adjust some parts of it but you really want to find professionals and if you have to pay them you should pay them because they're worth it one trick that i use which i recommend for people who make film as well is after the whole thing is done but before i have submitted it i hand it off to an editor i have never met not a line editor not a structural editor but a copy editor commas semicolons dashes and in four days for four hundred dollars or eight hundred dollars it gets magically clean and it doesn't change any of the words in the book and then when i hand it into my publisher they're stunned because it looks like i know how to write because all the commas and everything is in the right order i think it pays to let's just say you're a cinematographer storyteller filmmaker to have a professional editor edit your thing the last thing before people see it or to have someone do the audio sweetening or to play with the sound because human beings don't know why they notice that but they do and there's no shame even if you're on a low budget nobody said you have to do every single thing yourself what was the working title of the book by the way it was called trust yourself you can see an excerpt of the book at trustyourself.com i bought the domain that's how much i liked the title but then we changed it maybe one of my final questions is can you talk about collaboration you know in this age of being quarantined we're still in la here you know for the unforeseeable future but collaboration whether you're you know i know you've been working by yourself for yourself forever probably since the 80s right um talked about uh collaborations some of the things that you've learned how to do it well and and why it's so necessary yeah someone called into my kimbo podcast and asked me about this and they said do i think sergeant pepper could have been built in the age of zoom and not only do i think it could have been i think it would have been more likely i think that if we can strip away the boundaries of time and space particularly space to collaborate with someone not just because they also live in liverpool but because they have something we need and we have something they need really cool things can happen i am not good at that at the sergeant pepper thing i'm just not so i don't try to do it it doesn't give me satisfaction but i know other people who that's the way they work the best so in this moment there's no excuse for being alone if you don't want to be alone you should go put together your support circle and put together your collaborators be the organizer of that and intentionally make it true so that just reminded me one of the questions i want to ask which is deadlines so how important are constraints deadlines parameters i know a friend who just finished a full-length documentary film uh and it took them five years to complete not because that's how long it takes but because that's how long they took yeah i think the whole thing could have been done in you know less than 12 months so talk about deadlines right maybe it's well so yeah in their defense i can type a book in three days knowing which words to type take a little longer than that but leaving that aside i have very strong feelings about this number one constraints are your friend you will never have unlimited time and resources don't try figure out what the constraints are and live with them if you're going to shoot with this kind of equipment that's all the equipment you get the end go to the edge of your constraints do not try to ease them and the other one how do you know which constraints to to create for yourself how do you know because you know i think if it were left to our own design you know where where should i go to travel i'm going to pick hawaii every time because it's sunny and it's beautiful and it's never rainy you know it's just all palm trees and sunshine but that's probably not going to help me i i need the opposite like pushing back sometimes so how do i know which constraints end to what you just answered your own question right if the purpose of vacation is x y and z and hawaii does that stop worrying go to hawaii what's it for what's it for right so my blog i know what my blog is for and there's a reason there's no pictures and no audio and no video and no this and no that my blog has constraints so i don't have to spend any time at all saying what stock photos should i put here because there aren't any it wouldn't make my blog better i made that decision once i might unmake it one day but i don't review it very often and you know steven soderbergh shot a movie entirely on smartphones well that's a constraint he can afford to do it a different way let's see what we can do build the boundaries so that you can go back to work and the second half which i made this decision in 1983 and i have never ever worried about the decision i made which is don't miss a deadline period don't go near them don't even get close to them deadlines have the word dead in them don't go near the line never period it's done when your time is up the end don't ask for more time if you can make that rule once you can get the work done otherwise you're going to spend all your creative work trying to change that boundary it is the juiciest boundary you don't want to go near it because more time feels like perfect and more time is not your friend i mean we were just sitting back you know chopping it up reminiscing about the good old days and all that you know tracking my roots where i came from where i'm going [Music] it's all about [Music] your dreams in the past ain't nowhere near you backseat drivers got nothing but two cents riders two buyers they all liars i should get a a for ev but i'm too tired but i'm never giving up that's why i'm kinda admired role model like it or not i gotta play it sugarcoat the rhymes sometimes but still say it said i was quitting that 40 is just a fib i'm still a kid that's wiping the food off of my bib you ever wanted something so bad that you could taste it cried over every opportunity wasted good and bad news which one you want first either way you pick the best still gonna i never got the bask and the fruits of the labor and i never got the cash from that dude from the label i'm just thinking back [Music] can we go way back [Music] retrospect i would have did it the same in hindsight i'm the only one to blame i ain't picky i'm just real specific i want nothing less than terrific i know y'all get it i'm aggressive so our style is clashing killer instinct and i play with passion i'd rather be hated for being one of the realest and get a lot of love for these overrated appearance i can stand on skill alone but i'm a package deal i can write the whole song and rap for real i got my head in the cloud with a pun intended i don't need to see nobody i don't want no visits introverted i just flirt with the music small circles how i choose it stay away from squares they the one it looked like a l7 i've been doing this since i was 11 and the gets rid [Music]

Channel: Behind the Brand

Views: 65,739

Rating: 4.9615383 out of 5

Keywords: Bryan Elliott, Behind the Brand, entrepreneur, seth godin, seths blog, this is marketing book, seths new book, seth godin this is marketing, seth godin talk, seth godin speach, seth godin podcast, akimbo podcast, author seth godin, direct marketing, brand marketing, Seth Godin Behind the Brand, Seth Godin The Practice, Seth Godin creativity

Id: 00r_FCfFV0U

Length: 44min 50sec (2690 seconds)

Published: Tue Jan 19 2021