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TikTok's Revolutionary Idea: Making Discovery a Meritocracy On E212, coatue.thomas told a story of meeting TikTok's founder and being blown away by his simple idea that changed social media forever: "When I met the founder, his view was, 'If I have a great piece of content, how can I...

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The All-In Podcast

526,507 subscribers

42,652 次观看 • 1 年前 •via X (Twitter)

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9 条评论

LowDownCentral 的头像
LowDownCentral1 年前

@coatue_thomas And Americans can't do the same thing?

Fast Company 的头像
Fast Company1 年前

Want to cut down on meetings? @Atlassian uses Loom to replace half a million meetings, allowing for deeper work time. #Productivity #ad

Noah Widoff 的头像
Noah Widoff1 年前

@coatue_thomas When are you guys going to cover the death of Suchir Balaji?

DojoSphere 的头像
DojoSphere1 年前

@coatue_thomas Not X. It uses a social credit score.

StonkBonkers 的头像
StonkBonkers1 年前

@coatue_thomas Coatue Management 🐐

Francis Santora 🐿️🦝 的头像
Francis Santora 🐿️🦝1 年前

@coatue_thomas How does this man have only 435 followers?!! +1 now! Great work on the pod.

Kay 的头像
Kay1 年前

@coatue_thomas content is king, but engagement is the throne.

Brian Royston 的头像
Brian Royston1 年前

@coatue_thomas Listened today on a hike. I was very surprised by what felt to me to be an endorsement of socialism…country owned companies. It was either that or corporatism. Either way…WOW! I’m open minded, but currently not a fan at all of that idea. WTF, guys?

Twan Vrints 的头像
Twan Vrints1 年前

@coatue_thomas I was really surprised the first time a I saw a user that I personally knew that was a new user to the platform racking up millions of views with a quirky post. Instant fame 😀

相关视频

Jack Dorsey on becoming a better storyteller: "I found myself very early on thinking about something like thinking about this early idea for Twitter and saying to myself, I could build this awesome. You have those shower-like moments, or you're walking at midnight in some town in New York City, and you've got these amazing brand ideas. And then you start thinking, well, I could really start doing this if only X and if I had this person or if this technology existed or if this happened or this happened. And what I realized was that I was constantly making excuses for not working on it. And then the window had passed, and then I couldn't do anything. So I think it's really, really important to write it out or to draw it out or to code it. But you need to get it out of your head. And the reason you have to get it out of your head is that you need to be able to see it on a surface that is not in your mind. And once you can see it, and once you can step back from it, then you can also decide this passes my filter, my constraints, so maybe I can show it and share it with some other people. And then they will be like that's the stupidest idea ever and or that's somewhat interesting, but maybe this and this and this. So the sooner you can do that, then you have a lot of momentum around it, and you can really decide if you want to commit to it and work on it more or put it on the shelf for a later date. And the realization that I think everyone needs to have about that latter option, putting it on the shelf, is that you can come back to it and it will surface back up in another piece of work or another idea at some point in your life. So having that ability to close off a chapter and move on is really, really important. You can't have all these open threads, and that's what I realized I was doing. And that also encouraged me to really write more and to really think about what's the story? How are people coming to this? And like when I show my friends this, how are they going to react and I would write it down. I would actually treat it like a play. And when I realized that I was writing plays, I read a lot more plays for style and for substance and for technique and I think it's really good. I think there is another company that I have always looked towards for inspiration and I know a number of people in this room probably have a similar company in mind, which is Apple. Apple, I think, is run like a theater company. It has a great sense of pacing, has a great sense of story and has a great sense of execution and it's all about event-driven, it's all stage-driven, the stage being a billboard or the stage being a keynote or the stage being a product launch. All of it has a very, very cohesive end-to-end story. I mean you think about what happened when Steve Jobs came back to the company. The first thing he did was kill every product line the company was working on. And for two years,rs they had no product on the market whatsoever. All they had were a bunch of posters all around the world with Steve Jobs' heroes, and it said, think different. And it was just focused on bringing up the brand and making people aware of the brand again and how the brand is aligning to this particular feeling and story. And then they came out with the iMac and then built iTunes and then the iPod, and they realized that, wait a minute, people are carrying music on their phones now, so we better build a phone, an iPhone. And so this unfolding of the plot and the epic story has been very, very interesting to watch, especially if you look back to that time when he came back to the company. So I've learned a lot from that company and other companies that operate in a similar fashion."
4:07

Jack Dorsey on becoming a better storyteller: "I found myself very early on thinking about something like thinking about this early idea for Twitter and saying to myself, I could build this awesome. You have those shower-like moments, or you're walking at midnight in some town in New York City, and you've got these amazing brand ideas. And then you start thinking, well, I could really start doing this if only X and if I had this person or if this technology existed or if this happened or this happened. And what I realized was that I was constantly making excuses for not working on it. And then the window had passed, and then I couldn't do anything. So I think it's really, really important to write it out or to draw it out or to code it. But you need to get it out of your head. And the reason you have to get it out of your head is that you need to be able to see it on a surface that is not in your mind. And once you can see it, and once you can step back from it, then you can also decide this passes my filter, my constraints, so maybe I can show it and share it with some other people. And then they will be like that's the stupidest idea ever and or that's somewhat interesting, but maybe this and this and this. So the sooner you can do that, then you have a lot of momentum around it, and you can really decide if you want to commit to it and work on it more or put it on the shelf for a later date. And the realization that I think everyone needs to have about that latter option, putting it on the shelf, is that you can come back to it and it will surface back up in another piece of work or another idea at some point in your life. So having that ability to close off a chapter and move on is really, really important. You can't have all these open threads, and that's what I realized I was doing. And that also encouraged me to really write more and to really think about what's the story? How are people coming to this? And like when I show my friends this, how are they going to react and I would write it down. I would actually treat it like a play. And when I realized that I was writing plays, I read a lot more plays for style and for substance and for technique and I think it's really good. I think there is another company that I have always looked towards for inspiration and I know a number of people in this room probably have a similar company in mind, which is Apple. Apple, I think, is run like a theater company. It has a great sense of pacing, has a great sense of story and has a great sense of execution and it's all about event-driven, it's all stage-driven, the stage being a billboard or the stage being a keynote or the stage being a product launch. All of it has a very, very cohesive end-to-end story. I mean you think about what happened when Steve Jobs came back to the company. The first thing he did was kill every product line the company was working on. And for two years,rs they had no product on the market whatsoever. All they had were a bunch of posters all around the world with Steve Jobs' heroes, and it said, think different. And it was just focused on bringing up the brand and making people aware of the brand again and how the brand is aligning to this particular feeling and story. And then they came out with the iMac and then built iTunes and then the iPod, and they realized that, wait a minute, people are carrying music on their phones now, so we better build a phone, an iPhone. And so this unfolding of the plot and the epic story has been very, very interesting to watch, especially if you look back to that time when he came back to the company. So I've learned a lot from that company and other companies that operate in a similar fashion."

Founder Mode

107,213 次观看 • 7 个月前

🚨NEW: Elon Musk explains how the new upcoming X algorithm will work "I think in December we'll have a half decent recommendation algorithm. Grok will be reading all 100M posts per day. Hopefully it doesn't destroy its mind. We just want to show things that people are interested in. Are you finding stuff that you find really interesting from accounts that you've never seen before? If that's happening, then the algorithm is working. It should be possible for a new user to post content with little to no followers and if that content is excellent then it gets seen by a lot of people. If the content is intrinsically excellent, then it will be seen by a lot of people. That's our goal."
2:08

🚨NEW: Elon Musk explains how the new upcoming X algorithm will work "I think in December we'll have a half decent recommendation algorithm. Grok will be reading all 100M posts per day. Hopefully it doesn't destroy its mind. We just want to show things that people are interested in. Are you finding stuff that you find really interesting from accounts that you've never seen before? If that's happening, then the algorithm is working. It should be possible for a new user to post content with little to no followers and if that content is excellent then it gets seen by a lot of people. If the content is intrinsically excellent, then it will be seen by a lot of people. That's our goal."

Autism Capital 🧩

252,733 次观看 • 7 个月前

I talked to Eoghan McCabe about why you should be posting more: "Personally, you see every piece of content you post. And if you post a lot, it might feel like you're posting too much. But because of algorithmic feeds, no one else sees everything you post. So you can't assume everyone sees every single post. The average person will only see 10%, 20@, maybe 50% of what you post. No one will actually see all of it. And you don't know what's gonna work when you're posting. So you really just need to put a lot of shots on goal. It's like having a high shipping velocity on product. Imagine it takes 100 posts for something to break through. If you post 10x a day, it will take 10 days. If you post once a day, it will take over a quarter. Once a year, it will take 100 years. This is an advantage that some younger founders have. People like Amjad at Replit, he can work and tweet. He's built a great product. And he's constantly promoting it."
2:37

I talked to Eoghan McCabe about why you should be posting more: "Personally, you see every piece of content you post. And if you post a lot, it might feel like you're posting too much. But because of algorithmic feeds, no one else sees everything you post. So you can't assume everyone sees every single post. The average person will only see 10%, 20@, maybe 50% of what you post. No one will actually see all of it. And you don't know what's gonna work when you're posting. So you really just need to put a lot of shots on goal. It's like having a high shipping velocity on product. Imagine it takes 100 posts for something to break through. If you post 10x a day, it will take 10 days. If you post once a day, it will take over a quarter. Once a year, it will take 100 years. This is an advantage that some younger founders have. People like Amjad at Replit, he can work and tweet. He's built a great product. And he's constantly promoting it."

The Peel

189,170 次观看 • 7 个月前

Michael B. Jordan shares one of the biggest lessons he’s learned in life “I think being unapologetically honest with what you want and that goes across the board because a lot of times the fear of how somebody’s going to react to what you really want to say is what stops you from saying it” “So you find another way or you put it off or you don’t say it and maybe the situation doesn’t change and you get frustrated and upset why this thing doesn’t change because you might not have said it the way you wanted to say it” “I think there’s a way to be unapologetically honest and still be respectful and speak your truth” “If I would have done that earlier, I would have been further along in relationships that I have with people I care about. Work relationships, business, family, friends, whatever it may have been” “I think being honest with where you stand and how you feel is really giving another person an opportunity to be as honest with you and whatever your fear of that outcome is, it’s never really as big as what you make it up to be” “Tomorrow is not promised to anyone but time will move on, you will move past it and if tomorrow never comes, at least you can know that you said what you needed to say”
1:58

Michael B. Jordan shares one of the biggest lessons he’s learned in life “I think being unapologetically honest with what you want and that goes across the board because a lot of times the fear of how somebody’s going to react to what you really want to say is what stops you from saying it” “So you find another way or you put it off or you don’t say it and maybe the situation doesn’t change and you get frustrated and upset why this thing doesn’t change because you might not have said it the way you wanted to say it” “I think there’s a way to be unapologetically honest and still be respectful and speak your truth” “If I would have done that earlier, I would have been further along in relationships that I have with people I care about. Work relationships, business, family, friends, whatever it may have been” “I think being honest with where you stand and how you feel is really giving another person an opportunity to be as honest with you and whatever your fear of that outcome is, it’s never really as big as what you make it up to be” “Tomorrow is not promised to anyone but time will move on, you will move past it and if tomorrow never comes, at least you can know that you said what you needed to say”

Jack

84,854 次观看 • 2 个月前

I will continue to participate in the song production a lot. It is my job and my music. I think that if I do it myself and get the results so that you can understand the song, it will be more convincing and you will like it. And if I do that, I think you will be proud of me.
0:35

I will continue to participate in the song production a lot. It is my job and my music. I think that if I do it myself and get the results so that you can understand the song, it will be more convincing and you will like it. And if I do that, I think you will be proud of me.

아란

67,173 次观看 • 1 年前

Jesse Plemons sharing how he had to corner the Breaking Bad writers because they were terrified of him is such a wild reveal. It turns out the key to playing such a terrifying character was just pure confusion and writer avoidance. Jesse: I was cornering every writer and no one would say anything but they wouldn't look at me as if I were Todd. They were looking at me really scared and I had no idea why. Jesse: Right before we shot that scene I said, "Vince, you have to give me something. I have no idea what I'm doing or who this guy is." Jesse: He said, "You know when you're driving and a raccoon runs out in front of your car? And if you swerve to the right you run into a ditch, if you swerve to the left you hit an oncoming car. Well, what do you do?" It is incredible that he managed to nail that role with just that one analogy.
3:03

Jesse Plemons sharing how he had to corner the Breaking Bad writers because they were terrified of him is such a wild reveal. It turns out the key to playing such a terrifying character was just pure confusion and writer avoidance. Jesse: I was cornering every writer and no one would say anything but they wouldn't look at me as if I were Todd. They were looking at me really scared and I had no idea why. Jesse: Right before we shot that scene I said, "Vince, you have to give me something. I have no idea what I'm doing or who this guy is." Jesse: He said, "You know when you're driving and a raccoon runs out in front of your car? And if you swerve to the right you run into a ditch, if you swerve to the left you hit an oncoming car. Well, what do you do?" It is incredible that he managed to nail that role with just that one analogy.

| UCEE |

142,882 次观看 • 12 天前

Rick Rubin: "Make what you love, not what you think people will like" "If you want to live in a creative way, which will benefit everything in your life, be a better person in your family, do a better job starting a new business, it's all the same. I don't really know anything about music. It's more a way of looking at the world and wanting it to be the best it could possibly be. And doing whatever it takes to be the best it could possibly be." Rubin shares how his career happened: "From the beginning, I never thought any of the things I'm doing were possible or realistic. I just did things out of the love of them, thinking I would have real jobs. That my passion would be my hobby, and I'd have a job to support my hobby. And it just magically turned out different than that without me knowing it was possible." On why some things connect and others don't: "The stars line up at certain times for certain things to happen. Sometimes you can make something great, and it doesn't connect for whatever reason. Sometimes you make two things you think are the two best things you've ever made. One of them connects with the world. One of them doesn't. And it might not have anything to do with what's in the art. It might be that it came out the same day as something else. Or there was a bigger story at the time. There's so much to it that we don't understand." He continues: "All we can do is make something good and put it out and hope for the best. That's all there is. We never know why things work. Even if you make a piece of art and it works, you may not know why." On talent versus work ethic: "There are a lot of talented people who never make it because they don't have the work ethic. It's not just talent, talent's a piece. And you could argue for some people, the work ethic trumps the talent." Rubin explains what real collaboration is: "Having worked with a lot of bands, I see there's often this friction where people are trying to get their idea in. That's not a collaboration. A real collaboration is when everyone who's there is working together towards whatever is the best thing for the whole. Whether it's your idea or someone else's idea, it doesn't matter. If you're invested in the collaboration, you want the best idea to win. You don't want your idea to win." On what makes art great: "What makes it great is the personal. With all of its imperfections. With all of its quirkiness. That's what makes it great. How you see the world that's different from how everyone else sees the world. That's why you're an artist. That's your purpose in sharing your work with the world." He warns against being derivative: "There are these derivative voices where they're finding what they think other people want to hear, and they start saying it because they've heard other people say similar things that are now successful. Even if they have some short-term success doing that, it's not revolutionary. It doesn't change the world. It doesn't last. The people who you first see and you might not like that you come to like because you don't understand them at first, those are the ones that change the world. Those are the ones you dedicate your fandom to for life." Rubin shares his philosophy on taste: "You can't second-guess your own taste for what someone else is going to like. We're not smart enough to know what someone else is going to like. To make something thinking, 'Well, I don't really like it, but I think this group of people will like it,' it's a bad way to play the game of music or art. You have to do what's personal to you. Take it as far as you can go. Really push the boundaries. And people will resonate with it if they're supposed to resonate with it." He describes creativity as catching waves: "We're really talking about magic. The universe conspiring on our behalf if we let it. Being in this flow of catching these waves that anyone can catch. If you're trying to catch it, you're open to it, you see it coming, you take off on every chance you get. And sometimes the ride happens. It's remarkable how it happens. It doesn't come from preconception. It's not an idea. It's through the doing." Rubin explains how ideas exist in the universe: "Have you ever had that experience where you have an idea for something, you don't do it, and then six months later you see someone else has done it? It's not because they took your idea. It's that it's time for that, and you can act on it or not. The best artists are the ones who have the best antenna for this material that's available. It's coming through. The best comedians see the best jokes. They see them coming. We all live in the same world; the way you see it, you have the best joke because you see it best." He closes with how to stay open: "If we listen to what's going on around us, you can overhear a conversation in a coffee shop, and it is the setup for an idea you're working on. You hear a phrase you don't commonly use. My experience is: when you are open and looking for these clues in the world, they're happening all the time. And they're happening often right when you need them."
8:29

Rick Rubin: "Make what you love, not what you think people will like" "If you want to live in a creative way, which will benefit everything in your life, be a better person in your family, do a better job starting a new business, it's all the same. I don't really know anything about music. It's more a way of looking at the world and wanting it to be the best it could possibly be. And doing whatever it takes to be the best it could possibly be." Rubin shares how his career happened: "From the beginning, I never thought any of the things I'm doing were possible or realistic. I just did things out of the love of them, thinking I would have real jobs. That my passion would be my hobby, and I'd have a job to support my hobby. And it just magically turned out different than that without me knowing it was possible." On why some things connect and others don't: "The stars line up at certain times for certain things to happen. Sometimes you can make something great, and it doesn't connect for whatever reason. Sometimes you make two things you think are the two best things you've ever made. One of them connects with the world. One of them doesn't. And it might not have anything to do with what's in the art. It might be that it came out the same day as something else. Or there was a bigger story at the time. There's so much to it that we don't understand." He continues: "All we can do is make something good and put it out and hope for the best. That's all there is. We never know why things work. Even if you make a piece of art and it works, you may not know why." On talent versus work ethic: "There are a lot of talented people who never make it because they don't have the work ethic. It's not just talent, talent's a piece. And you could argue for some people, the work ethic trumps the talent." Rubin explains what real collaboration is: "Having worked with a lot of bands, I see there's often this friction where people are trying to get their idea in. That's not a collaboration. A real collaboration is when everyone who's there is working together towards whatever is the best thing for the whole. Whether it's your idea or someone else's idea, it doesn't matter. If you're invested in the collaboration, you want the best idea to win. You don't want your idea to win." On what makes art great: "What makes it great is the personal. With all of its imperfections. With all of its quirkiness. That's what makes it great. How you see the world that's different from how everyone else sees the world. That's why you're an artist. That's your purpose in sharing your work with the world." He warns against being derivative: "There are these derivative voices where they're finding what they think other people want to hear, and they start saying it because they've heard other people say similar things that are now successful. Even if they have some short-term success doing that, it's not revolutionary. It doesn't change the world. It doesn't last. The people who you first see and you might not like that you come to like because you don't understand them at first, those are the ones that change the world. Those are the ones you dedicate your fandom to for life." Rubin shares his philosophy on taste: "You can't second-guess your own taste for what someone else is going to like. We're not smart enough to know what someone else is going to like. To make something thinking, 'Well, I don't really like it, but I think this group of people will like it,' it's a bad way to play the game of music or art. You have to do what's personal to you. Take it as far as you can go. Really push the boundaries. And people will resonate with it if they're supposed to resonate with it." He describes creativity as catching waves: "We're really talking about magic. The universe conspiring on our behalf if we let it. Being in this flow of catching these waves that anyone can catch. If you're trying to catch it, you're open to it, you see it coming, you take off on every chance you get. And sometimes the ride happens. It's remarkable how it happens. It doesn't come from preconception. It's not an idea. It's through the doing." Rubin explains how ideas exist in the universe: "Have you ever had that experience where you have an idea for something, you don't do it, and then six months later you see someone else has done it? It's not because they took your idea. It's that it's time for that, and you can act on it or not. The best artists are the ones who have the best antenna for this material that's available. It's coming through. The best comedians see the best jokes. They see them coming. We all live in the same world; the way you see it, you have the best joke because you see it best." He closes with how to stay open: "If we listen to what's going on around us, you can overhear a conversation in a coffee shop, and it is the setup for an idea you're working on. You hear a phrase you don't commonly use. My experience is: when you are open and looking for these clues in the world, they're happening all the time. And they're happening often right when you need them."

Jaynit

109,107 次观看 • 3 个月前

“What did you think of Lando being booed at race because people and I've seen it online as well say he doesn't deserve the title because McLaren favored him over his teammate. Do you think that's total nonsense?” Jacques Villeneuve: “That's a little bit ridiculous. When there was some booing in some races, that was embarrassing. You should never boo a driver that's clean, doesn't do anything dirty, on track is respectful, and on top of it is super fast. What's wrong with people? That was embarrassing. And, had it been that Piastri was a second a lap faster than him and somehow Lando was winning because a lot of things were happening, his car breaking down every time, then you could start thinking, okay, that's really not cool. That's not fair. But that wasn't the case. And in the second half, Norris has been faster right at the beginning as well, last year as well. So there's this whole middle of the season where Piastri was driving a lot better than Norris and was getting the points. Norris had an engine blowing up, not Piastri. And so those fans, they don't look at that either. You have to look at the whole picture, at the whole season. And suddenly if your favorite is starting to go backwards, you just got to bite the bullet and accept it. Your favorite is just going backwards. That doesn't mean that the other one is treated better or the other one is undeserving just because the one you're a fan of is not winning right now. That’s really wrong. If you're a fan of the sport, then you have to be a fan of the sport and understand when your driver is maybe not cutting it at this point in time, even though he was before and he will in the future again. It's all a question of timing. But that's the price we have to pay now with social media and how big F1 has become. It's very passionate. The people are passionate and once, you know, fans come from fanatism, you stop thinking, when you get in that mindset and it happens to all of us. You want something so much that you get attached and you cannot - it's hard to start seeing reality. So you will try to mold the reality to your thought process and if your champion is not winning then it cannot be his fault. It has to be something from the outside. It has to be the team destroying his chance or not favoring and so on and so on and so on. But there's nothing concrete behind those comments. It's pure fandom and it'll always be like this. And ultimately it's not a bad thing. You know drivers at that - sportsman at that level have to grow a thick skin. If not, you don't deserve to be there. You just have to have a thick skin because they're all very happy to get the compliments. They love it when it's just positive, but it gets balanced out with negatives and you need to be able to take and accept the negatives as well. It goes both ways. You cannot have the good. You just have to be a thick skin and know that it's part and parcels of what's going on. And in one month, it will be forgotten and maybe everything will change and it be the other driver that suddenly will be criticized and so on. So, it's just that's just the way it is.”
3:10

“What did you think of Lando being booed at race because people and I've seen it online as well say he doesn't deserve the title because McLaren favored him over his teammate. Do you think that's total nonsense?” Jacques Villeneuve: “That's a little bit ridiculous. When there was some booing in some races, that was embarrassing. You should never boo a driver that's clean, doesn't do anything dirty, on track is respectful, and on top of it is super fast. What's wrong with people? That was embarrassing. And, had it been that Piastri was a second a lap faster than him and somehow Lando was winning because a lot of things were happening, his car breaking down every time, then you could start thinking, okay, that's really not cool. That's not fair. But that wasn't the case. And in the second half, Norris has been faster right at the beginning as well, last year as well. So there's this whole middle of the season where Piastri was driving a lot better than Norris and was getting the points. Norris had an engine blowing up, not Piastri. And so those fans, they don't look at that either. You have to look at the whole picture, at the whole season. And suddenly if your favorite is starting to go backwards, you just got to bite the bullet and accept it. Your favorite is just going backwards. That doesn't mean that the other one is treated better or the other one is undeserving just because the one you're a fan of is not winning right now. That’s really wrong. If you're a fan of the sport, then you have to be a fan of the sport and understand when your driver is maybe not cutting it at this point in time, even though he was before and he will in the future again. It's all a question of timing. But that's the price we have to pay now with social media and how big F1 has become. It's very passionate. The people are passionate and once, you know, fans come from fanatism, you stop thinking, when you get in that mindset and it happens to all of us. You want something so much that you get attached and you cannot - it's hard to start seeing reality. So you will try to mold the reality to your thought process and if your champion is not winning then it cannot be his fault. It has to be something from the outside. It has to be the team destroying his chance or not favoring and so on and so on and so on. But there's nothing concrete behind those comments. It's pure fandom and it'll always be like this. And ultimately it's not a bad thing. You know drivers at that - sportsman at that level have to grow a thick skin. If not, you don't deserve to be there. You just have to have a thick skin because they're all very happy to get the compliments. They love it when it's just positive, but it gets balanced out with negatives and you need to be able to take and accept the negatives as well. It goes both ways. You cannot have the good. You just have to be a thick skin and know that it's part and parcels of what's going on. And in one month, it will be forgotten and maybe everything will change and it be the other driver that suddenly will be criticized and so on. So, it's just that's just the way it is.”

naenia ¹ ⁶³

29,833 次观看 • 7 个月前

If we look around, everything we see began with a single person who had an idea and acted on it. This film is an expression of it. If you can have an idea, you can make it real Invideo
1:53

If we look around, everything we see began with a single person who had an idea and acted on it. This film is an expression of it. If you can have an idea, you can make it real Invideo

Sanket Shah

5,922,420 次观看 • 11 个月前

I got a smart meter recently and saw you can download a HDF file with the data so I had the idea of writing a script that could parse that and show the data in a useful manner. However I discovered that someone has already done this and done a really good job on it. The video explains how it works. In simple terms it uses the ESB smart meter data and shows a breakdown of how much data you are using and when and also recommends plans and estimates what each one would cost based on the data. The tool is available at easier to read on Laptop or Tablet or then your phone to Landscape.
1:26

I got a smart meter recently and saw you can download a HDF file with the data so I had the idea of writing a script that could parse that and show the data in a useful manner. However I discovered that someone has already done this and done a really good job on it. The video explains how it works. In simple terms it uses the ESB smart meter data and shows a breakdown of how much data you are using and when and also recommends plans and estimates what each one would cost based on the data. The tool is available at easier to read on Laptop or Tablet or then your phone to Landscape.

Carlow Weather

298,521 次观看 • 2 年前

Jerry Seinfeld explains why he turned down $110,000,000 to make another season of Seinfeld. Jerry Seinfeld: “That was Larry David’s idea.” Howard Stern: “NBC didn’t say, ‘Hey, you’re mentioning masturbation’?” Jerry Seinfeld: “Never said the word. One sponsor pulled out of the show that was all I remember in terms of any sort of blowback.” Howard Stern: “Warren Littlefield wrote that if you would have given him another season of Seinfeld, he would have paid you $110,000,000 for the year, and you said no. Is that the ultimate integrity?” Jerry Seinfeld: “I could have gotten more than that. “Integrity is a nice word, and a flattering one. I appreciate that. That’s what’s fun about coming on your show, you really want to be honest, because that’s what you bring to it. “The love affair between the people making the show and the audience was so intense, so white-hot, that I had to respect it. I couldn’t let it get to the point where it started to age and wither. It can only stay that way for so long. “We had this hot, intense season, so the audience would have a feeling that it never was bad.”
2:43

Jerry Seinfeld explains why he turned down $110,000,000 to make another season of Seinfeld. Jerry Seinfeld: “That was Larry David’s idea.” Howard Stern: “NBC didn’t say, ‘Hey, you’re mentioning masturbation’?” Jerry Seinfeld: “Never said the word. One sponsor pulled out of the show that was all I remember in terms of any sort of blowback.” Howard Stern: “Warren Littlefield wrote that if you would have given him another season of Seinfeld, he would have paid you $110,000,000 for the year, and you said no. Is that the ultimate integrity?” Jerry Seinfeld: “I could have gotten more than that. “Integrity is a nice word, and a flattering one. I appreciate that. That’s what’s fun about coming on your show, you really want to be honest, because that’s what you bring to it. “The love affair between the people making the show and the audience was so intense, so white-hot, that I had to respect it. I couldn’t let it get to the point where it started to age and wither. It can only stay that way for so long. “We had this hot, intense season, so the audience would have a feeling that it never was bad.”

𝓢𝓵𝓪𝓶 👁️⃤

410,505 次观看 • 16 天前

Therapist Trey Tucker came on Relatable to talk about anxiety. I asked him, "If you could define anxiety, how would you define it?" Tucker: "Fear of the future. Fear of the unknown. The verse, 'Be still and know that I am God' used to make me so angry. I'm like, God, what do you mean be still? Like, I got a real problem here. I'm in a storm. Why do you want me to just be still? And what I realized is that the word, and I believe it's "Rapha" in the Hebrew, it doesn’t mean just ‘don’t move.’ It means ‘release your grip.’ The idea that I thought that I had control, that was a lie anyway. If I can start to realize like, yes, the circumstances might happen that are negative or I might be in the middle of a battle right now, but if I can loosen my grip and stop white knuckling it, then I can realize that like oh—God is God, not me, and He’s going to take care of me no matter what happens. That really is the solution to anxiety. It’s not changing your circumstances or slapping meds on it.”
0:51

Therapist Trey Tucker came on Relatable to talk about anxiety. I asked him, "If you could define anxiety, how would you define it?" Tucker: "Fear of the future. Fear of the unknown. The verse, 'Be still and know that I am God' used to make me so angry. I'm like, God, what do you mean be still? Like, I got a real problem here. I'm in a storm. Why do you want me to just be still? And what I realized is that the word, and I believe it's "Rapha" in the Hebrew, it doesn’t mean just ‘don’t move.’ It means ‘release your grip.’ The idea that I thought that I had control, that was a lie anyway. If I can start to realize like, yes, the circumstances might happen that are negative or I might be in the middle of a battle right now, but if I can loosen my grip and stop white knuckling it, then I can realize that like oh—God is God, not me, and He’s going to take care of me no matter what happens. That really is the solution to anxiety. It’s not changing your circumstances or slapping meds on it.”

Relatable with Allie Beth Stuckey

47,240 次观看 • 3 个月前

Qullamaggie on Money Gives You Leverage “Oh yeah, absolutely. Money gives you leverage; that’s true. I’m not really dependent on anyone. I don’t have to get a job. I could probably be. I could stop trading today and be unemployed for the rest of my life, and I would be fine. And you know, if I want to start a company, I would have a lot of seed capital for it. If I found a nice idea, you know, business idea I wanna invest in or do something. Yeah, it feels unreal; it really feels unreal.”
0:38

Qullamaggie on Money Gives You Leverage “Oh yeah, absolutely. Money gives you leverage; that’s true. I’m not really dependent on anyone. I don’t have to get a job. I could probably be. I could stop trading today and be unemployed for the rest of my life, and I would be fine. And you know, if I want to start a company, I would have a lot of seed capital for it. If I found a nice idea, you know, business idea I wanna invest in or do something. Yeah, it feels unreal; it really feels unreal.”

Lone

11,826 次观看 • 8 个月前

Kevin O'Leary reveals his golden rule for every entrepreneur he invests in "I have a very simple rule. I tell them all when I invest in them. If you're not making money after 36 months, three years, you got to take it behind the barn and shoot it" "Because it's just a hobby. It's not a business" "People get so stuck on a bad idea, they just keep thinking if I keep working on it, it's going to fix it. It doesn't fix itself" "It was put on your journey to teach you what not to do. If you don't realize the lesson learned, you're going to spend all your time on a bad idea and waste it" "You only need one to work. You get a winner, you go through the roof"
1:23

Kevin O'Leary reveals his golden rule for every entrepreneur he invests in "I have a very simple rule. I tell them all when I invest in them. If you're not making money after 36 months, three years, you got to take it behind the barn and shoot it" "Because it's just a hobby. It's not a business" "People get so stuck on a bad idea, they just keep thinking if I keep working on it, it's going to fix it. It doesn't fix itself" "It was put on your journey to teach you what not to do. If you don't realize the lesson learned, you're going to spend all your time on a bad idea and waste it" "You only need one to work. You get a winner, you go through the roof"

Jaynit

83,116 次观看 • 2 个月前

When making The Departed, Jack Nicholson told Matt Damon, “I never would've made it this far in my career if I wasn't a great fucking writer.” Meaning, he would contribute great ideas to a story through his performance and improvisation. Damon recalls a perfect example of this: “And I'll give you one story - it was my favorite thing that happened on The Departed, was this story about a scene that I was not in, but he (Nicholson) was - it was 1 eighth of a page, and it said Costello - which is the name of his character - ‘Costello executes man kneeling in the marshes.’ Now, most people look at that, and they'll go, ‘All right, it's gonna be one shot - that's gonna be an hour of work, and that's all I'm doing that day, or whatever.’ He looked at that, and he goes, ‘Okay, I can do that, but I think I can make it better.’ And so he's telling me this story. He goes, (in Jack Nicholson’s voice) ‘So what I do is,’… he goes, ‘I come from the Roger Corman School, so I'm not gonna add any time, and I'm not gonna add to your budget. But instead of a man kneeling in the marshes, I make it a woman.’ ...And he goes, ‘So I'm gonna execute a woman, but I'm not gonna be alone. I put Ray (Winston) in the scene with me - and I shoot her in the back of the head like it says in the script. But if you leave the camera rolling, after she falls, I turn to Ray and I say, geez, she fell funny. Now that's a really sinister thing to say. Because it means I do this a lot, and there's a way people fall. And she didn't fall that way.’ And I go, ‘oh yeah, I get it man, I get it.’ ‘Now you could end the scene there, but if you leave the camera rolling, Ray steps forward, and he reveals that he's holding an axe. She's gonna chop her up. Now you could end the scene there.’ He goes, ‘But if you leave the camera rolling, I turn to Ray and say, “wait, I think I wanna fuck her again.”’ And he goes, ‘Now that's a very sinister line.’ I get it, I get it, it's really, really, really disturbing. And he says, Now you could end the scene there, but if you keep the camera rolling, Ray stops and looks at me, and there's a pause. And I go….ah! He goes, ‘And that's a sinister thing to do, “'cause we're making a joke out of this whole thing.” And I go, yeah, I get it, I get it. ‘Now you could end the scene there, but if you leave the camera rolling, Ray says, “Francis, you really oughta see someone.” And so that's what they did. He took this one eighth of a page scene, and he did all of that, and they had two cameras on it, so it could cut back and forth. And what Marty ended up cutting was he shoots her, she falls, he says, “Geez, she fell funny.” And Ray looks at him and says, “Francis, you really oughta see someone.” But he just gave him all of these options, as dark and as sick as you wanna go.” Quote comes from Matt Damon's appearance on the What A Joke Show with Papa and Fortune
0:28

When making The Departed, Jack Nicholson told Matt Damon, “I never would've made it this far in my career if I wasn't a great fucking writer.” Meaning, he would contribute great ideas to a story through his performance and improvisation. Damon recalls a perfect example of this: “And I'll give you one story - it was my favorite thing that happened on The Departed, was this story about a scene that I was not in, but he (Nicholson) was - it was 1 eighth of a page, and it said Costello - which is the name of his character - ‘Costello executes man kneeling in the marshes.’ Now, most people look at that, and they'll go, ‘All right, it's gonna be one shot - that's gonna be an hour of work, and that's all I'm doing that day, or whatever.’ He looked at that, and he goes, ‘Okay, I can do that, but I think I can make it better.’ And so he's telling me this story. He goes, (in Jack Nicholson’s voice) ‘So what I do is,’… he goes, ‘I come from the Roger Corman School, so I'm not gonna add any time, and I'm not gonna add to your budget. But instead of a man kneeling in the marshes, I make it a woman.’ ...And he goes, ‘So I'm gonna execute a woman, but I'm not gonna be alone. I put Ray (Winston) in the scene with me - and I shoot her in the back of the head like it says in the script. But if you leave the camera rolling, after she falls, I turn to Ray and I say, geez, she fell funny. Now that's a really sinister thing to say. Because it means I do this a lot, and there's a way people fall. And she didn't fall that way.’ And I go, ‘oh yeah, I get it man, I get it.’ ‘Now you could end the scene there, but if you leave the camera rolling, Ray steps forward, and he reveals that he's holding an axe. She's gonna chop her up. Now you could end the scene there.’ He goes, ‘But if you leave the camera rolling, I turn to Ray and say, “wait, I think I wanna fuck her again.”’ And he goes, ‘Now that's a very sinister line.’ I get it, I get it, it's really, really, really disturbing. And he says, Now you could end the scene there, but if you keep the camera rolling, Ray stops and looks at me, and there's a pause. And I go….ah! He goes, ‘And that's a sinister thing to do, “'cause we're making a joke out of this whole thing.” And I go, yeah, I get it, I get it. ‘Now you could end the scene there, but if you leave the camera rolling, Ray says, “Francis, you really oughta see someone.” And so that's what they did. He took this one eighth of a page scene, and he did all of that, and they had two cameras on it, so it could cut back and forth. And what Marty ended up cutting was he shoots her, she falls, he says, “Geez, she fell funny.” And Ray looks at him and says, “Francis, you really oughta see someone.” But he just gave him all of these options, as dark and as sick as you wanna go.” Quote comes from Matt Damon's appearance on the What A Joke Show with Papa and Fortune

Gangster Cinema Central

1,053,234 次观看 • 1 个月前

Ray Dalio, founder of the world's largest hedge fund, on how he turned a trading idea into a system. this is the whole loop, in his words: "every time I would make a decision, I would go back and study: if I made that decision in these circumstances, how would it have worked in the past? and I would know the track record of that decision." then it becomes a rule: "I would program it into the computer... rather than just the one I would see, I'd dump in all of them, where do they exist anywhere in the world?" and the constraint most people skip: "the rules should be timeless and universal. because if it didn't work in a long period of time, I would need to understand why." a trading idea in your head is a feeling. tested across every instance in history, it's a system.
1:34

Ray Dalio, founder of the world's largest hedge fund, on how he turned a trading idea into a system. this is the whole loop, in his words: "every time I would make a decision, I would go back and study: if I made that decision in these circumstances, how would it have worked in the past? and I would know the track record of that decision." then it becomes a rule: "I would program it into the computer... rather than just the one I would see, I'd dump in all of them, where do they exist anywhere in the world?" and the constraint most people skip: "the rules should be timeless and universal. because if it didn't work in a long period of time, I would need to understand why." a trading idea in your head is a feeling. tested across every instance in history, it's a system.

Goshawk Trades

12,064 次观看 • 11 天前

Hannity: What if something is sent that's classified and the reporter had no idea it was classified. Bondi: If the reporter had no idea it was classified we have the right to have that returned to the department of justice and to the department of war, where it belongs.
0:43

Hannity: What if something is sent that's classified and the reporter had no idea it was classified. Bondi: If the reporter had no idea it was classified we have the right to have that returned to the department of justice and to the department of war, where it belongs.

Acyn

164,914 次观看 • 6 个月前

#SEONGHWA about the making of Skin 🩶 ⭐️: My solo song? When the idea of doing solo songs first came up.. there were opinions about how to do the songs and. I thought, I absolutely want Hongjoong to do it because he knows me best. And because I trust Hongjoong’s ability, even though we could have gotten something (produced) from outside, I thought that what would satisfy me the most would be the version of Skin that Hongjoong could make. So at first, Hongjoong asked me what kind of mood I wanted to go for and I said that among my nicknames, you know I have “poisonous snake” as one, right? So I wanted to take the keyword and go with the snake vibe. So when I said I wanted to go with the snake concept, Hongjoong thought about it for like 10 seconds right there and said, “Then let’s go with Skin for the title”. So, that was really great and I told him I liked that that idea, that it was nice. Then I actually sent him about six? ㅎㅎ reference links and said I wanted to go with that kind of mood (I referenced), so ㅎㅎ I really bugged Hongjoong a lot. He was a bit nervous too, he kept sending me updates on it, like, from the early guide stages. He sent messages/comments like, “For now the instrumental will probably be like this. It would be great if it hit hard here and for the chorus, if we go with a sexy vibe it would be awesome.” And when the full guide was first finished I listened to it and just clapped, because I liked it so much. Also, since it’s the first solo song I’m doing, having Hongjoong do it was great. And I really like it, so… it is going to be even better when the song is officially released. #성화
6:32

#SEONGHWA about the making of Skin 🩶 ⭐️: My solo song? When the idea of doing solo songs first came up.. there were opinions about how to do the songs and. I thought, I absolutely want Hongjoong to do it because he knows me best. And because I trust Hongjoong’s ability, even though we could have gotten something (produced) from outside, I thought that what would satisfy me the most would be the version of Skin that Hongjoong could make. So at first, Hongjoong asked me what kind of mood I wanted to go for and I said that among my nicknames, you know I have “poisonous snake” as one, right? So I wanted to take the keyword and go with the snake vibe. So when I said I wanted to go with the snake concept, Hongjoong thought about it for like 10 seconds right there and said, “Then let’s go with Skin for the title”. So, that was really great and I told him I liked that that idea, that it was nice. Then I actually sent him about six? ㅎㅎ reference links and said I wanted to go with that kind of mood (I referenced), so ㅎㅎ I really bugged Hongjoong a lot. He was a bit nervous too, he kept sending me updates on it, like, from the early guide stages. He sent messages/comments like, “For now the instrumental will probably be like this. It would be great if it hit hard here and for the chorus, if we go with a sexy vibe it would be awesome.” And when the full guide was first finished I listened to it and just clapped, because I liked it so much. Also, since it’s the first solo song I’m doing, having Hongjoong do it was great. And I really like it, so… it is going to be even better when the song is officially released. #성화

Everything Seonghwa

85,972 次观看 • 1 年前

if you want to make short films but feel stuck when it comes to "story" - try portraying a mood/feeling. you don't always need a satisfying conclusion or a standard 3 part structure. everyone will bombard you with narrative importance, and of course it's important, but some of my favourite shorts and feature films have fairly simple loose scripts, but they convey an incredible tone and feeling. you can just create a world and bring people into it for a few minutes. focus on the feeling with good production design, acting, and sound. you're practicing so don't let writing hold you back. will some people want more? absolutely. will it make sense to everyone? doubtful. the key is it has to be interesting to YOU.. stop caring about everyone else. make something that you like because you're not unique, there will be other people on your wavelength, and if they're not so be it. doesn't matter. give it a feeling that you like and do everything you can to convey it cinematically. ultimately the only audience member that truly matters is you, so if you have a really simple idea like "why does air chilled chicken sound funny?" go execute it and see what happens.
2:27

if you want to make short films but feel stuck when it comes to "story" - try portraying a mood/feeling. you don't always need a satisfying conclusion or a standard 3 part structure. everyone will bombard you with narrative importance, and of course it's important, but some of my favourite shorts and feature films have fairly simple loose scripts, but they convey an incredible tone and feeling. you can just create a world and bring people into it for a few minutes. focus on the feeling with good production design, acting, and sound. you're practicing so don't let writing hold you back. will some people want more? absolutely. will it make sense to everyone? doubtful. the key is it has to be interesting to YOU.. stop caring about everyone else. make something that you like because you're not unique, there will be other people on your wavelength, and if they're not so be it. doesn't matter. give it a feeling that you like and do everything you can to convey it cinematically. ultimately the only audience member that truly matters is you, so if you have a really simple idea like "why does air chilled chicken sound funny?" go execute it and see what happens.

patrick.

56,003 次观看 • 2 年前