S3E2: A Debate on Marketing 101 | Marketing Expert Jarret Sherman from SuperServe

Marketing Expert Jarret Sherman from SuperServe sits down with me as we have a conversation about marketing. In this interview, we breakdown marketing 101 and the value of adventuring posting vs. push posting, building an audience, and generating interaction.

GUEST | Jarret Sherman https://www.superserve.me/ Jarrett is an Emmy-nominated Engagement and Content Strategist with 20 years of experience in the entertainment industry. He partners with international broadcasters, brands, and production companies to devise strategies that create enduring connections with audiences, driving digital brand growth and monetization. He developed The SuperServe Method, which leverages social media to identify and engage audiences, "fishing where the fish are," by delivering precisely what fans want. This approach emphasizes impactful engagement campaigns that deeply resonate with targeted demographics. While Jarrett's expertise includes cutting-edge tech like AR/VR and blockchain/web3, he focuses on streamlined, research-based content strategies that yield measurable ROI. An award-winning producer and director, Jarrett has created and sold series to Hulu, Amazon, and The CW. In his free time, he's a skier, bass player, triathlete, dog whisperer, motorcycle enthusiast, husband, and father of three.

Episode Transcript

(00:00):
All right, Yeah, all right, Hey, what's up, Jared,
Welcome to I don't make this stuffup. Thanks. How's it going.
It's going all right, it's goingall right as always, you know,
I'm alive unless otherwise stated. Butanyway, so let's let's get right into
it. You know, why,why me? Why why do you want
to come on the show and harassme or or have a good time?

(00:22):
Tell me some jokes. I don'tknow what's what's going on here? Fill
me in? Yeah, I sortof stumbled on. It seemed like a
good fun thing to do, andyou know, I like to do fun
things, so why not. Well, that's fair banter happening on the show.
I forgot to check it out.You gotta have a little bit of
banter. You know, it dependsif you're talking about the first season of
the second season, you know,like really the banter changes slightly to the

(00:44):
discussions about science and Pluto being bigto uh, you know, obviously working
around the entertainment industry, which youknow, if anyone's watching or listening,
you know, Jared Sherman, rightSherman, Yeah, he's been in the
entertain an industry for a long time, but now he focuses, uh mostly
and correct me if I'm wrong.Marketing and establishing an audience, uh for

(01:07):
whatever particular brand X that you're workingwith. Correct, that's right, you
got it. That that's we liketo simplify here. But more but more
importantly, what was it other thanthe banter about the show where you're like,
you know what, I want tohave a conversation and there's something I
have to say and I think Ican say it on this show. What

(01:27):
was it? Really? You know, it was a conversation with you and
j D about marketing and brands andwhat your brand represents and and I just
thought I liked your take on it. Frankly, you're talking about personal brands
and and what you put out onlineversus sort of who you are and how
the how the brand online is.There's one thing that you said it was

(01:51):
that I actually wrote it down.It was your your brand is a reflection
of sort of your personal You're talkingabout your values and your mores, but
really like it's it's you. It'syour persona in the in the virtual form.
Correct, I'm not saying it howyou said it, but yeah,
yeah, it's your missions, moralsand ideals. But it was. It
was that it's a reflection, it'syour personal brand, it's it's you online,

(02:15):
it's it's it's a reflection of you. Yeah, yeah, it's what
what you present represents you as aperson. So if I present to you
just wrestling stuff, I'm representing myselfas a wrestler and there's just nothing there.
There's not I can't connect to thatas an audience member. But if
you start presenting the things that matterto you or you know, you start

(02:38):
the way you interact with people,like, you know, obviously, if
I'm attacking people, that's a representationof my brand through presentation. And uh,
some people forget that, they forgetthat the internet exists when they're on
the Internet, and they'll be like, your things sucks. And then that's
who you are, you know,like you know. So it was also

(03:00):
something you said that you were talkingabout posting as a reflection of you,
not to get a result. Correct, you are not if you have an
agenda to your actions, you arenot connect You are no longer marketing.
You are advertising. Marketing is alwaysa representation of the brand's value, and
advertisement is a reflection of the numbersgame. You're basically going if I could

(03:23):
get enough people to see this,the rule of ten percent applies. You
know, a thousand people see this, one hundred people will be like what
is that, Ten people will belike, oh, I'm interested in one
person will purchase it. Right,That's how advertisement works, whereas marketing is
actually all about building a relationship withthe brand. Because the brand, again,

(03:46):
as you said, is you.It's a representation of the things that
matter to you. It's your missions, morals and ideals. It's the things
you want to change in the world. Missions, it's your ideals on how
you perform in the world. Andthen it's your morals, your stance on
certain things. So a moral isI believe lying is wrong, an ideal
is I won't lie. And amission is I want people to feel comfortable

(04:09):
enough around me to tell the truth. I'm already glad I got on this
podcast. I'm gonna listen to thisafter write well down this is good.
You're supposed to tell me the wrongs, you know, when when i'm when
i'm so, I work for mainlyentertainment clients and and you know it's my
whole mo o is but audience building, which is about trying to create authentic

(04:30):
connection with with people through these mediums, and and to not be kind of
swear on this podcast you can youdon't just lose me money, no real
and to be authentic with people.But but when I heard you say you're
not you don't want to have aresult. Of course, I'm posting because
I want. There is a resultI want, which is I want people

(04:51):
to engage. Uh So, justjust to push back on that a little
bit. Yeah, the end resultwill lead to a result, you know
what I'm saying. Like, obviously, like if I post, if I
post properly, I should get aresult to it. But if you're posting
to get a result, it limitsthe real of it. It limits because

(05:14):
the agenda starts leaking through. Nowobviously, if you can get like when
Paul Rudd is up there doing alimerick or an antecdote that he's said a
million times either before that moment orit's a go to story that works,
that's different. He's in the zonehe was coached for that. That's a
pr skill. But he's still beingtrue. Like that story about his kids

(05:36):
or whatever. You know, hiskids like the Hulk more than they like
ant Man. So Mark Ruffalo sendshim, sends his kids the Hulk toys.
Like that's a great example of brandbecause he's not selling anything, even
though indirectly he is, because nowI want to see him an ant Man,
you know. But if he wenton the show and he's like,

(05:59):
you know so uh uh you knowMark Ruffell and I you know, he's
the Hulk and I'm ant Man,you know in Marvel, Like we do
the Marvel movies together. And mykids they they they know I'm ant Man,
but they prefer the Hulk. Sowhen they go to see the ant
Man movie, especially coming out youknow April, uh, Like you know,

(06:21):
they're going to root for Hulk andthen they're gonna be disappointed that the
Hulk's not in it. But Iam, you know, I'll be ant
Man in in in April. Anduh but you could also see the Hulk
and Avengers, which will come outactually in August. But you know that,
you know, to give you ataste of what's to come, you
can watch ant Man and like that'snot authentic, right, All I did

(06:44):
was just sell you because you hearthe agenda come through very clearly. Yes,
and if you start with the agenda, it then comes through even if
you aren't noticing it consciously, itbecomes a subconscious part of them. Let
me ask you this. So,if I'm posting because again and I want
people to engage, I'm trying toI want people to engage that I can
talk to them and create a relationshipwith them and have them come back.

(07:05):
So if I'm putting up a post, that's a geared towards getting a result,
like a poll, you know,a poll is a push and not
it's not considered brand so or adventureor experience. I'm sure you probably heard
that on the podcast I talk aboutposting experience posts or adventure posts. A

(07:25):
venture post is like your process oryour experience through something, whereas a poll
is a push because you're looking todirectly influence the audience. A push does
two things. It pushes people awayand it pushes an agenda. Right.
Another thing I could be a pushis buy my book, Buy my book.
Right, that's a push. You'repushing an agenda obviously, but you're

(07:46):
also going to push your audience awaybecause they might just be like, I'm
sick and tired of seeing the ads, right, you know, I get
it. Another poll like I say, there's no emotional attachment to your adventure
through what would you prefer? Doyou like books or or do you like
reading books or audio books? Likethat's going to create engagement because people will

(08:11):
feel heard. They're choosing to interactwith that because they're like, well,
this is about me, but you'renot looking for about me. You're looking
for people to connect to you.And that's the big difference. I'm not
saying don't do polls, and I'mnot saying don't say by my book,
but I'm saying mix it up.There should be at least if you can
handle it, a ratio four toone, meaning four adventure posts and then

(08:37):
one push, and that will helpestablish a connection with the audience because then
they're doing the poll because they wantto do it for you, not because
it lets them be seen. That'sthe difference between you posting a poll and
the Rock posting a poll. Right. You know. It's interesting though,
because being seen, being heard,being valued are big parts of my EMMO.

(08:58):
How I approach this sort of thing, creating a game and making audiences
feel valued by the thing that theyare fans of. Yeah, again,
that is a form of pushing thoughyou're creating an environment like here's the example
why that falls short when it comesto branding. Post something that matters to

(09:18):
you, and watch the engagement dropright. And it works with the Rock
too, I'm sure if you've watchedcertain episodes. There's one episode of I
Don't Make This Stuff Up where weliterally open up the Rocks social media and
we talk about this. There arebrand posts, adventure posts where it's him

(09:39):
and Kevin Hart and they're being silly, but they're filming it, you know,
like they have the camera up like, you know, they're like,
hey, I'm with here with KevinHart all the way down there, look
at this small bat right, andthey're being bantery and and they're having fun.
And then but they slid go,you know, we're taking a break
on our new project. And theymight not even mention the name of the
product or the saying I'm taking abreak on our new product, right,

(10:00):
because that's vague but informative, andthat post a blowout, right, and
it might get a couple million likes, you know whatever, But then he's
like, oh, I have Ihave my new vodka, right, and
that post, yeah, it's gettingtwo or three hundred thousand likes, right,
you know, but again advertisement dictatesthe rule of ten percent. He

(10:24):
has forty five million followers or whateverit is, right, but no one's
connecting to the vodka, right,It's not authentic and genuine the way the
other one is. It was justtwo guys who are friends. That's having
good time. Yeah. But becausehe built his adventure posts and his brand
and his relationships, he's allowed himHe's earned the right. So just to

(10:46):
be clear, for anyone listening,like you who has a local band or
you just started acting in local theater, you haven't earned the right to do
what the Rock has done. Hehas built an empire of audience and now
he can go buy my vodka.And yeah, three hundred thous some people
watch. But you know, obviouslythe rule of a thought, right,
if you could get a thousand truefans, that's a salary, you know
what I'm saying, Like, ifa thousand people buy your book, I

(11:09):
mean that's thirteen grand, right,if the book is thirteen bucks. So
he's not necessarily failing at this point, like because he's like, buy my
vodka. But the problem is,again, you know, I mentioned to
you, you know, and everybodywho listens to the show. It's all
about misconception. People see the rockpost their vodka and he's like, he's
making sales, but it's not becausehe made vodka. But they're thinking,

(11:31):
if I make vodka and I doa social media post on Instagram, people
will buy my vodka. But that'snot true. It's someone might buy your
voca, but he's not having salesbecause he's making sales because of that Kevin
Hart post, right, you know, and and that's really what your goal
is is to earn the rights.In fact, I might not even push

(11:54):
anything if you haven't moved past yourfriends and family, because I say,
often friends and family means zero,right, you know you can't. Of
course they're gonna support you there,but you know you're a You're a douche
if you're like, will you spendmoney on my vodka? Mom? You
know they need some sales today,my dad, my cousin, bud.

(12:20):
Yeah, I'm doing good. Andthen like Thursday hits and you're like,
nobody bought anything. Yeah. Yeah, I mean that's the benefit of reach,
right, authentic reach, real reachwhere people care correct, correct,
And you can't do that with pushbecause like you're saying, I agree with
the method in the sense of you'llcreate interaction or more importantly, reaction,

(12:41):
right, But the problem is that'sabout them. So when you do post
something that is authentically you or doesabsolutely represent your brand, it dies.
It's just you know, you're goingfrom oh, I got you know,
seventy people interacted with this, andthen you post like something about your kid
or or a dog, and peopleare like, hey, you know,

(13:03):
or actually I should I should behonest about that. A dog or a
child will actually increase your ead,right that because because it is your adventure.
Stick with my example, because I'mworking on behalf of TV clients,
Right, so I post a clipof the show that they love, right,
and it's probably still doesn't get thesame engagement that something that asks something
of them to reflect themselves. Wellyeah, however, are behind the scenes

(13:26):
would probably get more interaction, right, because they're seeing process. People like
to look behind the curtain. Theylike to feel involved. They also like
to discover things, and that's why, like if you watch a show or
a movie with somebody and you're watchingit and they turn to you go did
you know, and you're like,yeah, I'm watching the movie right now?
Yeah, yeah, but did youknow that? You know, they'll

(13:48):
start telling you tidbits of or youknow, factoids. Well, that kind
of goes to what I talk aboutoften in my with my clients, which
is that fans of anything, itreally comes down to two things. They
want access and they want status.Yes, yes, And when they get
access, they want everyone to knowit. And that's the status piece.
Right. So by saying did youknow that's showing that I've gotten some access

(14:11):
somewhere and now I'm displaying my status. Yeah, it's a value set.
You know, They're like, Ihave this knowledge, and therefore if you
know me, I can provide moreknowledge because I have proven that I have
the value of this, right,and you know that happens. That's why
people will follow someone like the Rock, because if the Rock starts talking about

(14:31):
working out, but not necessarily thisis how you work out, because again,
that might not get as much asI am working out, right,
And that's the big difference between brandand pushing is you know, I did
my routine today. I woke upat six o'clock. I'm feeling really good,
and I got to get to theset of four. You know,
early early rise. You know.Now people are like oh yeah, yeah,

(14:54):
and they're like believe in him becausethey're talking. He's talking with the
audience. But if he did avide always like, uh, you know,
all right to get to where Iam, these are the five steps
that you have to do, right, you gotta. That's probably not gonna
get as much emotional reaction because it'sinformative, right, and information is pushing

(15:15):
right. But it doesn't mean notto post that, which is very important
to understand. You know, thewhole point of having a mix. Yes,
yeah, a mix. But ifyou go to somebody's like Facebook,
let's say, or Instagram and it'slike bye bye bye bye bye bye bye
bye. Oh I went fishing today, Bye bye bye. I had that
today. I had a perspective clientsand look at my socials and I was

(15:35):
like, your socials are all promo. They're all self serving one way.
There's nothing for anyone to hook into. Yep, Well why would anyone come
back? Why would anyone engage withthis number one? Number two? Why
would they come back? Everything's oneclick away from everything else. There's nothing
interesting here. I can answer that. See, uh, if I tell
people to buy my thing right.I made it and it's awesome, and

(15:56):
that's why they should buy it becauseI made it. It's not like I
have a bias. I'm just sayingit has lots of value, so if
enough people see that I have itavailable, they'll buy it. So my
artist brain is telling me to justpost it as much as possible, which
I yes, that's what happens,you know. I mean maybe that's the

(16:18):
thought process, but I don't thinkthat's the truth. It's not the truth.
That's the joke. Artist brain thinkI made this already should care.
Yeah, everyone should care because andby the way, the artists should care.
They should be like, yeah,I made this, this is awesome,
But that doesn't mean other people shouldcare. You want them to care
about you, because then they careabout the things you make. And that's

(16:41):
where the business brain takes hold.That's why you have to approach it with
the business mentality. And I sayit often on this show and everywhere else.
Artists should leave the business out ofit and create what they want.
Let the emotion of their creation shinethrough. But once it's done, and
the moment you say I want tomake money with this, you have to

(17:03):
shut off the artist brain and turnon the business brain and you have to
approach it completely different, cold hardbusiness brain. Yeah, yeah, you
know. But some people they mixthe two. They go, oh,
what should I could make money andnow now it doesn't have soul and then
you know, or vice versa wherethey're like, I made this thing,
and because I made it, it'sawesome. And that's artists mentality. It's
it's art, you know, Ilove it. Why wouldn't other people love

(17:25):
it? You know? And I'vebeen I've been in the digital space since
the beginning, and I remember whenif you build it, they will come
was a real thing that was actuallythere was the novelty was there. If
you made something interesting, people wouldflock to it check it out. And
now it's just the opposite. Yeah, it's probably because there's too much access,
you know. You know, ifyou build seven hundred thousand baseball fields,

(17:47):
no one's coming into the middle ofNebraska to watch ghosts play baseball.
It's saturated. It's all saturated.Yeah. Yeah, but that's why you
got to stand out through having purpose, you know, and that's where the
missions come in. You know,if you're doing something to change the world,
even on a micro level. That'smore interesting than if you're just like,

(18:11):
well, I wrote a book andbecause I wrote the book, or
I made a TV show and becauseI made the TV show. But you're
going to like the show because there'sdiversity, and that's the sale. And
if diversity is your sale, you'renot necessarily there's no mission, there's no
Morald, there's no ideal. Butin all the examples you decided, it's
very easy to for each one ofthose to say and here's why, because

(18:33):
we're trying to do this. Yeah, and now you have a mission.
Yeah. Yeah. Once you establisha mission with your audience, they're going
to pay attention because they're like,well, maybe I believe in this,
and then once they believe in it, they're going to pay you money.
Yep. You know, Metallica makesmoney because people believe in I feel part
of a brotherhood and I want tosupport this because I want Metallica to come

(18:55):
back around because I can let gobang my head and be around other people
community that I feel safe in,and I'm gonna continue buying sixty dollar hoodies.
You know. But then your localband comes over, there's three people
there or an actor, you know, Oh, I made this short,
you know, Uh, it's likethe festival. Why but why? Yeah?

(19:15):
But why yeah? Like what isthe show? Well, because I
get to act in it and I'mthe lead and I'm so good. Yeah
great? But why but why?Yeah? Uh? You know, you're
in the industry, so it's funto actually have someone I could kind of
riff off with this, this concept. I'm gonna I'm gonna bring it up
to you and you tell me howhow you feel about it. Okay,

(19:37):
okay. So the process for afilmmaker in their mind is, uh,
get a script, raise the moneyprivately to get that script made, film
that movie, be it a shortor feature, uh, and then deliver
it to festivals. And that isthe secret to success in the film industry.

(19:59):
Agree or disagree, Well, it'sa story. Hold on, it's
a story we've seen happen, sothat's why, you know, there's a
belief in that. But like everystory, it's not the only story,
and it doesn't mean that that storycomes true every time. So there's an
exception to the rule, right right, I mean and like and before that,

(20:22):
you know, it was camp outoutside of some executive producer's house until
he says yes, and that's howI'm gonna make it. You know,
like that story changes, you know, generation to generation when someone thinks of
some other way to stand out andcut through the noise and get their project
off the ground. And you know, so you know, for a time,
Yeah, I agree that that maybecould have worked. I don't know

(20:44):
that that works now. Well,if I may push back on it.
You know, Steven Spielberg did networkmarket practice. He started working within Universal
Studios. He started being basically arunner. He volunteered his time and one
Lo and Behold Jaws came out andthey were like, hey, they dropped
out. You want to be adirector? I know you. I like

(21:04):
you do. You want to dothis. It's a failure, but you
can take it. And he said, yes, sure, and they made
it a success. And obviously that'sthat's a very the result of Jaws.
That's a crazy variable to happen.But how he got that opportunity is what
people should be focusing on. Butpeople don't want to volunteer their time,

(21:26):
or I should say artists don't wantto volunteer at a time. They just
I want to work with Robert deNiro, but they're you know, but
now they're they're literally working next tothe next Robert de Niro, but because
they have no value yet, Ideserve the chance to be seen next to
Robert because I'm awesome. Well yousaid, you just said the big word,

(21:48):
right, deserve and that's that doesn'tNobody deserves. There is no deserve
in any of this, right.Nobody deserves to get to direct to the
movie. Nobody deserves to be ascreenwriter. Nobody deserves to be cast yep
in the role. There's a millionvariable for why you would get cast in
something, and nine times out often they have nothing to do with your
skills and everything to do with whenyou walk in the door you don't look

(22:11):
like who they producer had in theirhead. And then yeah you know,
or they're like, his nose isso interesting. Yeah, I think he
can become the character. And it'slike, let's see if we can put
some work in it. I hadnothing to do with anything you did to
prepare. That's completely luck of thedraw. And then there's the whole opportunity
equal or success equals opportunity plus preparation. Right, if you've done the work

(22:33):
and you've got the chops, andthen then they hand you aside and your
nose is great, which you didn'tknow about. And you can also do
a good job on the script great, or you could do a terrible job
in the script and still get kissed. Because everybody has said once in a
while, how did they get cast? They are terrible because it had nothing
to do with their talent. Ithad to do with something else. They
their personality, their brand, theirrepresentation. And let's let's let's face it.

(22:56):
Let's say hypothetically Tom Cruise was notthe actor he is because even though
he right now, you know,you're like it kind of plays the same
role every time, but he doesa fantastic job as an actor, right,
Like, he's really really good.Yeah, but let's say he wasn't.
Let's say he was a terrible actorbut still had what he has to

(23:18):
get mission impossible made. He's goingto get cast because people were like,
he's he is a green lighter.You know, it's like, why people
do not that Eric Robert is EricRoberts of the eighties, you know,
he's Eric Robert of the twentys andtwenties now. But people will be like,
oh, I kissed Eric Roberts inmy low budget self produced film,

(23:41):
the studios are gonna pick it up, and then they're like, no,
but Eric Roberts, we spent ourentire budget on Eric Roberts, or you
know, whatever they think because ahappened, b will happen. But that's
not the reaction. And you know, going back to the festival, you

(24:02):
know, like someone like Kevin Smith, he didn't like get successful because this
movie was in a festival. Hegot it because he was building relationships that
led to someone saying, oh,you're the guy everyone's talking about. Well,
but even even sort I guess beforeor after that, he did because
he made a great movie. Hisfirst movie was a great movie that resonated
with people like That's what I tellmy clients, Like, at the end

(24:25):
of the day, it's about howfans respond respond to your ip. Either
they like your show, either yourshow is good and they like it,
or it's a piece of crap andnobody cares. And it doesn't matter how
much we do on the marketing side, because at the end of the day,
if if the meat isn't there,nobody's you're not gonna People may come,
but they're not gonna hang around.That's what she said. Uh,
hey, now. Uh. Myonly pushback on that is which proves proves

(24:52):
my my argument when I talked totalk in general about this is, Uh,
let's say the film was fantastic.Yep, he didn't tell anyone and
he didn't market it right, noone would have ever been interested in it
because he brought the interest. ButI do agree that it has to be
good, but it doesn't have tobe great, because that goes back to

(25:15):
Robert de Niro. The first timehe ever went into the room, he
wasn't great. The first time hewas on screen, he wasn't Robert de
Niro. And some actors or justartist brain in general, they think they're
at a level they're not at andthey try to get rewarded for that thought,

(25:36):
like oh I just again deserve XYZ. But I don't believe something has
to be life changingly great to besuccessful. Success is making a living within
your field of interest. A livingis not a lifestyle. It's affording your
average monthly overhead, right. Longevity, on the other hand, I agree

(25:56):
with your statement. To create longevity, you do need talent, You do
need something. It doesn't have tobe great yet, but it has to
have the ability to be great.Yeah, you know, even Steve Martin,
I don't agree with his statement,be so great, be so good,
they can't ignore you. I don'tagree with that statement, because even

(26:17):
Steve Martin doesn't believe he's great.If you read his memoir, he's always
like, I was never good enough, and I don't know why people picked
me. And it's like, yourfriend called you up after he broke his
leg to do the ski resort gig. It had nothing to do with you
being great. It had to dowith your friend thought you were good enough
and he liked you. Yeah,like that was it. It was good

(26:37):
enough and he liked you. Youknow. And I'm actually in the middle
of watching the Steve Martin dak rightnow, so it's oh nice, nice
he said that, But he alsoput a ton into his into the preparation
part of getting his comedy there,and then struggled to get the act to
where it needed to be until theI think the audience is caught up with
him and understood what he was actuallydoing. Yeah, but you're saying the

(27:00):
right things. He took the time, but he was still in the industry.
Yeah, you know, he didn'twait until he was Steve Martin wearing
the white suit. No. Youknow, he was working in a Disney
magic shop with a great musician whobasically was retired, where he got the
arrow thing right. But more importantly, he didn't say, well, I

(27:22):
have to wait. I have towait until I get But some people think
they're Steve Martin in a suit.Yeah, you have to grind it out
and you have to do the legworkto be good or great for sure.
And what it takes to be greatis that ten thousand hours of struggling and
sweating and crying and working. Andyou know, he applied philosophy to his

(27:45):
comedy, studying philosophy and took thoseapplications to writing how can I get a
better laugh? And why? Anddeconstructed comedy and then rebuilt his own And
that was genius. But to yourpoint about deserving, you know, maybe
we live maybe there's an entitled generationright now that believes that, no,

(28:06):
I want to be an actor,so therefore I deserve to be an actor.
Yeah, and the rejection will maybehelp them become a great actor because
they're going to be getting a lotof rejection that way. But yeah,
you have to put in that time. You have to put in those ten
thousand hours, or you'll never begood enough to stand out. Yeah,
and again though, like I don'tfeel uh and I've witnessed this myself,

(28:30):
you know, being in the industry, like you don't have to be great
in the beginning, and I thinkthat makes people nervous if they aren't great,
and it's like, no, it'sokay to fail. In fact,
instead of trying to be an actor, why don't you start working on set?
Why don't you do the PA job? Why don't you do an office
PA want to No, no,but but I want to be a lead

(28:51):
actor. You're you haven't earned theright to be lee. Well, then
I'm going to do this college independentfilm. All right, you did a
college independent film. But you're thelead in a film that doesn't have a
quality script. Your performance cannot bequality, right, and also the director

(29:11):
doesn't know what they're doing. Sowhat you just did is what comedians fail
at. They go and they doopen mic nights at a comedy club in
front of the person who books it, and you're working on material that is
working, it's not honed. Andthen they're like, well, I got
to give them three years before Ilook at their name again instead of going

(29:33):
Wait, it's not about getting onstage. It's about building a relationship within
the industry first and letting people getto know me and then when I do
the open mic nights, they're notjudging me on my material. But the
flip side of that is you alsohave to have some experience. You have
to know what you're doing, andthe way the best way to do that
is to go do it right,Go do the thing. So I agree
with that. If you can gobook that film school movie. Yeah,

(29:56):
you may be terrible in it,but you're gonna learn all kinds as long
as you're open to learning, You'regonna learn all kinds of things from having
done that, and that'll make youthat much better the next time you get
some other opportunity or the next timeyou can. So there's value what I
am. What I let me adda little caveat to that. Don't do
those things to be successful, meaning, don't film that independent film because that's

(30:18):
gonna do it. I'm going toget discovered. Don't go and do the
open mic night in front of theowners because they'll see how great I am.
Like, I agree with you.If you if you're going to be
a comedian, You've got to geton stage, but be careful where you
get on stage. If you don'tknow anyone, don't use your material that
you believe is great to get respect, build respect. And now that's why

(30:45):
Louis c K can go up anddo jokes that if a first year did
him, they'd be like, thisis terrible comedy. Because Louis c K
is Louis c K. We understandhim as a person, and therefore we
can relate to the humor. Youknow. I would even argue that you,
if you in any art, takeit up a level even higher.

(31:07):
Any artist in any medium should neverdo the thing because of what might happen.
You do the thing because you loveto do the thing, which again
goes back to agenda, right,Right, if you film something to get
discovered, you're not is this somethingyou believe in? Does it represent your
authentic performance into it or is itall calculated? Yeah? But more importantly,

(31:30):
because you're a brand, you're you'rea marketing guy. Right. Denzel
Washington is famous for saying this.I say this often on the show.
His choice of roles had purpose.What did he believe in? How did
he want to be represented. Hedidn't want to do this. I'm a
I'm a robber. I'm somebody whorobs somebody and gets a right. I
don't want that role. Right.So, even when you're starting out your

(31:52):
career, if you're like I'm goingto do a college independent film, do
you believe in the message of thefilm and does it represent the things that
are import to you? Like,for example, I don't. I don't
drink or do drugs or smoke.I never have, right, I never
even tried it. I don't careif other people do it. But what
that means is if I'm going todo that on a film or anything,

(32:15):
I have to make sure it representsmy feelings on it. So I'm not
going to glorify drug use or glorifydrinking or glorify right. So that's important
for me as an artist to makesure that if I take on a role
or a project or even write abook, that both sides are presented,

(32:36):
but my side is presented. Youknow what I'm saying, Like, I
don't want people to be like drinkingalcohol is terrible, Like that's not the
message I want. I want peopleto see people drinking responsibly and then seeing
people drink irresponsibility. I'm okay playingthe irresponsible drinker, but I'm not okay
playing the responsible drinker. But Iwant that person in the film as well.
Do you do you need to seethe consequences of what happens to the

(32:58):
irresponsible drinker as part of the film. I have to see the consequences of
whatever the story, be it abook or whatever, only because but for
me, right, like, ifI'm going to be involved in it,
the morality of that message, youwant to see that, correct, because
my morals, my ideals, andmy missions. But again, I also

(33:21):
don't need everything in a film.Like I love the idea of teamwork.
I love the idea of elevating oneanother. I love you know, I
love about community and unity. Idon't need to be in a film that
had that doesn't have that. Imean, I don't need to be in
a film that has that, iswhat I'm saying. Like, it's okay
that it doesn't have all of mymissions and all my morals, but it
has to have at least something,you know, and and I think that's

(33:44):
important for any creative person is don'tjust do things because like you said,
oh this is gonna this is mybreak, right, you know. I
guess the best example is women.I always tell women, don't do nudity
if you don't want to do nudity, Like, oh yeah, but it's
a Martin Scasese film and I'm gonnabe naked, but it's called vinyl and

(34:06):
you're not Bobby and you're in thebackground. What you're saying is, as
an artist, have integrity basically,yeah, yeah, but integrity for the
things that matter to you, notthe things that matter for your career,
because you can you know, Imean, yeah, I guess I would
only ever think of integrity as personal, a personal thing, not not the

(34:29):
integrity of my choices as they relateto my you know, ascension or something
like that. Well yeah, butyou could have a more like, oh,
I want to show my parents beforethey pass away that I became successful
so they're proud of me. Like, now you're making career choices for them.
I got to do basketball diaries.I played the basketball, you know,

(34:52):
and you're just like, well,okay, you know Leonardo DiCaprio's in
that. Yeah, but everyone's payingattention to me as basketball. But you
know, since marketing is something thatyou do, you know what what is?
What is? What is your approachto marketing when dealing I shouldn't say

(35:15):
dealing when when working with a client, uh for the first time, like
like run us through the process.Like let's say I'm a client and I
go, hey, Jared Sherman,would you I'd like to hire you?
We're sitting down, how does thiswork? So, I mean it's probably
not that different from from you know, most people's approach, which is I

(35:36):
want to know what the goal is, what we're trying to achieve, and
then it's then it's working backwards fromthere. And so for me, because
I'm working in entertainment, I'm workingwith TV clients and I'm working with individual
talent, the goals tend to bethe same thing. They want growth and
they want revenue. Yeah, butI want to hear them say it,
and I want to drill down intowhat that actually means with them. So

(35:59):
so it's always about what the goalis, what we're trying to do here,
you know, why do you feelyou'd need this? Why do you
want to hire me? You know, what's what do you need? And
then from there it's about who theaudience is, what are we trying to
do here, like who are weserving? And so I always do a
deep dive, like a heavy,heavy research phase up front because I want

(36:20):
to know who this audience is.I want to what kind of traction you've
got. I want to know whatyour current socials are. I want to
know what the competitor socials are,what the competitor landscape is, what other
people are doing in the space.I want to find the white space that
we might be able to fill.I'll build audience personas and then I'll do
a content strategy and engagement strategy towardthat. And what seems to me is,

(36:42):
you know, still a novelty.We talked about sort of the the
client like social you know, brandsocials tend to be very one way these
days. It's a lot like promotionalmessaging and shouting out about you know how
great we are or you've got tocome check out the new episode or whatever,
and then nothing for anyone to hookinto. And so MYMO is always
about making this a two way conversationand ideally a three way conversation because I'm

(37:07):
super service all about community. Wewant to build community around IP because we
think that's how longevity happens, Likeif you have a community of fans who
love you and your brand whatever.My philosophy is, if you keep them
well fed, they'll stick around andthey'll keep you in business forever. Whatever
you're going to sell them if theylove you and you treat them well and

(37:28):
you keep feeding them with more ofthe stuff that they love. Once you
now have a T shirt to sellor a concert ticket to sell or whatever
it is, they'll buy it.So it's really crucial to have a community
around you. And so then it'sabout community building, tactics, authenticity,
engagement, making people feel valued,and really two way conversation. Like I

(37:49):
said, three way conversation. Ideally, I want in the best case sort
of scenario community. I want thisfan talking to that fan on their own
accord without me facilitating it. Yeah, party interaction or introduction, I mean
third party introduction. That's what that'scool. When when when a friend is
like, did you ever hear thisthing? That's a third party introduction,
which is the most powerful form ofmarketing. Yeah, because the relationships people

(38:12):
have, any any suggestion gains fiftypercent of the value of that relationship.
So if you're my best friend,you're going to get fifty percent of the
value of our relationship. And that'sgoing to solidify my suggestion if I'm a
stranger, of having a relationship witha stranger is oh, yeah, thanks,
I appreciate you. I'll check thatout. Don't worry, Budy,
because I don't know anything about thatperson or their choices or if we align

(38:36):
from a con humor standpoint, orwhat's important to us. Yeah, yeah,
word of mouth from a trusted source. Look, it used to be
that we had all these filters,right, we had the TV Guide,
we had critics, we had wehad all the major networks that filtered out
the crap and only put on thebest stuff, supposedly, and that was
how our that's how that's those wereour taste makers. Right, what's television

(38:58):
that's all gone out the window,right, doesn't exist anymore. So now
it's really your best sources are peoplethat you trust. So if you can,
if you can, get a wordof mouth happening. And that's why
our whole thing, my whole thingis I want to turn fans into evangelists
because they evangelize without being asked,and so super serves all the levers that
we pull to get fans to turnfans into evangelists. Are all about super

(39:19):
serving fans, over delivering, givingthem more than they would ever expect from
the thing that they love and theofficial official sources. To the point that
they can't believe how well they're beingtreated by something that they love, that
they're a fan of, they haveto tell other people. And when you
say super serve, you're not talkinglike Stormy Daniels super serve, I mean,
not familiar with her version of it. But no, it's this concept

(39:39):
of superserving fans over over delivering tofans. Yeah, point that they have
to tell other people how great they'rebeing treated. I mean, once the
supply it, I mean, oncethe demand is there, you have to
supply it with content. But contenttake all kinds of forms. Yeah,
yeah, yeah, you know,kind of kind of like push into this
a little bit. Uh So,do you only and I'm not using the

(40:04):
word only in a negative fan,I'm just to simple to simplify it.
Do you only focus on social mediawhen you do your marketing? No,
but I primarily focus on it becausebecause there's look, I'm helping somebody.
I'm helping somebody right now, workingwith a client, where there's a social
media piece and there's a PR piecewith a with an agency, and I'm

(40:29):
helping to find the agency planning onworking very hand in hand with them.
So that's that's because there are aspectsto what this client wants to do that
fall outside of social They need alarger stage, they need to be in
the press, they need to beinterviewed when awards, you know, get
on podcasts. So that's al sortof on the PR side, but the
end result is the same, Likethat's helping them achieve the goal that they

(40:52):
came to me for. Yeah,but I'm not a PR specialist, so
I'll bring that in. Yeah,then that's the only real asking because PR
is without a well I shouldn't sayPR, but the result of PR is
the strongest form of marketing, notadvertisement, but marketing because that's where,
through interviews you can develop a strongerrelationship with an audience, whereas reviews or

(41:15):
you know, those are opinions,so you're not actually connecting to the brand,
You're connecting to somebody, somebody else'sbrand. Opportunities to humanize you know,
whatever. You know, A podcastinterview also same thing, right,
a chance to see behind the curtain, Who is this person? Who is
this creator? What did they putinto this show? You know why?
Back to process and why they didsomething? Yeah, like why did they

(41:36):
make Velma? You know, likethat's why they made a second season?
Did you see that no one elsedid either? Yeah. And we also
we get into you know, weget into event and sometimes live live events
and that kind of stuff. Andwe do on the content side, we
do amas and all that kind ofstuff. So it's not all social,

(41:59):
but so social is a it's abig spoke in the flywheel. Mm hmm.
What is What is your suggestion toyour clients about quote unquote getting involved
and what that means? So?Yeah, I mean, so I work
so on the TV side, Let'ssay, like when I'm working with the
TV show, I want them involvedto the extent that I want to know
what they want, what's going on, what they can feed me in terms

(42:21):
of content or upcoming things that wecan talk about or or you know that
kind of thing. But I don'tneed their involvement beyond that other than to
sign off on you know, createa cos Oh I'm sorry, I'm sorry.
So when I say get involved,sorry, I sometimes I use terms
so that I that I am coingthrough the show. So yeah, yeah,
yeah. When I say get involved, it means about them getting involved

(42:43):
with their community. And community doesn'thave to be like we're going to go
help the homeless. Community means whateverit is that services their mission. So
for example, if you're talking aboutfilm people and their mission is to bring
together a group specifically to help oneanother and grow, like our team rise
together mission or nonprofit, how doyou how do you are you involved in

(43:07):
that in motivating them to get involvedwith outside like to be like, I
know you're working on this show,but you realize the strongest thing is to
let people see you involved with communitiesyou believe in as then that'll lead them
back to the show because you havea value. So we developed a program
so a couple things. So whenit comes to actually interfacing with fans on
the TV side, a lot oftimes there's nobody on that team who's they're

(43:30):
gonna making TV shows. They're notgreat at interfacing with fans and being on
social media. It's not what theydo. And I always tell my clients
that like this is of course youneed to hire me, because it's not
what you do. You make greatTV shows, and that's great. You
don't have to be good at socialmedia. You've got other people for that.
Yeah, so I don't need themto do that. But we developed
a program inside super Serf called CommunityCompass for exactly this reason, right,

(43:52):
and it's really you know, Iguess it could be applied on the entertainment
side, but I'm thinking more ofthe corporate brands that I work with,
and it's about walking the wall andtalk in the talk. So like,
let's use your social media to elevateLet's elevate your your social media by doing
social good. Let's use it forso good. And so it's let's we
find you a complimentary you know,charity or organization that you and your staff

(44:13):
can can go spend a couple ofdays a month working with whatever the mission
is, whatever the you know,as long as the lines of your brand
all that, and then you filmyour adventures and we post that as a
stream on your on your socials oncea week, once a month, whatever
it is, and that serves thepurpose of elevating your socials, highlighting their
mission. Every it's win win allthe way around. It shows that you
walk the walk. You're important tothe community and all that kind. So

(44:36):
it was just like, how dowe you know it came out of the
search for more content for a client. It was like, well, actually,
you can actually use your socials todo some actual good here. And
it's a win win scenario all theway around. Now on the creator side,
when I'm working with, like there'sa Food Network ex Food Network chef
that I'm working with, and shehas a substack and she has followers and
they love her, and she's nowin that sort of scenario where you've got

(45:01):
a personality or talent or creator,like an individual or even even a couple
of individuals, not a brand,not a TV show, but a people.
I want them on the comments everyday. I want them talking to
people every day because and it isthe same thing as when the official TV
account reaches out. But if I'ma fan of The Walking Dead or I'm

(45:22):
a fan of this chef and Ipost a comment and then they say,
hey, Jared, I liked yourcomment. As a fan, I'm going
to lose my shit. Most peopleare excited by that, Like most feel
scene, feel seen, and Ifeel valued by something that I really really
respect, or maybe even sort ofidolize, and that's powerful. And most
people, you know, when you'rein entertainment, you forget and you become

(45:44):
numb to it because because it's available, because it's there, it's just part
of the deal, right. Butwhen most people are civilians, most people
don't work in entertainment and aren't aroundtalent all the time. And so for
them, when they get when theyget acknowledged by somebody who has the sheen
of being on TV, you knowyou're they're held up. So when when
they turn around and say, oh, I like that great job, Tom,

(46:07):
people go crazy. People lose theirstuffs, or at least if they
don't go crazy, it really fillstheir bucket. They get excited. I
mean the first rule of YouTube isrespond to every comment. And there's a
reason for that because now they're goingto watch the next video and comment,
which then creates the It causes thealgorithm be like people are interacting with this.
I was. I used to havethis thing called Top of the Bottom

(46:28):
Pile. It was a group ofcomedians that I pulled together and we were
the best of the worst, yoursecond best choice, right. So I
used to always say, I golook whenever any of us in the group.
There was like five of us.Originally, I go, whenever there's
any of us post something, everybodyin the group should comment, like and
share that post. And they'd alwaysbe like, ah, you know,

(46:50):
like you know, your joke wasn'tthat funny? Or and then they'd be
like, but you don't even postjokes, and I go, because I'm
not on social media to post jokes. I go on stage to tell the
jokes on social media. I'm me. I want people to be like,
I like his personality, you know, I'm relating with him, so I
will go see his jokes, youknow. And uh. Anyway, so
years later I had passed and theywere one of the one of the kids

(47:12):
was just like the other day,somebody commented on an old post that I
did. It came up on theiruh their on Facebook on the history you
know, like the remember the memoriesyep, and he goes and then all
of a sudden, like I commentedback to them, and then before I
knew it, I had eleven ortwelve new likes and like people were commenting
on this post that was like tenyears old, and I was like,

(47:34):
yeah, because that's exactly what Iwas talking about. Is you create movement
from the algorithm because you're expanding thecircle, which is YouTube does the same
thing. If you post a video, it goes to your small group,
If that small group interacts with ita certain amount, it goes to the
next group, And if that nextgroup works and interacts with it, it
goes to the big And that's howyou spiral content or social media posts.

(47:59):
Because that's why I understand why you'redoing the polls, because they're going to
explode. But the problem is you'recreating a larger expansion of the of a
brand that is not your brand.It's a thing, it's a facet of
the brand because it's a regular partof the strategy. But but there's all
the other stuff, you know,and if the poll brings people to the
account and they say, oh,there's all this other that's a cute clip.

(48:19):
That's a cute clip, now theymight be you know, we've done
some of the things that you're sayingthat people have engaged with a bunch of
things, and it you know,I just had this with another client recently.
They sort of had very quiet socialsand not a lot of engagement,
and we spent a month posting consistentlyand waking up the algorithm yep, realized
that we were there and we wereactive and people were responding, and it
grew exponentially from there. Yeah,it's like Twitter. Like when I first

(48:43):
started Twitter, I got I thinkeleven thousand followers in like two months,
right, and then I stopped.And now I'm like at nine three hundred
or whatever because I don't use Twitterright right, because now accounts are closing,
people are leaving it dies. Butpeople are like, how did you
do that? I go. Iinteracted with all the brands that I agreed
with, so that included people,just normal people. If I liked what

(49:07):
they were saying, not only wouldI comment, but I would retweet it,
but I would add my personal thoughtson it. So then it's actually
technically me posting and it just sohappens. I have right, And they'd
be like, why do you dothat? I go, because if I
share somebody's thought, then I amsaying that this thought is my brand.

(49:28):
But if I share my thoughts ontheir thought, my brand is now being
represented of that. And that's howyou build the relationship. And I did
it so much that people started interactingwith me because I was so interactive and
it works. But also like youcan do it literally with TikTok. If
you on TikTok like it, notthat it's going to be around much longer,

(49:49):
but because you know who cares abouthealth, let's get rid of TikTok
anyway. So let's you and nothonestly get rid of the TikTok, but
who cares about help anyway. Sowith TikTok, what you would do is
before you post anything, interact withlike seven hundred accounts over time that represent

(50:14):
the things you care about. Soif you're an author, you're actually not
looking for readership, believe it ornot, You're looking for other authors because
they will expand your brand naturally toother writers because the more authors that like
you and interact with you, theiraudience ends up seeing them because the people

(50:35):
who follow them are seeing what theyinteract. So before you even post,
you just interact with, over thecost of whatever time, seven hundred people
within that genre. Now what happensyour for you page is all the people
that you want to interact with.But that also puts you into the algorithm
of that stratosphere. You could dothat with anything to Twitter Instagram, et

(50:57):
cetera, et cetera. But peopledon't think about it. They just go,
I started my Instagram, I haveone follower, and I'm only going
to follow my friends, which disruptsthe algorithm completely. And then they go,
I'm just I'm gonna post and they'relike, how come I got no
interaction? It's like, because yourpost a has not do anything and the
only people seeing it are the friendsthat don't interact with you because they see

(51:17):
you on Tuesdays. Right, well, I guess. But part of that
is, you know, you're talkabout the difference between getting onto Instagram as
a brand trying to spread your brand, versus being a person who's just like,
oh, I want my friends tosee my posts, and you know,
I'm not trying to do anything.Yeah. Yeah, the moment you
want to make money doing something,listen to this show. If you're just

(51:40):
like, you know, painting withpoop and your friends, you drink with
your friends on Thursdays, this isprobably not the show for you unless you
just want to listen to the craziness. Uh so, yes, I agree
with that. Yeah. Now,when I when I talk, I'm not
talking about you know, Sally JoeJoe who just likes to paint on thirdy,
you know, thursdays that they havethey have a career being an accountant.

(52:01):
Like, I can't help that personbecause they they're happy. They don't
market anything. Yeah yeah, yeah, But but I do a lot of
freestyle. I don't know if youfollow anything I do, but uh,
I try to give as many freeresources as possible when I do my speak
engagements. I try to do morefree speaking engagements than I do paid speaking

(52:21):
engagements because I deeply believe in educationequals empowerment, not only for other people
but for community. So the morepeople understand like misconceptions, uh can devalue
the community. So if everybody exceptfor a small percentage, are going we
need head shots, and they're justfocused on headshots, but no one knows

(52:43):
who you are, they're not elevatingthe community. But if you start all
working together or start you know,celebrating the real process, it makes it
more enriched environment to be around.And that's for any community, any any
community. So I like to establishthat. Uh, that's why I do
shows like this and stuff like that, and that's you know, but uh,

(53:07):
but the people I'm talking to arenot you know, I make model
planes. Your guests are mostly inthe business, though, aren't they what?
Your guests are mostly in the business. Uh. Every guest I've ever
had on the show is in thebusiness. Uh, all the all the
people I do on the right mindsetare in the business. Uh. And

(53:30):
then the other show I do isuh, let me be around with you.
Those people are a mixture of peoplein different industries, but there they
are within their industry, if thatmakes sense. But it doesn't necessarily mean
the business as in like the entertainmentindustry. Yeah, yeah, because uh,

(53:51):
because I know what am I gonnaI mean, I can learn a
lot from a millionaire, you know, but it's financial whereas you know,
like one of the one of thegreatest advices I ever got was like,
why do you have a nice call? And I was like, well,
you know, make it till youfake it. I mean fake it till
you make it right, you know, dress stress the part. And they

(54:12):
were like, uh, so whatdo you do with the money you don't
have? And I was like,what do you mean? It's like,
are you saving investing in organizing?No, I'm going to wait until I
make the money and then well you'llnever make the money then, right,
And I was like, oh,like, but it had nothing to do
with entertainment. And that was actuallywhat led me down the artist brain business
brain mentality, Like if I wantto be an actor, I could do

(54:36):
silu Key's in my room. I'man actor, right, But the moment
I want to make money, Ican't be an actor. I have to
be a business. And it justso happens I act, right, and
I can put all the time Iwant into acting, but as long as
it's after my business hours, right, and I and you know a lot
of people need like all my writerwriter friends that are like in Hollywood,

(54:59):
they don't spend like when they wouldtry to get into the career or like
maintaining their career. They don't spendeight hours a day writing. Then it
wasn't how they did it, likethey spent like eight hours a day getting
involved, how can I how canI be your city? How can I
get you coffee? Hustling, hustling, right, And then when they became
writers, they still had to splittheir day between because you can't write for

(55:23):
eight hours because the material becomes crap, So they'd write for two hours,
then they do business stuff and thenthey'd write for another hour or two,
and then they do business stuff.But you know what, they would always
stop writing for a meeting. Right, you want to get coffee? Yeah,
I'm free. Oh you want meto go to your event? They
don't go all but I got towrite. I gotta get the pay.
No, because they already know howto organize their time to get their pages

(55:45):
done, you know, so they'rethey're on time because they're not artists waiting
to be inspired. Oh I needto be inspired to write. No,
you got paid. That's the inspiration, you know. Yes, it reminds
me of two anecdotes. But theone I'll tell you is that I have
an old friend who was a writer, and he was all right and no

(56:07):
hustle, and so he would writescripts and shows and they would just sit
because there was no there was nohustle. Yeah, and he's not a
writer anymore. Great example. That'sartist brain. My work will make me
successful. And you know what,I bet you your friend was awesome.
He's writing one ye, very funny. Great, yeah great, but you
got to the hustle. Yeah.Talent actually means nothing until you find success.

(56:30):
That's why when I talk about thestuff on this show. I go,
there's the three needs of success,and then the three needs of longevity,
and the three needs of success isnetwork, market, and practice.
You need to do those things,whatever the variables of those things are.
You have to do that to findsuccess. But to create longevity, you
got to manage your time, money, and people. You got to understand

(56:51):
the entrepreneurial brain to find solutions bythinking outside the box, which adds value
to the tables you join. Andthen your talent needs to exist not only
what you do, but how youcan lead, follow and advise when joining
tables. And now you'll create longevity. But you can't create longevity without success,
right. So some people go infor they go talent and they'll jump

(57:12):
into the table. Me me,me, me, I could do that.
I'm great, And they're like,yeah, but could you could you
organize the paperwork? Uh? No, I'm not no, Yeah, I'm
a director. Yeah yeah, butwho are you? I'm Tomas Okay.
Look, I think going back toyour whole sun dance, you know,
getting getting stuff in a festival isyour gateway to success. I think that

(57:34):
the you know, the better parableis the Steven Spielberg one, which is
what I'm sort of alluding to now, which is be around, get people
to know you, be helpful,be there, volunteer, get involved,
and you know, hopefully you getpicked up. Yeah, I mean again
you if you go in like youshouldn't go in thinking I'm here to get

(57:58):
picked up, right, because theinevitable truth is if you here's an example,
before you saw my name, didyou ever think about me? Nope?
Right now today we're talking. Assoon as we end this, I'm
still going to be a thought onyour mind, and I'll be there until
it fades, which means be seenand be present. And the more you're

(58:19):
seeing and the more you're present withintheir environment, the more they're going to
think about you, and then theday will come where they go. Didn't
you say the other day you're awriter. Yes, I need a writer.
I need a writer. Right,And that is the secret to success
is it can't be I'm a writeror I'm an actor, or I'm a
director or I'm a producer and you'rejust waiting for people to contact you because

(58:44):
they met you once. I can'ttell you how many times I've met people
and I say to them, so, how thick is the business card pile
on your desk. Yeah, anyway, my electricity went out, so there's
a weird jump in the audio here. But anyway, we have to end

(59:07):
it because apparently my feet need amassage and my dog won't do it,
so I'm gonna have to find anotherdog, maybe my neighbors. Luckily they
don't lock their front doors. Butlisten, Jared, mister Sherman, thank
you for coming on and being adelight to speak with. Oh a delight.

(59:28):
I'll take that. Thank you.Yeah, I feel the stereotype that
Canadians are all fun to be aroundis true because several of my Canadian friends
I enjoy communicating with. I'll takeit. I'll take it, and I'm
happy to do it again if youwant. I enjoyed. It's a good
talk. Yeah, yeah, yeah, yeah, I'm always I'm always happy
to bring people back on. Andyou know, you just let me know

(59:52):
and maybe we'll set something else up, maybe do another episode. But listen,
Jared, because it's mostly audio,and yeah, there's a visual,
but why don't you audibly tell peoplehow they can get in touch with you
if if they're interested not only infoot massages and excellent handshakes. But super
service. Yeah, listen, thewebsite is super served dot me dot m

(01:00:16):
E and you can reach out tous there. You can reach out to
us through LinkedIn. We're there too, and uh yeah, we we don't.
We don't only work with entertainment clients. So I'd love to hear from
you. And if you have aproject or your in need of an audience,
you'd love to chat. That's right. Also, if anyone's out there
in the only fans world, We'rewilling to listen. We're willing to listen.

(01:00:39):
We're willing to We might not takeyou on as a client, but
if you need to show us someprinciples, he might take you on as
a client. Oh that's true.I only had one porn star in my
entire life as a client. Ijust want to put that out there.
I have not yet crossed that rubicon. It's very very interesting world. Uh
but listen, Jared has to getgoing. But thanks again. I appreciate

(01:01:02):
it. And look, I don'tmake this stuff up. Awesome, all
right, let's hit the end.