steven spielberg

What I learned from rereading George Lucas: A Life by Brian Jay Jones.

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(0:01) George Lucas unapologetically invested in what he believed in the most: himself.

(1:00) George Lucas is the Thomas Edison of the modern film industry.

(1:30) A list of biographies written by Brian Jay Jones

(6:00) Elon Musk interviewed by Kevin Rose

(10:15) How many people think the solution to gaining quality control, improving fiscal responsibility, and stimulating technological innovation is to start their own special-effects company? But that’s what he did.

(17:00) When I finally discovered film, I really fell madly in love with it. I ate it. I slept it. 24 hours a day. There was no going back.

(18:00) Those on the margins often come to control the center. (Game of Thrones)

(21:00) As soon as I made my first film, I thought, Hey, I’m good at this. I know how to do this. From then on, I’ve never questioned it.

(23:00) He was becoming increasingly cranky about the idea of working with others and preferred doing everything himself.

(34:00) Francis Ford Coppola: A Filmmaker's Life by Michael Schumacher. (Founders #242)

(42:00) The film Easy Rider was made for $350,000. It grossed over $60 million at the box office.

(45:00) The Founders: The Story of PayPal and the Entrepreneurs Who Shaped Silicon Valley by Jimmy Soni. (Founders #233)

A Mind at Play: How Claude Shannon Invented the Information Age by Jimmy Soni and Rob Goodman (Founders #95)

Steve Jobs & The NeXT Big Thing by Randall Stross. (Founders #77)

(47:00) What we’re striving for is total freedom, where we can finance our pictures, make them our way, release them where we want them released, and be completely free. That’s very hard to do in the world of business. You have to have the money in order to have the power to be free.

(49:00) You should reject the status quo and pursue freedom.

(49:00) People would give anything to quit their jobs. All they have to do is do it. They’re people in cages with open doors.

(51:00) Stay small. Be the best. Don’t lose any money.

(59:00) That was a very dark period for me. We were in dire financial strait. I turned that down [directing someone else’s movie] at my bleakest point, when I was in debt to my parents, in debt to Francis Coppola, in debt to my agent; I was so far in debt I thought I’d never get out. It took years to get from my first film to my second film, banging on doors, trying to get people to give me a chance. Writing, struggling, with no money in the bank… getting little jobs, eking out a living. Trying to stay alive, and pushing a script that nobody wanted.

(1:02:00) “Opening this new restaurant might be the worst mistake I've ever made."

Stanley [Stanley Marcus of Neiman Marcus] set his martini down, looked me in the eye, and said, "So you made a mistake. You need to understand something important. And listen to me carefully: The road to success is paved with mistakes well handled."

His words remained with me through the night. I repeated them over and over to myself, and it led to a turning point in the way I approached business.

Stanley's lesson reminded me of something my grandfather Irving Harris had always told me:

“The definition of business is problems."

His philosophy came down to a simple fact of business life: success lies not in the elimination of problems but in the art of creative, profitable problem solving. The best companies are those that distinguish themselves by solving problems most effectively.

Setting the Table: The Transforming Power of Hospitality in Business by Danny Meyer. 

(1:05:00) My thing about art is that I don’t like the word art because it means pretension and bullshit, and I equate those two directly. I don’t think of myself as an artist. I’m a craftsman. I don’t make a work of art; I make a movie.

(1:06:00) I know how good I am. American Graffiti is successful because it came entirely from my head. It was my concept. And that’s the only way I can work.

(1:09:00) Creative Selection: Inside Apple's Design Process During the Golden Age of Steve Jobs by Ken Kocienda. (Founders #281)

(1:21:00) The budget for Star Wars was $11 million. In brought in $775 million at the box office alone!

(1:25:00) Steven Spielberg made over $40 million from the original Star Wars. Spielberg gave Lucas 2.5% of Close Encounters of the Third Kind and Lucas gave Spielberg 2.5% of Star Wars. That to 2.5% would earn Spielberg more than $40 million over the next four decades.

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What I learned from reading Steven Spielberg: A Biography by Joseph McBride. 

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 A few questions I've asked SAGE recently: 

What are the most important leadership lessons from history's greatest entrepreneurs?

Can you give me a summary of Warren Buffett's best ideas? (Substitute any founder covered on the podcast and you'll get a comprehensive and easy to read summary of their ideas) 

How did Edwin Land find new employees to hire? Any unusual sources to find talent?

What are some strategies that Cornelius Vanderbilt used against his competitors?

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Episode Outline: 

Whatever is there, he makes it work.

Spielberg once defined his approach to filmmaking by declaring, "I am the audience."

"He said, 'I want to be a director.' And I said, 'Well, if you want to be a director, you've gotta start at the bottom, you gotta be a gofer and work your way up.' He said, 'No, Dad. The first picture I do, I'm going to be a director.' And he was. That blew my mind. That takes guts."

One of his boyhood friends recalls Spielberg saying "he could envision himself going to the Academy Awards and accepting an Oscar and thanking the Academy.” He was twelve.

He was disappointed in the world, so he built one of his own.

Spielberg remained essentially an autodidact. Spielberg followed his own eccentric path to a professional directing career. Universal Studios, in effect, was Spielberg's film school. Giving him an education that, paradoxically, was both more personal and more conventional than he would have received in an academic environment. Spielberg devised what amounted to his own private tutorial program at Universal, immersing himself in the aspects of filmmaking he found most crucial to his development.

At the time he came to Hollywood, generations of nepotism had made the studios terminally inbred and unwelcoming to newcomers. The studio system, long under siege from television, falling box-office receipts, and skyrocketing costs, was in a state of impending collapse.

When Steven was very discouraged trying to sell a script and break in, he always had a positive, forward motion, whatever he may have been suffering inside.

In the two decades since Star Wars and Close Encounters were released, science-fiction films have accounted for half of the top twenty box-office hits. But before George Lucas and Spielberg revived the genre there was no real appetite at the studios for science fiction. The conventional wisdom was science-fiction films never make money.

Your children love you. They want to play with you. How long do you think that lasts? We have a few special years with our children, when they're the ones who want us around. So fast, it’s a few years, then it's over. You are not being careful. And you are missing it.

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“I have listened to every episode released and look forward to every episode that comes out. The only criticism I would have is that after each podcast I usually want to buy the book because I am interested so my poor wallet suffers. ” — Gareth

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What I learned from reading The Nolan Variations: The Movies, Mysteries, and Marvels of Christopher Nolan by Tom Shone.

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(7:00) The only way I know how to work is to sort of burrow in on one project very obsessively.

(7:25) People will say to me, "There are people online who are obsessed with Inception or obsessed with Memento.”

They're asking me to comment on that, as if I thought it were weird or something, and I'm like, Well, I was obsessed with it for years. Genuinely obsessed with it. So it doesn't strike me as weird. . . I feel like I have managed to wrap them the up in it way I try to wrap myself up.

(8:30) The Futurist: The Life and Films of James Cameron by Rebecca Keegan and The Return of James Cameron, Box Office King by Zach Baron. (Founders #311)

(11:00) I don’t think of myself as an artist. I’m a craftsman. I don’t make a work of art; I make a movie. — George Lucas: A Life by Brian Jay Jones. 

(15:30) Steven Spielberg: A Biography by Joseph McBride. (Founders #209)

(22:45) Nolan is relentlessly resourceful. He wants to spend as as little money as possible so he can maintain as much control over the project as possible.

(23:30) He makes his first movie on the weekends while he working a full-time job!

(29:30) The efficiency of filmmaking is for me a way of keeping control. The pressure of time, the pressure of money. Even though they feel like restrictions at the time, and you chafe against them, they're helping you make decisions. They really are. If I know that deadline is there, then my creative process ramps up exponentially.

(34:00) The result of making a billion dollar blockbuster: Suddenly his position at Warner Brothers went from solid to unassailable.

(37:00) Stories can add to your own thinking but you need your own foundation to add them to first.

(38:00) I know it's more fun when we're all together and we can do the thing together. That's why we keep it as a family business.

(39:00) Rolls-Royce: The Magic of a Name: The First Forty Years of Britain s Most Prestigious Company by Peter Pugh. (Founders #287)

(43:30) Every time a new feature or product was proposed, he decreed that the narrative should take the shape of a mock press release. The goal was to get employees to distill a pitch into its purest essence, to start from something the customer might see—the public announcement—and work backward. Bezos didn’t believe anyone could make a good decision about a feature or a product without knowing precisely how it would be communicated to the world. — The Everything Store: Jeff Bezos and the Age of Amazon by Brad Stone. (Founders #179)

(45:30) Once your children are born, you can never look at yourself through your own eyes anymore; you always look at yourself through their eyes.

(49:30) I often have terrible luck with the weather, but my philosophy is to shoot no matter what the weather is, always shooting no matter what weather, just keeping going, keeping going. Letting everybody on the crew and cast know we're really serious about doing that, no matter what the conditions are, so they're not looking out the window first thing and going, Oh, we will or won't shoot today.

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“I have listened to every episode released and look forward to every episode that comes out. The only criticism I would have is that after each podcast I usually want to buy the book because I am interested, so my poor wallet suffers.” — Gareth

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What I learned from reading The Futurist: The Life and Films of James Cameron by Rebecca Keegan and The Return of James Cameron, Box Office King by Zach Baron.

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(4:00) I watched Titanic at the Titanic. And he actually replied: Yeah, but I madeTitanic at the Titanic.

(7:10) I like difficult. I’m attracted by difficult. Difficult is a fucking magnet for me. I go straight to difficult. And I think it probably goes back to this idea that there are lots of smart, really gifted, really talented filmmakers out there that just can’t do the difficult stuff. So that gives me a tactical edge to do something nobody else has ever seen, because the really gifted people don’t fucking want to do it.

(7:20) At 68 years old, Cameron wakes up at 4:45 AM and often kick boxes in the morning.

(7:45) Self doubt is not something Cameron has a lot of experience with. His confidence preceded his achievements.

(9:00) I was going through this stuff, chapter and verse, and making my own notes and all that. I basically gave myself a college education in visual effects and cinematography while I was driving a truck.

(16:00) Every idea is a work in progress.

(17:30) He's been on a planet of his own making ever since.

(18:00) The Return of James Cameron, Box Office King by Zach Baron

(22:00) Cameron's career has been built on questioning accepted wisdom and believing in the power of the individual.  His outlook is that we can take fate in our own hands.

(27:00) All creative individuals build on the works of their predecessors. No one creates an a vacuum. — Walt Disney and Picasso (Founders #310)

(31:00) Cameron would go to the library at the University of Southern California, photocopying graduate student theses on esoteric filmmaking subjects.

He filled two fat binders with technical papers.

For the cost of a couple hundred dollars in photocopying, he essentially put himself through a graduate course in visual effects at the top film school in the country without ever meeting a single professor.

(34:00) Cameron had only been at Corman's for a matter of days, but he was already taking charge. He seems constitutionally incapable of doing otherwise. (What a line!)

He had a very commanding presence.

(35:30) Your mediocrity is my opportunity.

(37:40) Cameron finds writing torture. He does it anyway.

(43:00) Cameron is willing to let ideas marinate for decades.

(43:45) "I like doing things I know others can’t.” That's part of what attracts him to shooting movies in water.  "Nobody likes shooting in water. It's physically taxing, frustrating, and dangerous. But when you have a small team of people as crazy as you are, that are good at it, there is deep satisfaction in both the process of doing it and the resulting footage."

(49:15)  I was stunned by Jim's allegiance to the project and the extent of his physical abilities. Jim was there for every minute of it. It was beyond belief, his commitment to what we were doing.

(55:30) I'd just made T2 for Carolco and I admired how they rolled, being their own bosses, mavericks, entrepreneurs. I’d been fed up with the studio system. So I figured I could set up a structure which would allow me to call the shots myself.

(57:30) Mute the world. Build your own world.

(1:04:50) Opportunity is a strange beast. It commonly appears after a loss.

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“I have listened to every episode released and look forward to every episode that comes out. The only criticism I would have is that after each podcast I usually want to buy the book because I am interested, so my poor wallet suffers.” — Gareth

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What I learned from reading Creators: From Chaucer and Durer to Picasso and Disney by Paul Johnson. 

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(3:30) Disney made use of the new technologies throughout his creative life.

(4:45) Lists of Paul Johnson books and episodes: 

Churchill by Paul Johnson. (Founders #225) 

Heroes: From Alexander the Great and Julius Caesar to Churchill and de Gaulle by Paul Johnson.(Founders #226)

Mozart: A Life by Paul Johnson. (Founders #240) 

Socrates: A Man for Our Times by Paul Johnson. (Founders #252) 

(5:55) Picasso was essentially self-taught, self-directed, self-promoted, emotionally educated in the teeming brothels of the city, a small but powerfully built monster of assured egoism.

(7:30) Most good copywriters fall into two categories. Poets. And killers. Poets see an ad as an end. Killers as a means to an end. If you are both killer and poet, you get rich. — Confessions of an Advertising Man by David Ogilvy. (Founders #306)

(10:00) Whatever you do, you must do it with gusto, you must do it in volume. It is a case of repeat, repeat, repeat. — Les Schwab Pride In Performance: Keep It Going! by Les Schwab. (Founders #105)

(11:30) Picasso averaged one new piece of artwork every day of his life from age 20 until his death at age 91. He created something new every day for 71 years.

(15:30) Power doesn't always corrupt. But what power always does is reveal. — Working by Robert Caro (Founders #305)

(17:30) Many people find it hard to accept that a great writer, painter, or musician can be evil. But the historical evidence shows, again and again, that evil and creative genius can exist side by side in the same person. In my judgment his monumental selfishness and malignity were inextricably linked to his achievement.

He was all-powerful as an originator and aesthetic entrepreneur precisely because he was so passionately devoted to what he was doing, to the exclusion of any other feelings whatever.

He had no sense of duty except to himself, and this gave him his overwhelming self-promoting energy. Equally, his egoism enabled him to turn away from nature and into himself with a concentration which is awe-inspiring.

(21:30) It shows painfully how even vast creative achievement and unparalleled worldly success can fail to bring happiness.

(24:00) Walt Disney (at age 18) wanted to run his own business and be his own master. He had the American entrepreneurial spirit to an unusual degree.

(27:00) Recurring theme: Knowing what you want to do but not knowing how to do it—yet.

(26:20) All creative individuals build on the works of their predecessors. No one creates in vacuum.

(28:30) Why Walt Disney moved to Hollywood: The early 1920s, full of hope and daring, were a classic period for American free enterprise, and for anyone interested in the arts—Hollywood was a rapidly expanding focus of innovation.

(28:00) Filmaker episodes: 

Francis Ford Coppola: A Filmmaker's Life by Michael Schumacher. (Founders #242)

Steven Spielberg: A Biography by Joseph McBride. (Founders #209)

George Lucas: A Life by Brian Jay Jones. (Founders #35) 

(30:10) The relentless resourcefulness of a young Walt Disney!

(34:30) This is wild: It is significant that Mickey Mouse, in the year of his greatest popularity, 1933, received over 800,000 fan letters, the largest ever recorded in show business, at any time in any century.

(36:00) Something that Disney does his entire career —he has this in common with other great filmmakers— he is always jumping on the new technology of his day.

(37:00) Lack of resources is actually a feature. It’s the benefit. — Kevin Kelly on Invest Like the Best #334

(38:45) Imagination rules the world. — The Mind of Napoleon: A Selection of His Written and Spoken Words edited by J. Christopher Herold. (Founders #302)

(41:15) Disney put excellence before any other consideration.

(41:45) Disney hired the best artists he could get and gave them tasks to the limits of their capacities.

(47:45) Disney’s Land: Walt Disney and the Invention of the Amusement Park That Changed the World by Richard Snow. (Founders #158)

(49:30) I Had Lunch With Sam Zell (Founders #298)

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“I have listened to every episode released and look forward to every episode that comes out. The only criticism I would have is that after each podcast I usually want to buy the book because I am interested so my poor wallet suffers. ” — Gareth

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What I learned from rereading The New New Thing: A Silicon Valley Story by Michael Lewis

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[1:23] Maybe somewhere in a footnote, it would be mentioned that he came from nothing, grew up poor, dropped out of high school, and made himself three or four billion dollars.

[7:41] She explained that the shares in Netscape that Clark had given them had made them rich.

"And you have to understand," she said, “that when this happened, we were poor. I was ready to cook the cat."

I assumed this was a joke, and laughed. I assumed wrong.

[12:48] He was expelled from school and left town.  One time he came home talking about nothing but computers. No one in Plainview had even seen a computer except in the movies.

[13:21] I remember him telling me when he came back from the Navy, ‘Mama, I’m going to show Plainview.’

[14:42] In under eight years this person, considered unfit to graduate from high school, had earned himself a Ph.D. in Computer Science.

[15:05] I grew up in black and white. I thought the whole world was shit, and I was sitting in the middle of it.

[17:17] If you want to understand the entrepreneur, study the juvenile delinquent. The delinquent is saying with his actions, “This sucks. I’m going to do my own thing. — Yvon Chouinard

[17:56] The most powerful paragraph in the book: One day I was sitting at home and, I remember having the thought ‘You can did this hole as deep as you want to dig it.’ I remember thinking ‘My God, I’m going to spend the rest of my life in this fucking hole.’ You can reach these points in life when you say, ‘Fuck, I’ve reached some sort of dead-end here. And you descend into chaos. All those years you thought you were achieving something. And you achieved nothing. I was thirty-eight years old. I’d just been fired. My second wife had just left me. I had somehow fucked up. I developed this maniacal passion for wanting to achieve something.

[19:00] Two part series on Vannevar Bush

Pieces of the Action by Vannevar Bush. (Founders #270) and Endless Frontier: Vannevar Bush, Engineer of the American Century by G. Pascal Zachary. (Founders #271) 

[21:38] New Growth Theory argued that wealth came from the human imagination. Wealth wasn’t chiefly having more of old things; it was having entirely new things.

[22:54] On creating new wealth/companies: A certain tolerance for nonconformism is really critical to the process.

[24:31] The internet has massively broadened the possible space of careers, and most people haven't figured this out yet. —The Almanack of Naval Ravikant: A Guide to Wealth and Happiness by Naval Ravikant and Eric Jorgenson. (Founders #191)

[25:06] A master in the art of living draws no sharp distinction between his work and his play; his labor and his leisure; his mind and his body; his education and his recreation. He hardly knows which is which. He simply pursues his vision of excellence through whatever he is doing, and leaves others to determine whether he is working or playing. To himself, he always appears to be doing both.

[27:36] George Lucas: A Life by Brian Jay Jones. (Founders #35) and Steven Spielberg: A Biography by Joseph McBride. (Founders #209)

[33:10] The independence and the control is worth a lot more than the money.

[33:32] These people could never build the machines of the future, but they could sell the machines of the present.

[35:02] Clark on how to avoid being disrupted: For a technology company to succeed, he argued, it needed always to be looking to destroy itself. If it didn’t, someone else would. “It’s the hardest thing in business to do,” he would say. “Even creating a lower-cost product runs against the grain, because the low-cost products undercut the high-cost, more profitable products.” Everyone in a successful company, from the CEO on down, has a stake in whatever the company is currently selling. It does not naturally occur to anyone to find a way to undermine that product.

[40:41] The young were forever eating the old. In this drama technology played a very clear role. It was the murder weapon.

[40:55] The art of storytelling is critically important. Most of the entrepreneurs who come to us can't tell a story. Learning to tell a story is incredibly important because that's how the money works. The money flows as a function of the stories. —Don Valentine

[42:53] The Pmarca Blog Archive Ebook by Marc Andreessen (Founders #50)

[45:48] What is the role I want to play in my company? I need to make sure to design my environment so I am always playing that role. Make sure you design the job you want. What is the point of being an entreprenuer if you don’t do that?

[47:45] John Doerr had cleared $500 million in 18 months. 30 times his original investment.

[49:13] You must find extraordinary people.

I noticed that the dynamic range between what an average person could accomplish and what the best person could accomplish was 50 or 100 to 1.

Given that, you're well advised to go after the cream of the cream. That's what we've done.

A small team of A+ players can run  circles around a giant team of B and C players.

— In the Company of Giants: Candid Conversations With the Visionaries of the Digital World by Rama Dev Jager and Rafael Ortiz. (Founders #208)

[52:03] Clark liked to say that human beings when they took risks, fell into one of two types, pigs or chickens. “The difference between these two kinds of people is the difference between the pig and the chicken in the ham-and-eggs breakfast. The chicken is interested, the pig is committed. If you are going to do anything worth doing, you need a lot of pigs.”

[53:14] In our 10 days at sea the value of his holdings had nearly tripled. This is fantasy land he said.

[53:54] There are vastly more conceivable possibilities than realized outcomes.

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“I have listened to every episode released and look forward to every episode that comes out. The only criticism I would have is that after each podcast I usually want to buy the book because I am interested so my poor wallet suffers. ” — Gareth

Be like Gareth. Buy a book: All the books featured on Founders Podcast

What I learned from reading Francis Ford Coppola: A Filmmaker's Life by Michael Schumacher.

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[2:49] You can always understand the son by the story of his father. The story of the father is embedded in the son.

[5:33] I had spent a lifetime with a frustrated, and often unemployed man, who hated anybody who was successful.

[7:01] And he said, “Yeah, but there can only be one genius in the family. And since I'm already that, what chance do you have? “What kind of father says something like that to his son?

[8:21] He is incredibly talented and incredibly pretentious. He doesn't know what he's doing half the time and the other half of the time he's brilliant.

[9:46] There is no speed limit. The standard pace is for chumps.

[10:04] Pulitzer: A Life in Politics, Print, and Power (Founders #135)

[11:54]  George Lucas: A Life (Founders #35)

[12:45] Steven Spielberg: A Biography (Founders #209)

[14:10] Coppola displayed a remarkable ability to do whatever was necessary to get the job done.

[16:30] I had an overwhelming urge to make films.

[19:11] I deliberately worked all night so when he'd arrive in the morning he would see me slumped over the editing machine.

[20:36] Say yes first, learn later.

[21:00] My peculiar approach to cinema is I like to learn by not knowing how the hell to do it. I’m forced to discover how to do it.

[23:10] His willingness to seize the moment was one of the main characteristics separating him from his other fellow students and aspiring filmmakers.

[30:44] The Founders: The Story of Paypal and the Entrepreneurs Who Shaped Silicon Valley (Founders #233)

[37:43] You have to control the money or you don't have control.

[38:53] At his absolute lowest point comes his greatest opportunity.

[41:59] It only takes a couple of these gigantic flops to permanently erase any positive financial outcome that you had previously.

[44:55] Either control your emotions or other people are going to control you.

[47:35]  In many cases, the people we study are dead. We can't talk to them, but they can still counsel us through their life stories.

[50:00] Excellence took time and patience.

[51:56] Even in the vortex of the storm some outstanding work was being accomplished. Something strong and powerful was being forged in struggle.

[52:46] Vito Corleone had shown a rough-hewn old-world wisdom, the kind gained through experience rather than from a textbook.

[56:29] A great story about loyalty and friendship. If you have a friend like this, hold onto them.

[1:03:32] Martin Sheen on working for Coppola: I have a lot of mixed feelings about Francis. I'm very fond of him personally. The thing I love about him most is that he never, like a good general, asks you to do anything he wouldn't do. He was right there with us, lived there in shit and mud up to his ass, suffered the same diseases, ate the same food. I don't think he realizes how tough he is to work for. God, is he tough. But I will sail with that son of a bitch anytime.

[1:04:58] I always had a rule. If I was going away for more than 10 days I’d take my kids out of school.

[1:08:31] If you don't have this fundamental alignment between who you are and the work you do —and how you do that work —there's going to be some level of misery unhappiness if you don't resolve that conflict.

[1:12:22] Half the people thought it was a masterpiece and half the people thought it was a piece of shit.

[1:23:01] On the death of his son: I realized that no matter what happened, I had lost. No matter what happened, it would always be incomplete.

[1:25:38] I want to be free. I don't want producers around me telling me what to do. The real dream of my life is a place where people can live in peace and create what they want.

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“I have listened to every episode released and look forward to every episode that comes out. The only criticism I would have is that after each podcast I usually want to buy the book because I am interested, so my poor wallet suffers.” — Gareth

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What I learned from reading Unstoppable: Siggi Wilzig's Astonishing Journey from Auschwitz Survivor and Penniless Immigrant to Wall Street Legend by Joshua M. Greene.

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Never give up. Only death is permanent. Everything else can be fixed.

I couldn't take such talk about not coming out alive. I didn't want to hear it. Whenever my mind told me I was not going to survive, the Almighty told me to keep going. So I stayed away from the others.

Because I could outwit the guards, I always felt superior to them. I hated them. I hated their brutality, their inhuman behavior. I felt stronger, more intelligent, and I had confidence in myself from childhood. So even though they had the guns and did all the killing, I felt superior. It was obviously a touch of arrogance, and some of it was justified and some not justified, but even in that totally hopeless condition I looked down on all of them.

It was clear that Americans were alive in every sense, moving purposefully toward some vision of tomorrow. He liked that. He would do that, too: grasp opportunities and not allow the darkness of the past to rob him of a bright future.

Even smart chickens shit on their own feathers!

When Naomi found out her husband was purchasing shares of Wilshire on a regular basis, she chided him. "More stock? We can barely pay the bills and you're buying more stock?" Siggi made excuses, but he didn't stop buying. "I didn't see how this was going to change our life," Naomi said, remembering other stocks her husband had bought and other career moves he had made. "But that's how it turned out."

You are looking at a man who had the foxlike instincts to survive history's darkest hour, a man who has no fear of adversity and who cannot be intimidated by overwhelming odds.

Siggi had grown his bank from $180 million in assets to more than $4 billion.

Siggi was the first person in history to sue the Federal Reserve.

He's just happy to be alive. People thought he was nuts and laughed at him, but he didn't care.

Less than a year after his death, his estate was worth hundreds of millions of dollars. “Not bad," as Siggi once said, "for a short, bowlegged Jew with flat feet who never graduated kindergarten and started with only $240 in his pocket."

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“I have listened to every episode released and look forward to every episode that comes out. The only criticism I would have is that after each podcast I usually want to buy the book because I am interested so my poor wallet suffers. ” — Gareth

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What I learned from reading Steven Spielberg: A Biography by Joseph McBride. 

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Whatever is there, he makes it work.

Spielberg once defined his approach to filmmaking by declaring, "I am the audience."

"He said, 'I want to be a director.' And I said, 'Well, if you want to be a director, you've gotta start at the bottom, you gotta be a gofer and work your way up.' He said, 'No, Dad. The first picture I do, I'm going to be a director.' And he was. That blew my mind. That takes guts."

One of his boyhood friends recalls Spielberg saying "he could envision himself going to the Academy Awards and accepting an Oscar and thanking the Academy.” He was twelve.

He was disappointed in the world, so he built one of his own.

Spielberg remained essentially an autodidact. Spielberg followed his own eccentric path to a professional directing career. Universal Studios, in effect, was Spielberg's film school. Giving him an education that, paradoxically, was both more personal and more conventional than he would have received in an academic environment. Spielberg devised what amounted to his own private tutorial program at Universal, immersing himself in the aspects of filmmaking he found most crucial to his development.

At the time he came to Hollywood, generations of nepotism had made the studios terminally inbred and unwelcoming to newcomers. The studio system, long under siege from television, falling box-office receipts, and skyrocketing costs, was in a state of impending collapse.

When Steven was very discouraged trying to sell a script and break in, he always had a positive, forward motion, whatever he may have been suffering inside.

In the two decades since Star Wars and Close Encounters were released, science-fiction films have accounted for half of the top twenty box-office hits. But before George Lucas and Spielberg revived the genre there was no real appetite at the studios for science fiction. The conventional wisdom was science-fiction films never make money.

Your children love you. They want to play with you. How long do you think that lasts? We have a few special years with our children, when they're the ones who want us around. So fast, it’s a few years, then it's over. You are not being careful. And you are missing it.

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Get access to the World’s Most Valuable Notebook for Founders at Founders Notes.com

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“I have listened to every episode released and look forward to every episode that comes out. The only criticism I would have is that after each podcast I usually want to buy the book because I am interested so my poor wallet suffers. ” — Gareth

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What I learned from reading The Operator: David Geffen Builds, Buys, and Sells the New Hollywood by Tom King. 

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Come see a live show with me and Patrick O'Shaughnessy from Invest Like The Best on October 19th in New York City. 

Get your tickets here! 

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He told me he had recently read Buffett: The Making of an American Capitalist, Buffett was Geffen's hero.

Geffen—with searing focus, unyielding drive, and outlandish nerve—had devised and implemented strategies to propel himself to the top of the heap of Hollywood powerbrokers.

I used to have phone conversations with David that would leave me sweaty.

David might not have realized it, but he was being educated by a master entrepreneur. Batya succeeded in teaching him the value of hard work and the possibilities of life under even the most difficult circumstances. She was a brilliant businesswoman who could account for every penny that went into and out of the enterprise. She kept her overhead low by driving hard bargains with her suppliers and by closely monitoring her expenses.

His mother determinedly drilled into him the same advice she often repeated to herself. "You may not be very tall, but you will stand head and shoulders above everyone," she declared. "You think of yourself as head and shoulders above everyone else, and you will be."

Arriving in Hollywood for the first time, David thought he had found paradise. It was even more intoxicating than he had imagined. His life's ambition was soon established after he read a new biography of MGM studio boss Louis B. Mayer called Hollywood Rajah. "I want this job," he thought to himself.

He simply did not have the attention span that college required. He was eager to get into the real world.

She told Geffen that some of the brightest lights in the entertainment business had gotten their start in the mailrooms of the major talent agencies. Although it was not a glamorous job, it was a way to get a foot in the door.
 

Having tossed aside all notions of right and wrong, David Geffen simply lived by different rules than did the rest of society around him. Unconstrained by traditional ideas of acceptable social behavior, he was free to use all of the resources at his fingertips to achieve his lofty goals.

Geffen simply worked harder than anyone else.

The music department, he said, was the place where a young agent could make a name for himself. Brandt's advice had a profound impact on Geffen. He at once rejiggered his career plans.

It was not an undying passion for music that made him decide to try to make his fortune in the business; he did it because he might get rich quickly.

Geffen recognized that publishing was one of the areas in the music business where the real money was being made. Long after an artist's star has faded, publishers benefit financially for years to come, pocketing royalties whenever a group records a song or sheet music is sold.

Having studied Clive Davis, he decided that he, too, had the savvy to make it in the record industry. It was not much of a stretch for him to envision David Geffen, the music mogul.

He remained unsettled and plagued by feelings of insecurity and dissatisfaction. He was driven by a devil that constantly told him he needed to be bigger, more, and something else. He simply was not the kind of man who was going to stand in one place for very long.

While he saw himself most of the time as the smart, fast-rising star he had become, there seemed to be fleeting, dreadful moments when his confidence shattered and he was gripped with fear.

The way Geffen saw it, there was a natural synergy in owning both a record company and a management company. They could use the management company to book and promote the acts it was recording on the label and vice versa. Controlling both sides of the business. But the real advantage, Geffen explained, was that they could use the record deal, which came complete with Atlantic financing, to cover the overhead at the management company.

From the day he opened his new business, Geffen had his eye fixed on the bottom line. He had the foresight to avoid the pitfalls that had proved fatal to so many others who had launched record labels before him. He was overhead averse and did not feel the urge to redecorate or to hire a large staff.

For all his money, David Geffen was turning out to be rather frugal. He well understood that the delicate balance between profit and loss can be upset if expenses are high.

Playing fair, Geffen had learned, was difficult and time-consuming; lying, on the other hand, was easy and effective.

Just thirty, he claimed that his net worth was about twelve million dollars.  But he was surprised to realize that the millions of dollars he had just banked and the trappings he had been able to acquire with it did not make him happy. It hit him when he was in London on a business trip, lying on a bed in a posh hotel, smoking a joint, and staring at the ceiling. All his life he had dreamed of being a multimillionaire, thinking that money would solve his problems. It had not, and he fell into a deep depression.

Geffen saw immediately that Katzenberg had the hustler-like qualities that he himself had displayed at that age.

Used to the relatively quick turnaround of record production, the slow-moving nature of the movie business made him agitated, nervous, and bored. Key to his recipe of success had been his ability to move quickly; but in the movie business, that same pacing proved to be a detriment, and it began to drive him crazy.

It was to be the most important negotiation of Geffen's life, and he successfully extracted an extraordinary deal that within a few years helped make him one of the wealthiest men in the country. In pulling off the deal, he showed himself to be a shrewd, remarkably focused strategist. He had an uncanny ability to understand people, recognize their weaknesses, and capitalize on them. The negotiation also showed once again that Geffen had that rare ability to envision success: He clearly understood his power and knew how to get what he wanted.

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There was one thing Calvin Klein did not tell Geffen: His privately held fashion empire was on the brink of bankruptcy.  Geffen surmised that the company should be transformed from a manufacturing firm to a design, marketing, and licensing company.

"You guys stink at manufacturing," he said. "You need to get out of that business."

Instead, Geffen continued, the company needed to focus on what it really knew: how to design and market the Calvin Klein brand name.

"Calvin, you should only be focusing on the aesthetics," Geffen said. "You should just be designing the clothes and overseeing the marketing and advertising."

Geffen reprimanded Klein and Schwartz for excesses they could not afford. Among other things, he told them to sell their company jet which cost them $2.5 million a year to maintain. He also told Klein to fire his chief financial officer and helped him hire Richard Martin, a top executive at Price Waterhouse, the accounting firm he himself used.

Here was the "fixer" in action: David Geffen was now involved in the kind of problem solving that energized him more than anything else.

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The idea of Geffen joining Katzenberg and Spielberg seemed a bit odd. For one thing, Geffen was Hollywood's greatest entrepreneur and nearly all of his successes were ones in which he alone had made the decisions.

"If I have to sit and convince somebody why I'm enthusiastic about something, I'm already depressed." The idea of himself as a partner was a strange one for David Geffen.

I've been working on myself, and my demons and my nonsense and my fucked-up-ness for a long, long time. Which is not to say that I'm still not a little fucked up. I think you get better and better in tiny increments, and you die unhealed.

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“I have listened to every episode released and look forward to every episode that comes out. The only criticism I would have is that after each podcast I usually want to buy the book because I am interested so my poor wallet suffers. ” — Gareth

Be like Gareth. Buy a book: All the books featured on Founders Podcast

Neil deGrasse Tyson and comic co-host Chuck Nice explore aliens in film with YouTuber Jake Roper including E.T., Men in Black, The Blob, The Thing, War of the Worlds, WALL-E, Contact, Arrival, Close Encounters of the Third Kind, and more.

NOTE: StarTalk+ Patrons and All-Access subscribers can watch or listen to this entire episode commercial-free.

Thanks to this week’s Patrons for supporting us: Matthew Iskander, Cody Stanley, David Adair Wolford Jr, Kim Shoemaker, Dawn Jordan.

Photo Credit: 20th Century Fox.

What I learned from reading George Lucas: A Life by Brian Jay Jones. 

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Lucas unapologetically invested in what he believed in the most: himself.

“What we’re striving for is total freedom, where we can finance our pictures, make them our way, release them where we want them released, and be completely free to express ourselves,” explained Lucas. “That’s very hard to do in the world of business. In this country, the only thing that speaks is money and you have to have the money in order to have the power to be free.”

George looked at it like a businessman, saying, ‘Wait a minute. The studios borrowed money, took a 35 percent distribution fee off the top. This is crazy. Why don’t we borrow the money ourselves?' Some of the bravest and/or most reckless acts were not aesthetic, but financial.

My thing about art is that I don’t like the word art because it means pretension and bullshit, and I equate those two directly. I don’t think of myself as an artist, and I don’t think I ever will. I’m a craftsman. I don’t make a work of art; I make a movie. 

You couldn’t pay me enough money to go through what you have to go through to make a movie. It’s excruciating. It’s horrible. You get physically sick. I get a very bad cough and a cold whenever I direct. I don’t know whether it’s psychosomatic or not. You feel terrible. There is an immense amount of pressure, and emotional pain. But I do it anyway, and I really love to do it. It’s like climbing mountains.

I was seriously, seriously depressed at that point because nothing had gone right. Everything was screwed up. I was desperately unhappy. That was a very dark period for me. We were in dire financial straits. I was in debt to my parents, in debt to Francis Coppola, in debt to my agent; I was so far in debt I thought I’d never get out.

He was fascinated not only by Scrooge McDuck’s exploits but also by his conniving capitalist ways. “Work smarter, not harder,” was Scrooge’s motto, and his stories were full of inventive schemes that, more often than not, made him even richer and more successful. In Scrooge’s world, hard work paid off, yes — but so did cleverness and a desire to do something in a way no one had ever thought of before. The lessons Lucas learned from Uncle Scrooge would shape the kind of artist and businessman he would become in the future: conservative and driven, believing strongly in his own vision and pursuing it aggressively.

I sit at my desk for eight hours a day no matter what happens, even if I don’t write anything. It’s a terrible way to live. But I do it; I sit down and I do it. I can’t get out of my chair until five o clock or five-thirty. It’s like being in school. It’s the only way I can force myself to write. Most days, no words would be written at all. At 5:30 he would tromp downstairs to watch the evening news, glaring with anger over a TV dinner as he stewed about the blank pages he’d left upstairs.

Sitting next to him was a thirty-one-year-old independent filmmaker from northern California named John Korty. When he digressed into the details of his filmmaking Lucas really took an interest. For the past three years, Korty had been running his own filmmaking facility out of his barn at Stinson Beach, a small ocean resort town just north of San Francisco. He had privately raised the $100,000 for Crazy Quilt by hitting up friends, colleagues, and even his actors for money, shot the movie locally, then edited it on his own equipment. At the film’s premiere, it received a lengthy standing ovation, and Hollywood executives fell over themselves scrambling to distribute it and recruit Korty. But Korty was having none of it. “From what I saw of Hollywood, they can keep it right now,” Korty said. “I would rather work for myself. In Hollywood you have a producer breathing down your neck. Here in northern California I am happier working with less money. The risk of failure is far less . We can complete a film in maybe a year, getting the results we want.” This was exactly what they had in mind for themselves. “Korty inspired us both,” said Coppola. “He was a real innovator.”

How many people think the solution to gaining quality control, improving fiscal responsibility, and stimulating technological innovation is to start their own special effects company?” Ron Howard said admiringly. “But that’s what he did.”

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“I have listened to every episode released and look forward to every episode that comes out. The only criticism I would have is that after each podcast I usually want to buy the book because I am interested so my poor wallet suffers. ” — Gareth

Be like Gareth. Buy a book: All the books featured on Founders Podcast