Transcription
Have you ever launched an ad campaign that should have printed money? You add the budget, the targeting, the offer. Yet, after weeks of testing, it's still flatlined.
Meanwhile, you watch competitors run the same creative for months, sometimes years, generating millions while you're stuck refreshing your ad manager, hoping for a miracle. Well, there's a psychological explanation for why this happens and a method actually to fix it. Yan, the world's most successful evergreen campaigns, the ones that run for years without burning out, stands three pillars that most marketers completely ignore.
No flashy effects, no trendy transitions, not your signature style. Mass audiences don't care about any of that. They care about story, whether your ad makes them feel something. They care about style, whether that speaks to them directly, and they care about results, whether that actually moves the needle for them.
My name is Ral Pickard. I'm the founder of Marketing MBA. Together with my team, we've generated over a billion in revenue for personal brands and companies, building campaigns that don't just convert once, but keep converting for years. And what I'm about to show you now is the exact method we used to create a campaign that generated 8 figure growth, 3.6 millions of views, 10 thousands of reactions, and which basically became the blueprint for evergreen ads that tell stories correctly.
I'm also taking you for the first time behind the scenes from the ideation part to the actual filming of that. And there's absolutely no gatekeeping here. In the end, it all comes down to three pillars. We call it SSR. First, there's story. The psychological architecture that bypasses resistance and makes viewers feel before they think. Second, there's style. Editing and presentation calibrated to a specific audience, not generic best practices. And third, the only metric that actually matters is revenue and leads generated. These are the three pillars that power every campaign we build. I'll break down each one using a real case study in a moment.
But first, what makes an ad truly evergreen? Most ads burn out because they rely on novelty. A pattern interrupt, a curiosity hook, a trending sound, something that grabs attention because it's new. The problem new becomes very fast, very old. The algorithm shows your ad to the same audience repeatedly. The hook that worked on day one becomes invisible by day 30. Your CPM spikes, your ROS tanks, you're back to the drawing board. This is the ad fatigue desk spiral and this is why most campaigns have a shelf life of weeks not years.
The KFC method solves this. KFC stands for key first click. If you watched this channel before, there's another video that somewhere linked here where I explained the exact method. It's the campaign architecture we developed after studying why some ads generates millions for years while others die in days. And here's what we discovered.
Ads that die operate on the surface. They grab a trend. They grab attention through novelty. something unexpected, something loud, something different. But novelty is external. It depends on the viewer not having it seen before. Once they've seen it, it's dead. Ads that live operate on depth. They don't grab attention. They activate identity. They don't show a product. They show the viewer who they could become. This never gets old because it's not about the ad, it's about the viewer. It's about the identity the viewer wants to achieve.
The psychological principle that makes evergreen possible is basically based on Maxwell Max in psychosyberetics. He proved that humans cannot outperform their self-image. What is your self-image? Your self-image is the mental picture you hold of who you are. Every decision you make, every action you take is filtered through this image. You will always act in accordance with who you believe yourself to be. In the end, this is why most ads fail. Most ads try to convince you to buy something. They present features, benefits, social proof, and urgency. And it's all good. But if the product doesn't fit your self image, if you can't see yourself as a person who owns the thing, uses the service, lives this lifestyle, no amount of convincing will eventually work. Your brain will reject it, not consciously, automatically.
Evergreen ads don't convince. They transform the self-image. And this is especially needed for high ticket services because they become more effective with more frequency which is the total opposite to ecom ads where ad fatigue is real. For evergreen high ticket ads this is not the case. They show the viewer a version of themselves they haven't met yet a future self a possible self and they make that self feel real achievable and desirable. Once the viewer sees themsel differently the purchase becomes inevitable. Not because you convinced them, because they convinced themselves. And this is the most critical detail here. This is why evergreen ads don't fatigue. Novelty wears off, but identity activation doesn't. Every time the viewer sees the ad, they see the future self again. The message doesn't get old. It gets reinforced.
The KFC method is a strategic framework. SSR is the execution layer. The first impression must activate identity, not just capture attention. You have one moment, the first click, the first 3 seconds actually, to show the viewer who they could become. Not directly, but you should at least hook them. Miss this and nothing else matters. Nail this and the ad can run forever.
Let's talk about story. The psychological architecture that makes identity activation possible, not storytelling in the generic sense. Specific narrative structures that bypass a conscious filter and speak directly to the self-image. This is where Hidega, Yang, Adla, Niche and Frankle become relevant not just as philosophy but as technology. Psychological tools that have been moving humans for centuries now apply to market.
When it comes to style, the visual and auditory language calibrated to your specific audience is important. Not trends, not best practices, the exact aesthetic pacing and tone your audience recognizes as for them. Here we come to copyrightiting. Copyrightiting in film making style is also identity signaling. When the style matches the viewer's brain says this is for people like me. When it doesn't, they scroll. We don't think it, we feel it.
And lastly, when it comes to results, revenue and leads generated period. Everything else is just vanity. The only question that matters is did it move the needle in the end? And this is the performance layer when it comes to applying in the end the movie on Facebook, on Meta, on YouTube because it's not enough to just film it. And this part is handled in the KFC video.
Now, let me show you exactly how we applied it. Last year, we worked with Jurgen Hurab. He's kind of like the Tony Robbins of Germany, a personal brand with a big history. He's been on the market for more than 30 years, but he faced a problem. His demographic was aging but in the back end he was evolving. His brand image to the front didn't evolve. It was the same for the last 12 years. He has great products, a lot of great products actually. But in the front end, what he was communicating, it wasn't visible. So the challenge was create a rebrand campaign that wouldn't just launch and die. It needed to run long-term, generate millions in revenue, and reposition a 30-year brand for a new generation.
We applied the KFC method with full SSR execution. The result was two ads, millions of views, and 8 figure revenue growth. The ads are still running, and what we delivered was a psychological intervention disguised as a brand video. And now, here's the architecture behind it. Have fun with it.
So, let's start with the beginning. In order to make a successful rebrand, we had to research what creates resonance in his audience. What is a current trends? who is a brand and how do we combine that with a message that creates identity activation, not just attention. We made the strategic decision to launch not with one video but with two two seemingly disconnected videos. Why? Because the KFC method requires more than one touch. The first click activates the second click transformed.
Video one was pre-launch. We decided on video one that it was pure entertainment. What I discovered about Jurgen was that he has a great sense of humor. He has a lot of charisma and when you meet him in person, you feel like you know him like forever. But on the outside, he never threw a single joke in no video at all. Maybe there was, but I I couldn't find it. So, I wanted that people see this, especially his audience. On the other hand, in his market, everyone takes himself so seriously and important all the time. So, let's make fun of himself. And he was fine with it. Thank you, Jurgen, for the trust. It worked. and he actually convinced me to take the role in the director's seat while we were filming. This video did something critical. It disarmed the audience. It showed humanity. It signaled this is not going to be what you expect. Counter positioning.
Video two was the actual launch video, the psychological intervention. There's the grave, a clown, the architecture I'm about to break down. The entertainment video lowered defenses. It created goodwill, built curiosity. Then the series video arrived and penetrated where it otherwise couldn't. Now, the meaning of the second video is much deeper, and if I wouldn't make this video, most people probably would have never seen these things in the video. That's totally fine because in the end, it works also on the subconscious. Whether you understand it or not, you feel it. As long as you're part of the audience, this is SSR in action. The story, a transformation, narrative encoded in symbols, timelines, and psychological triggers. The style is cinematic, calibrated exactly to Hela's evolved audience. Not the aging demographic, but the next generation of entrepreneurs who wants depth, not hype.
Now, let me show you how we built each element. You've seen brand videos and launches before. In the first place, I looked at his social media channels and looked for videos that got extraordinary resonance. One thing always stood out over the last couple of years. Jung always delivered direct videos about political situation. He called them claw text in English plain text videos where he talked unfiltered about political situation. He did it six years ago when co started and got massive resonance and over the years he always repeated that. That was something that got a lot of attention and on the other hand it's a clear sign that people see his opinions and his perspective on things as valid. So that was the first thing I knew I wanted to include.
Now the second thing was how to take this point of view and put it into a fitting situation because this launch was basically the beginning of his rebrand. So the next thing I was looking at was his rebrand itself. What is he doing as a personality? What is he going through as an entrepreneur as a leader of a company with a lot of employees and the third thing was the current political situation in Germany. The last thing I looked at and wanted to integrate was a tribute to the former chancellor of Germany. Most people in Germany see him as one of the best leaders in the postwar German era. He was known to always speak directly as well, same as Jurgen. And I was thinking, okay, the current situation, how would he comment on that? He would probably critique it. So, I spent a lot of time watching old videos of him and analyzing the words he choose, the way he built sentences, and how he saw the world. One thing that stood out right at that time, there were a couple of knife attacks in Germany, and the political situation was going downhill. that was fitting into this aspect. On the other hand, in order to change things, we have to take responsibility. That is the call to action to the entrepreneur, to his target audience. And he by himself is also doing things differently and going in new directions, new ways of thinking, new ways of expression, a new logo, a new branding, new communication, new focus on leaving the old behind. That's progress. That's evolution. And that's the philosophic part, the meaning behind it. And in this part especially, I finally found something that I wanted to do for a long long time. There was also something that was important to me and wanted to communicate this through Yurung in parallel. For me that was a great opportunity to combine the lessons of Cayang Nichza Zigman Freud Alfred Adla but also Victor Franco the Holocaust survivor because a common denominator here is that in order to evolve as a brand you have to evolve as a person and in order to change something in your country as well. You have to start taking responsibility responsibility in your actions. You cannot just complain. You have to look inward as a country as a company as a leader if you want to change something. And you have to recognize what is real and what is illusion based on false principles based on wishful thinking. So the core message here as you see is something that fits in this situation and every individual as well. It combines it on both levels in parallel. Jurgen himself and also the people he's speaking to.
Now here we come to my own Christopher Nolan moment. It's not a mystery that I personally think that Christopher Nolan is one of the best filmmakers currently alive when it comes to creating movies with meaning and intellectual complexity. So I asked myself, how would Christopher Nolan make a movie like this, a trailer like this? Christopher is working with timelines. So I decided as well to work with timelines. You've experienced time as linear. One thing follows another, past, present, future, it's all a straight line. But also transformation doesn't work that way. It spirals. It layers. It happens at once and then you realize it happens in parallel. I came up with three different timelines that all portray Jung happening in parallel while we show them sequentially in the movie.
So the first timeline is the inner place. It's the dark place, the shadow where you confront actually the shadow. It's basically your current success. It's a part in your brain that keeps you in your in your comfort zone. the current success, the current buildup. You've worked hard and you arrived at that and you have to face the current reality in order to break out of that. This timeline represents the past what was once.
The second timeline is basically taking action, writing a letter and going on the journey, moving, taking action while also facing the current reality in this case Germany and breaking with illusions. This timeline is the present. It starts at the grave. At the beginning, we see the end. what is to come but it's the present.
The third timeline is a reinvention of the entrepreneur himself. He has decades of experience but he has to try something completely new, something unknown. You see basically how his company transforms. He removes the old logo. The new one gets applied. He hires new people, implements new technologies. This timeline represents the future, the potential of what could be the higher goal defined by psychologist Alfred Adla that pulls you in this direction. But in order to arrive there, you have to start to act.
Watch the film once. You see a man write a letter. He drives through a forest. He delivers the letter to a grave. The company changes its logo. Simple. Watch it again. Maybe you see something else. The image stays with you longer than they should. The music loops in your mind. You feel something you can't name. That's not accident. That's architecture. Every element, the location, the timing, the music, even the scenes that seems unrelated, they carry weight. Psychological weight. the kind that bypasses your conscious filters and lands somewhere deeper. The film contains three timelines. Looping soundtrack, a monologue written in someone else's voice, and a clown. We will get to the clown.
Now, let's jump behind the scenes. The film opens with flowers being placed on an unnamed grave. Silence, except for the soundtrack, which begins with a sound of a shovel, but played by a cello. Death made beautiful. That's the first symbol. You don't know whose grave. Your brain wants to know. It leans forward. This is intentional. an open loop only at the end do you learn it's helmid why him Schmidt was German leadership distilled pragmatic direct uncompromising the kind of man who said l text in English plain speech and actually meant it the philosopher Martin Hideer argued that authentic existence requires confronting your own mortality most people live in what he called thus man the they where death is abstract something that happens to others by beginning at the grave the entire entire monologue is delivered from beyond death. It's posthumous advice from the future. Your brain processes this before you consciously understand it. The feeling arrives first. The meaning follows later. The person you're now is already buried. The question is what rises from this grave. And Hela by delivering the letter position himself as the messenger between eras acknowledging the past while stepping beyond it. That's the message not spoken but shown.
We start the scene with the letter my dear friend. That's the voice over. And that's also the first few words we see in the close-up being written on the letter to make it clear that what we hear as a voice over is actually the letter being written. With the dark room, we are confronting the shadow as described by Kyang. In this case, if you're successful, your shadow is actually also your past success, the self-image you have of yourself. That's why he's sitting in a suit smoking a cigar in his library. Here are all the books I've read in my life. The knowledge applied brought me here to my current success. But it's old and it's dark. It's not bright because I know my old success. The image I have of myself presents me from growing and evolving as a human. So I have to face my shadow. Stop smoking the cigar. Expensive suit smoke curling in low light. An old television glowing in the corner. On the screen now a clown. This looks like success. The library. The tailored closes. The confidence of a man who has arrived. But if you look closer, he is in darkness. He's watching, not acting. This is the prison that looks like freedom, comfortable, successful, stuck, a plateau. Victor Frankl, who survived Owitz, described the modern condition in his book, Man's Search for Meaning. His quote, "The existential vacuum manifests itself mainly in a state of boredom. People have the means to live, but no meaning to live for. The villa, an old television for entertainment, entertaining actually the same thoughts that brought you here. This is the existential vacuum made visual. Having everything but meaning. What does it mean if you don't get challenged? The boredom bers the inner critic. The clown.
Now we get to what doesn't fit. Cognitive dissonance. In the villa scene, there's a television. On the screen, a clown. He speaks. The clown looks scary. The clown scene seems disconnected from everything else we saw previously. A man writing a letter to a dead chancellor. And there's the clown. And that's exactly why it matters. Why? Because in film language, this is called a rupture. an element that doesn't belong. Your conscious mind dismisses it. Who's strange? Doesn't connect, but your unconscious absorbs it completely. The clown speaks. He says, "I'm not a puppeteer. I try to show the true puppeteer how pathetic their attempts are to control things." In Yangian psychology, the clown is the trickster, the energy that breaks through false order. The fool who tells truth to power, the one who disrupts what has calcified. Historically, the court fool was the only one who would tell the king the truth. The knife is a potential. It's not violence potential. The threat of what could be cut, what could be severed, what could be revealed. But he holds it. He doesn't use it. He shows. And Jurgen is sitting there seeing on this old TV the fool, the trickster speaking the uncomfortable truth, bringing the chaos and the entropy needed to create new beginnings, blasting out the last smoke of old comfort and enjoyment before facing reality.
Okay. Mhm. Fore test. is backlight. Mhm. iPad for classic. No, takes off. Yeah. Yeah. One take. Okay. Okay. Action. camera. So, camera lo Now we come to one of my favorite scenes in the whole movie. In the next scene, we see Jurgen and Frankfurt, the financial capital of Germany, in front of the opera house. He's going straight to the newspaper stand and picks up a newspaper to read the headline. We see the headline showing the bad events that happened recently in Germany. The reality hits hard. A small detail that most people are not aware of. There's a closeup of the opera. We see the inscription on the freeze. It says the true, the beautiful, the good, which was taken from Johan Wan Fonut's poem built in 1880. The opera was a symbol for high art embodying enlightenment values of truth, beauty, and goodness. Originally Plato discussed these ideas, how truths, the knowledge of reality, beauty, harmony and proportion and goodness, the moral excellence reflect higher ideals the soul strives toward. And Ger used this phrase in his poem apote to Schiller's song of the bell which he composed in 1805. This work was created as a tribute and memorial to his close friend and collaborator Friedri Schiller who had died on May 9 in 1805. In the context of the epilogue, Gerta reflects on Schiller's life, legacy, and spiritual ascent. The relevant lines describe Schiller's spirit advancing powerfully into the internal realm of the true, the good, and the beautiful while leaving behind the mundane and commonplace aspects of earthly existence. Ironically, what was also originally a tribute to someone who had died in a call to spiritual ascent in another realm, which is not part of earthly existence became out of context an ideal for earthly existence itself, a false ideal that created the exact opposite. For me, this scene is very important because it embodies the history of past German genius and poetry. The poets and thinkers, the current reality of what is happening while at the same time a tribute is also served. Its appearance in the film serves a devastating rhetorical function. The film argues this was always an illusion. By placing the scene after the newspaper headline showing Germany's decline, the juxtop position screams, "You inscribe these words in stone. Look at the reality you built. why they cannot coexist. Truth where there's beauty. Truth is often ugly. The reality shows ugly truths. The opera house shows beautiful lies. There's truth where good. Sometimes the truth destroys the good. Knowing certain facts can be harmful. Some truths shouldn't be spoken. And then there's beauty versus good. Beauty can be actually evil. Propaganda often sounds beautiful. And then there's good versus beauty. Doing good is often not beautiful. It's messy. It's compromised and ugly in the process. And the scene alone ensembles the German tragedy. Germany built temples to ideals it could never embody. The opera house inscription is a monument to aspiration that became self delusion. This is the same pattern as the script's accusation. We flee into ideals. We ignore the essential. The monologue says it directly, but the images said it first. The opera house is the illusion. The newspapers mirror the essential reality. The film puts it in sequence to force collision. German philosophy spent centuries trying to unify truth, beauty, and goodness through systems. The 20th century proved it doesn't work. The film says, "Stop worshiing the inscription. Look at what's happening. The ideals failed. Now what? You cannot hold on to false ideals if you want to progress."
open. Yeah. Yeah. Yeah. If you come to camera on the Yeah, >> handheld by this machine, you know. Okay. >> Yeah. Yeah. Yeah. >> Now we see the villa in the forest. The mental structure of comfort. Past success. You need to leave this place to evolve. We see the car driving away. Now he's moving. The car cutting through curves. Forest on both sides. Trees so thick the light comes through in fragrance. The road doesn't straightens, it winds. This is the journey beginning. Agency reclaimed, no longer watching, but moving. The forest represents the unconscious. The curvy road means constant adjustment. No straight path. The landscape is vast. Context beyond the villa's walls. He's no longer watching. He's in motion, but the destination is invisible. This is the journey itself. Direction unclear, but movement has begun. And the voice over uncovers another layer. Every behavior serves a hidden goal. It's a style of life. You are exactly where you deserve to be. This is Alfred Adla's concept that we construct our reality to match our self-concept. If the recipient is struck in a mental construct, the villa, it's because that prison serves the fictional final goal of avoiding something worse. And this is also armorati, law of fate. But in this case, it's weaponized. Ner would say if you're stuck, it's because you choose stuckness. Every moment of inaction was a choice. Own it. And the compensation question, what inferiority you're feeling is being compensated for. The voice over suggests the recipient has built a fortress of security to avoid the terror of genuine uncertainty. Their competence in one domain. The past power compensates for their felt inadequacy in another. The future navigation. By avoiding this feeling, you're judging the action, the events behind it. But the voice over is reminding you that it is within our choice how we see and value events in our life and what meaning we assign to them and it can either destroy you or empower you. This choice but you have to make a deliberate choice. During the drive scenes we have the shadow confrontation. Fleeing into illusion ignores the essential sadness, guilt and fear of reality. This is a direct call to shadow integration. Pal Young would say the text is demanding individuation, the conscious integration of repressed aspects of the psyche. The illusions are the person, the mask worn for the world and the essential grief, guilt, fear is the shadow content being avoided. The illusions are the persona, the mask worn for the world. And the essential, the grief, the guilt, the fear is the shadow content being avoided. Okay. Okay. Good. Yeah. Auto system details. Okay. Yeah. Okay. Makeup. Okay. Yeah. Safety. >> Okay. One shaft. Yeah. Yeah. Focus. Focus. Yeah. Yeah. Mhm. >> Now we get to the top of the mountain. Clarity through direction. The text asked directly, who do you want to be? I wanted to make Alfred Adler'sology explicit. The fictional final goal is being exposed. What is the recipient's private logic? What purpose does their current starkness serve? The following scenes are about the new goal, the new potential, getting clarity. The sun sets, the day is over. And finally, you see the true and the beautiful, but it's not good right now. This is Kantian architecture based on Emanuel K. Seek the truth, avoid the illusion, the phenomena, the distinction between phenomena, the appearance, and nomina, the thing in itself. Emanuel Kant would read this as a demand for transcendental self-examination. Are you acting from duty or inclination? Responsibility is duty not luxury. This is a categorical imperative. Act only according to the maxim whereby you can at the same time will that it should become a universal law. Responsibility isn't optional. It's the very condition of moral agency. The script suggests that moral action flows from identity, not just rational deliberation. The text reminds its recipient of treating duty as conditional, of seeking the comfortable path when the categorical imperative demands unconditional commitment to principle. It's the entrepreneurial will to power. Do you have the courage for ideas without certainty, but which carry existential meaning? While we see the old logo being removed and the new one being applied, the rebranding could fail. People might not recognize the progress. Still as an entrepreneur you have to see a new a better future and do everything in your power to make it happen to become a creator. And here the script goes absolute nature the demand to create values in the absence of cosmic guarantees. NE despised those who needed certainty before acting. His uber mench acts despite uncertainty. And we see Jurgen taking the step into uncertainty. New company, new technologies, new employees, a new direction toward building a better future. living by example applied principles and that applies not only to Jurgen but to every individual and every nation to everyone who is part of the human experience the inner transformation made visible the old selfimage the manifestation of the old self-image literally peeled off the wall in psychocybernetics Maxwell Miles demonstrated that we cannot outperform our self-image change the image and change the behavior these scenes show that change made physical the old identity dies The new identity takes its place. hands to cut. >> After this, we see a flashback of all the scenes we previously saw back to the villa. the mental construct, the place of the old identity, and then the TV gets destroyed. Not the clown, but the channel through which the clown speaks. This is what happens to those who show the puppeteers their pathetic attempts at control. Not physical destruction. Channel destruction. The message too dangerous to play. But destroying the clown means silencing the only voice that could challenge the king without punishment. What happens when you kill your inner critic through rationalization and don't act in a new way? You stay the same. You understand everything, but your life doesn't change. Your identity remains the same. But watch what happened next. The letter still reaches the grave through someone else's hands in someone else's voice to a dead man who cannot reject it. The channel is destroyed. The message survives. Now at the end, we see Yung Hela as a protagonist arriving at the grave. The whole journey that began at the start of the film is actually the end. We see him deliver a letter, a letter he might have written to Helmuch. We see the name for the first time. the recipient a tribute. But how can a dead man receive a letter? So it's an act of respect, but also knowing that a dead man cannot read the letter. In the end, who will be the true recipient of the letter? The letter is there for everyone, everyone to take, but also the very simple act of writing the letter is the manifestation itself. It's Victor Frankl's final position, saying yes to life in spite of everything. The film ends with a question, not an answer. When the loop resets with your grave, what will the encryption read? This is tragic optimism. The loop will reset. The grave will come. The question remains. Will you say yes anyway? Will you act as if meaning matters? Even knowing the end. The letter delivered. The cycle complete. This is reflection. Integration and loop reset. The message delivered. The old father figure honored but surpass closure that creates opening. The cycle can begin again.
Okay. Now, regarding the soundtrack, I knew there was no stock or anything fitting for this. we needed to create it. And thankfully, Daniel Slotin, the director of the movie, knew a very talented composer who could make my ideas and the soundtrack I had in my mind a reality. I'm always a fan of recreating with instruments certain sounds of frequencies that occur in real life. A sound of a shovel digging up earth, digging up a grave, and closing a grave. That is what we did. And this is what you hear at the beginning. One of the first things that I received from Rul was to think something about shovel sound. So actually I used this all these are like stereo sounds of shovel to make the interesting psychological effect sound effect to create this kind of mix between this interesting emotions. I used a lot of uh really dark strings. I also wanted a soundtrack with a double climax. If you see if you hear the movie, you see there are two climaxes. Why? Because it resembles the learning curve. The message behind this is N's eternal recurrence encoded in sounds. Ner asks, would you live this exact life with all its suffering infinite times? The soundtrack answers as a civilization. You will. The pattern repeats. The grave is just a reset point. The music builds like a learning curve. Gentle entry, first dissonance, building complexity, then resolution, collapse, lowest point, then electric guitar enters. The climax builds, full orchestration, return to shovel sound. The electric guitar is also crucial. It's modern, but it's already old, revolutionary in its time, but now almost a classic, still relied upon. This is the dialectic of innovation. Every disruption becomes establishment. Every revolution becomes institution. The mixing of classical strings with electric guitar creates a temporal collusion. Old and new forced into the same sonic space. Neither wins, but both persist. of all innovation is eventually every disruption becomes establishment. Every revolution becomes institution. The electric guitar is the sound of this process. Once radical now familiar, still functional but not transformative. The soundtrack begins with the sound of a shovel putting earth but played by a cello and violin. It ends in the same way, a loop. Why loops? Because the end is the beginning. There's no final mastery, only cycles. Death doesn't resolve tension. It transfers it to the next carrier. The message must be delivered again and again to each generation, each new identity of you. The beginning is the end, and the end is the beginning. By framing the entire film as a visit to Schmidt's grave, the message is the person you're now is already buried. The question is, what rises from this grave? This is psychocybernetics inverted. Instead of visualizing success, you're forced to witness your funeral. What will be said? What legacy? The self-image collision is total. Alfred Adler said, "We are pulled by the future, not pushed by the past. The grave is the ultimate fictional final goal made concrete." Actually, the film shows you where your current trajectory leads and then ask if you accept the destination. The question it leaves. The film is a closed cowza loop. Message sent from the grave to prevent the need for the grave. But since the message exists, the grave exists. The paradox is unresolvable. The only choice is change the content of the loop. Become someone different. So that when the cycle repeats, it repeats differently.
When it comes to meaningful marketers, here's an important lesson. As a marketer, you don't transmit only your worldview. You transmit the future selves of the brand. the architecture. You see potential in someone that they haven't embodied yet. You create a message that represents that potential realized. They deliver the message. By delivering it, they become it. Others observe and begin to embody it as well. PA didn't only deliver my own worldview. He delivered his own future self. I just saw it before he did and builds a vehicle for him to step into it. As a marketer, you execute psychocybernetics at population scale. Malt said you cannot outperform your self-image. As marketers, we create self-im images for others to step into. The messenger performs their potential and becomes their potential. The observer witnesses someone being begins becoming themselves. The clown's knife is not a threat. It's not cutting. It's a potential we see as a marketer. We hold it up. We show them this is what you should be. This is what you are not yet. Look, the showing creates the becoming. As a great marketer, this is your function. You see futures. You build vehicles for those futures to be performed. The performance makes them real. The observation spreads them. And this ties into Victor Frankl. He wrote, "For the meaning of life differs from man to man, from day to day, and from hour to hour. What matters, therefore, is not the meaning of life in general, but rather the specific meaning of a person's life. This is your function. You don't see universal potential. You see specific potential. This person, this brand, this moment, the future that is trying to emerge through them. You don't give them generic meaning. You show them their specific meaning. The one that only they can fulfill in this moment in this life. That's why the transformation works. Not because you impose your meaning, because you reveal theirs.
Now, if you stayed so long here, thanks for watching so far. That was the first video. Now, the second trailer was more funny, had more self humor, not taking himself too seriously, and it doesn't actually needs a lot of explanation. So, like the following scenes are just the behind the scenes of of the actual trailer. And in the trailer itself, Jung and I were throwing jokes at each other in front of the camera and also behind the camera, what you see in a couple of seconds. There's no need for commentary, so I will leave it with you. I really enjoyed this creation process, which is more than one and a half years ago, was in September 2024. Was a lot of fun. It was really great to work with Jurgen. I thank him for the trust and the complete freedom to deliver what we delivered. In total, we generated more than 3.6 million views and doubled revenue with 8 figure growth. I can recommend him for the German speaking audience in every way. He also recently just launched a new book which I have here. We will also put the link in the description where you can buy the book if you're from Germany and want to read it. It's great book. On the other hand, if you want to work with us, if we should train your team, if we should consult you, if you want to implement what you've learned, or if you're at the stage of high seven figures or low eight figures and you want to grow, then go to marketingmbba.com or marketing.ma. Choose whatever fits and contacts us. We're building the best marketing community in the world. Fill out the form, pick a time slot, and let's talk and assess if and how we can help you. I really want to thank you for watching. This is not like the typical marketing content. If you like this video, leave a thumbs up, write a comment, and subscribe to this channel. More to come and see you very soon in the next video. Now back to the remaining video of the making of against before the It's ended here. up. It's here. Cut cut stuntman. Deadpool Yeah. This is companion. Um, pre-launch trailer. workshop. Yeah. WhatsApp. foreign. Okay. This is this is a bison burger. this bike chips by Foot. Yeah. Okay. Let's go. password When you come from Okay. Okay. This is the thing. Oh, good kid. Daniel. Okay. Yeah. Instagram that's the end. I promise. Okay. this thinking emotional that's foreign. Okay. Cut. Cut test test. Yeah. Oh god. You know, okay. Okay. Take. Okay. Anyway, okay. It's so good. Wow. Okay. Yeah. catering. That's from Hey, >> the flash look after Super Hollywood. Hollywood. One Jorgen.