david hieatt

4 posts categorized “resource”

HOW TO BUILD A GREAT BRAND WITH VERY LITTLE MONEY.

 

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How To Build A Great Brand With Very Little Money'.

Feb 19th. London. £300.

There has never been a better time to start a brand. There has never been a cheaper time, either. But when everyone has the same free tools as you, how do you stand out? The answer is simple enough:  By learning how to use those tools with greater skill than anyone else. This workshop will give you some key insights into this.

How do you beat Goliath?  It won’t be by out-spending them. But it will be by out-thinking them. It will also come from understanding what you are going to change. Understanding your purpose and how to make that mean as much to your customer as it does to you. This workshop will give you some key insights into this, too.

I am not a theorist. I have built brands from nothing with next to nothing just by understanding a few key basic rules. I shares these insights with you on my course: 'How To Build A Brand With Very Little Money. 

What Will You Learn?

How to tell your story. 
How to give your brand a voice. 
How to get people to love your brand. 
The importance of 1000 true fans. 
The real advantages of being small. 
Is your idea going to change anything. 
How to put a moat around your idea. 
How to identify a niche before others. 
The importance of being first. 
How to fund it without losing control. 
How to build a great team without employing anyone.

How To Build A Great Brand With Very Little Money. London. Feb 19th.

My Book: Do Purpose.

 

David Mamet - Read, Reap.

“TO THE WRITERS OF THE UNIT

GREETINGS.

AS WE LEARN HOW TO WRITE THIS SHOW, A RECURRING PROBLEM BECOMES CLEAR.

THE PROBLEM IS THIS: TO DIFFERENTIATE BETWEEN DRAMA AND NON-DRAMA. LET ME BREAK-IT-DOWN-NOW.

EVERYONE IN CREATION IS SCREAMING AT US TO MAKE THE SHOW CLEAR. WE ARE TASKED WITH, IT SEEMS, CRAMMING A SHITLOAD OF INFORMATION INTO A LITTLE BIT OF TIME.

OUR FRIENDS. THE PENGUINS, THINK THAT WE, THEREFORE, ARE EMPLOYED TO COMMUNICATE INFORMATION — AND, SO, AT TIMES, IT SEEMS TO US.

BUT NOTE:THE AUDIENCE WILL NOT TUNE IN TO WATCH INFORMATION. YOU WOULDN’T, I WOULDN’T. NO ONE WOULD OR WILL. THE AUDIENCE WILL ONLY TUNE IN AND STAY TUNED TO WATCH DRAMA.

QUESTION:WHAT IS DRAMADRAMA, AGAIN, IS THE QUEST OF THE HERO TO OVERCOME THOSE THINGS WHICH PREVENT HIM FROM ACHIEVING A SPECIFIC, ACUTE GOAL.

SO: WE, THE WRITERS, MUST ASK OURSELVES OF EVERY SCENE THESE THREE QUESTIONS.

1) WHO WANTS WHAT?
2) 
WHAT HAPPENS IF HER DON’T GET IT?
3) 
WHY NOW?

THE ANSWERS TO THESE QUESTIONS ARE LITMUS PAPER. APPLY THEM, AND THEIR ANSWER WILL TELL YOU IF THE SCENE IS DRAMATIC OR NOT.

IF THE SCENE IS NOT DRAMATICALLY WRITTEN, IT WILL NOT BE DRAMATICALLY ACTED.

THERE IS NO MAGIC FAIRY DUST WHICH WILL MAKE A BORING, USELESS, REDUNDANT, OR MERELY INFORMATIVE SCENE AFTER IT LEAVES YOUR TYPEWRITER.YOU THE WRITERS, ARE IN CHARGE OF MAKING SURE EVERY SCENE IS DRAMATIC.

THIS MEANS ALL THE “LITTLE” EXPOSITIONAL SCENES OF TWO PEOPLE TALKING ABOUT A THIRD. THIS BUSHWAH (AND WE ALL TEND TO WRITE IT ON THE FIRST DRAFT) IS LESS THAN USELESS, SHOULD IT FINALLY, GOD FORBID, GET FILMED.

IF THE SCENE BORES YOU WHEN YOU READ IT, REST ASSURED IT WILL BORE THE ACTORS, AND WILL, THEN, BORE THE AUDIENCE, AND WE’RE ALL GOING TO BE BACK IN THE BREADLINE.

SOMEONE HAS TO MAKE THE SCENE DRAMATIC. IT IS NOT THE ACTORS JOB (THE ACTORS JOB IS TO BE TRUTHFUL). IT IS NOT THE DIRECTORS JOB. HIS OR HER JOB IS TO FILM IT STRAIGHTFORWARDLY AND REMIND THE ACTORS TO TALK FAST. IT ISYOUR JOB.

EVERY SCENE MUST BE DRAMATIC. THAT MEANSTHE MAIN CHARACTER MUST HAVESIMPLE, STRAIGHTFORWARD, PRESSING NEED WHICH IMPELS HIM OR HER TOSHOW UP IN THE SCENE.

THIS NEED IS WHY THEY CAME. IT IS WHAT THE SCENE IS ABOUT. THEIR ATTEMPT TOGET THIS NEED MET WILL LEAD, AT THE END OF THE SCENE,TO FAILURE - THIS ISHOW THE SCENE IS OVERIT, THIS FAILURE, WILL, THEN, OF NECESSITY, PROPEL USINTO THE NEXT SCENE.

ALL THESE ATTEMPTS, TAKEN TOGETHER, WILL, OVER THE COURSE OF THE EPISODE, CONSTITUTE THE PLOT.

ANY SCENE, THUS, WHICH DOES NOT BOTH ADVANCE THE PLOT, AND STANDALONE(THAT IS, DRAMATICALLY, BY ITSELF, ON ITS OWN MERITS) IS EITHER SUPERFLUOUS,OR INCORRECTLY WRITTEN.

YES BUT YES BUT YES BUT, YOU SAYWHAT ABOUT THE NECESSITY OF WRITING IN ALL THAT “INFORMATION?”

AND I RESPOND FIGURE IT OUT” ANY DICKHEAD WITH A BLUESUIT CAN BE (AND IS)TAUGHT TO SAY “MAKE IT CLEARER”, AND “I WANT TO KNOW MORE ABOUT HIM”.

WHEN YOU’VE MADE IT SO CLEAR THAT EVEN THIS BLUESUITED PENGUIN IS HAPPY, BOTH YOU AND HE OR SHE WILL BE OUT OF A JOB.

THE JOB OF THE DRAMATIST IS TO MAKE THE AUDIENCE WONDER WHAT HAPPENS NEXT. NOT TO EXPLAIN TO THEM WHAT JUST HAPPENED, OR TO*SUGGEST* TO THEM WHAT HAPPENS NEXT.

ANY DICKHEAD, AS ABOVE, CAN WRITE, “BUT, JIM, IF WE DON’T ASSASSINATE THE PRIME MINISTER IN THE NEXT SCENE, ALL EUROPE WILL BE ENGULFED IN FLAME

WE ARE NOT GETTING PAID TO REALIZE THAT THE AUDIENCE NEEDS THIS INFORMATION TO UNDERSTAND THE NEXT SCENE, BUT TO FIGURE OUT HOW TO WRITE THE SCENE BEFORE US SUCH THAT THE AUDIENCE WILL BE INTERESTED INWHAT HAPPENS NEXT.

YES BUT, YES BUT YES BUT YOU REITERATE.

AND I RESPOND FIGURE IT OUT.

HOW DOES ONE STRIKE THE BALANCE BETWEEN WITHHOLDING AND VOUCHSAFING INFORMATIONTHAT IS THE ESSENTIAL TASK OF THE DRAMATIST. AND THE ABILITY TO DO THAT IS WHAT SEPARATES YOU FROM THE LESSER SPECIES IN THEIR BLUE SUITS.

FIGURE IT OUT.

START, EVERY TIME, WITH THIS INVIOLABLE RULETHE SCENE MUST BE DRAMATIC. it must start because the hero HAS A PROBLEM, AND IT MUST CULMINATE WITH THE HERO FINDING HIM OR HERSELF EITHER THWARTED OR EDUCATED THAT ANOTHER WAY EXISTS.

LOOK AT YOUR LOG LINES. ANY LOGLINE READING “BOB AND SUE DISCUSS…” IS NOT DESCRIBING A DRAMATIC SCENE.

PLEASE NOTE THAT OUR OUTLINES ARE, GENERALLY, SPECTACULAR. THE DRAMA FLOWS OUT BETWEEN THE OUTLINE AND THE FIRST DRAFT.

THINK LIKE A FILMMAKER RATHER THAN A FUNCTIONARY, BECAUSE, IN TRUTH, YOU ARE MAKING THE FILM. WHAT YOU WRITE, THEY WILL SHOOT.

HERE ARE THE DANGER SIGNALS. ANY TIME TWO CHARACTERS ARE TALKING ABOUT A THIRD, THE SCENE IS A CROCK OF SHIT.

ANY TIME ANY CHARACTER IS SAYING TO ANOTHER “AS YOU KNOW”, THAT IS, TELLING ANOTHER CHARACTER WHAT YOU, THE WRITER, NEED THE AUDIENCE TO KNOW, THE SCENE IS A CROCK OF SHIT.

DO NOT WRITE A CROCK OF SHIT. WRITE A RIPPING THREE, FOUR, SEVEN MINUTE SCENE WHICH MOVES THE STORY ALONG, AND YOU CAN, VERY SOON, BUY A HOUSE INBEL AIR AND HIRE SOMEONE TO LIVE THERE FOR YOU.

REMEMBER YOU ARE WRITING FOR A VISUAL MEDIUM. MOST TELEVISION WRITING, OURS INCLUDED, SOUNDS LIKE RADIOTHE CAMERA CAN DO THE EXPLAINING FOR YOU. LET IT. WHAT ARE THE CHARACTERS DOING -*LITERALLY*. WHAT ARE THEY HANDLING, WHAT ARE THEY READING. WHAT ARE THEY WATCHING ON TELEVISION, WHAT ARE THEY SEEING.

IF YOU PRETEND THE CHARACTERS CANT SPEAK, AND WRITE A SILENT MOVIE, YOU WILL BE WRITING GREAT DRAMA.

IF YOU DEPRIVE YOURSELF OF THE CRUTCH OF NARRATION, EXPOSITION,INDEED, OF SPEECHYOU WILL BE FORGED TO WORK IN A NEW MEDIUM TELLING THE STORY INPICTURES (ALSO KNOWN AS SCREENWRITING)

THIS IS A NEW SKILL. NO ONE DOES IT NATURALLY. YOU CAN TRAIN YOURSELVES TO DO IT, BUT YOU NEED TO START.

CLOSE WITH THE ONE THOUGHTLOOK AT THE SCENE AND ASK YOURSELF “IS IT DRAMATIC? IS IT ESSENTIALDOES IT ADVANCE THE PLOT?

ANSWER TRUTHFULLY.

IF THE ANSWER IS “NO” WRITE IT AGAIN OR THROW IT OUT. IF YOU’VE GOT ANY QUESTIONS, CALL ME UP.

LOVE, DAVE MAMET
SANTA MONICA 19 OCTO 05

(IT IS NOT YOUR RESPONSIBILITY TO KNOW THE ANSWERS, BUT IT IS YOUR, AND MY, RESPONSIBILITY TO KNOW AND TO ASK THE RIGHT Questions OVER AND OVER. UNTIL IT BECOMES SECOND NATURE. I BELIEVE THEY ARE LISTED ABOVE.)”


E-mail-E-fail

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1, If you have a nice email to send to someone, pick up the phone instead. Go and see them. Tell them how you feel. 



 

2, If you have a not so nice e-mail to send to someone, pick up the phone instead. Go and see them. Tell them how you feel. 



 

3, If you want to get through to someone important, send him or her a letter. No one sends letters anymore. 



 

4, If you want to get through to someone really important, send him or her a handwritten letter. It will not get deleted or end up in the junk mail folder. 



 

5, An email that takes twenty minutes to write will take less than 5 minutes as a phone call. 


 

6, Put your email on silent. Distractions are the enemy of a deadline.

7, Jokes and irony get lost in translation. They cant read your face when they are reading your e-mail. 



 

8, E-mail is too efficient, too easy, and, at the end of the day and the beginning of another one, too much. Don’t be its slave. Be its editor.

 

9, People who do lots of email, don’t do lots of doing.

 

10, Remember talk. The ads were right. It’s good to talk. 



 

Scrapbooks are important.

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1,They train you to be on the lookout for good ideas.

2, They help you to define what you think is good and why.

3, They require discipline to cut articles out and to scrapbook them away.

4,They are like life, the more you put in, the more you will get out.

5,They are your continual investment in your career. Others may laugh at your Rain Man like ways but just smile your way through it.

6,They provide a record of your changing tastes and interests.

7, Make it a rule that you will always tear one thing out from a magazine or newspaper. It’s a good rule.

8, They allow you to scrapbook seemingly unrelated items that over time come together to give you your best ideas.

9, They will pay you back one day. It may take years, but you will reap what you have sown.

10, They cannot be replaced. Don’t lend them to anyone. Ever. And keep them near a door, in case of a fire.

 

 


 

George Bernard-Shaw

The reasonable man adapts himself to the world; 

the unreasonable one persists in trying to adapt the world to himself. 

Therefore all progress depends on the unreasonable man.

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