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Sven Pape from THIS GUY EDITS on breaking into the industry

by Clarke Scott | Last Updated: November 4, 2021

In this e[isode of the podcast, Clarke talks with Sven Pape from the This Guy Edits Youtube channel.

The interview is full of interesting insights into how one breaks into the industry as an editor.

Sven also shares with us his story of what it was like to work with James Cameron.


The Go-To Editor is a premium online course for beginning and intermediate film and video editors who aspire to become supreme storytellers and valued collaborators. Go-To Editors are on speed-dial of directors, producers, and clients. They get to pick the projects they want to work on and can ask for premium payment rates.

Film and video editing don’t stop with mastering software and workflow. It’s about storytelling, social skills, and savvy career moves. Go-To Editors are in demand because they elevate the films they work on, turn clients and directors into euphoric fans, and keep the drama on the timeline (and away from the edit bay).

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Next to storytelling, social skills are just as important to establish yourself as a Go-To Editor. That’s why we developed a strategy for getting the right meetings, landing the job, negotiating rates, and leveraging up. Yes, we cover reel and resume, but Go-To Editors get 90% of their jobs through word of mouth. This is where why we developed a step-by-step Career Master Plan to get you in the mix and thrive.

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The Go-To Editor course is the go-to course on editing.


Alright Mr. Pop a Big Daddy, are you ready?

Okay, I’m ready. So cool. So, tell us who who are you? What do you do? And how did you get your start?

My name is Sven popper. I’m a film editor working and living in Los Angeles. I am originally from Germany. I also have a channel called This Guy Edits that has over 400,000 subscribers, where we like to talk about the creative side of film editing. So not so much software what keyboards to press but how do you tell a story dramatically? How do you gauge how do you get engaged in audience? I’m really excited about I’m addicted with that. Like finding the audience, making them watch things making them feel stuff.

The I know I came across you via the not the inception one the

it was one of the one of the edits he did. Oh my God, why am I shaking on the on the name of the movie?

Interstellar Yeah, into Star. Thank you. Thank you. Thank you, I was waiting for you to catch. I was waiting if I was waiting for you to catch me, the Interstellar. And like, whoever’s watching this, if you haven’t seen that video, go to spins, YouTube channel, that is a fantastic piece of education. Like, it’s the way that you break that down. Really made. I went back and watch the movie just because of that video. It was that good. So

the content is really, really good.

But obviously, you didn’t stop there. You started like that. That is, you know, like next level education.

So where did you get your start? Right? Where did this all begin?

Well, it’s by doing it. So I started small with a YouTube channel, I had the idea to show the actual process of me cutting a feature film, I work with a director, his name is Mark Weber. And this was authored together. And I pitched the idea to him whether he would be open to showing the actual process to stuff you usually don’t get to see the interaction between the editor, the director and how the film really gets shaped in the edit room. And we did that for a while he signed off on this. And for a good year, I was showing just the steps from getting the footage, putting it into the system, doing the selecting, which is really important part of editing, and then cutting the scenes. And if got some success, we were picked up by a couple of blocks had a few 1000 views per video, couple 1000 subscribers, and then the film was done. And it was like a premiered at South by Southwest. We still did like a vlog on that. But then ultimately, I was like, What am I going to do with this channel. Now I can’t remember how many subscribers but between 20 and 30,000 subscribers is what I would guess was the first year. And right around that time, the format of the video essay became really popular on YouTube, there’s a channel specifically called every frame capture, or painting. And

they, Tony that’s his name, he really took YouTube to educate people in a very entertaining way about films and technique. And been like Alright, that sounds that sounds like something I should try just for editing. And so I started experimenting, doing more video lessons on editing, like,

like Walter merge is a really accomplished editor wrote a book about the blinking

that actors do and how you can cut along the blinking pattern of the performance. Because the theory behind it is when an act of links that complete a thought. So if you actually cut right around that point, so like a frame or two just before they start blinking, you kind of capture that thought in the shot and you can move on to the next shot, you can start a new idea. And so that’s like one of the ideas that I started discussing in a video essay. And immediately the views just 10 acts from there. And I just kept, kept reworking this concept of really educating people in a very entertaining way. And just figuring out what works. How can you really connect with a with an audience? How can you play the YouTube algorithm so that you get passed around on a more mainstream level? So by the time you got to see Interstellar,

it’s been like three, four years down the road. And at that point, I basically, in a way kind of perfected what I need to do I mean, it’s still a hit or miss to a certain degree.

But interstellar has by now 1.5 million views. And it really shows editing. But it makes it really appealing to a much broader audience. It’s always like to say it’s kind of like, before cooking shows on television, the chefs weren’t really celebrities. And they took those cooking competition shows Top Chef, whatever it was to make us get really excited about the process of cooking, and the people behind it. And that’s kind of what I aspire to accomplish with the channel, really celebrate the editors that play a really important creative part. And invisible most of the time, the invisible invisible performers in the editing room. And I think they need to be celebrated more.

I’d like to swing back around to the the YouTube channel the the genesis of it, and dig into the particulars of it in the second half of of the interview. But before we get to that, I’d like to actually go back to the genesis of you and becoming an editor. Were you a full film school? Grad? Did you got to film school?

Yeah, I went to the American Film Institute in Mozambique,

which is one of the top five schools in the country. Sometimes number one exchanging between AFI USC, UCLA, and NYU, and then some random school. And but I studied producing, I didn’t study editing, didn’t really, I learned so much about filmmaking.

I learned how to just make a film, grassroots, with finding money, finding your crew, finding locations, cutting all the deals, working with directors, but I really enjoyed the post production process, the editing. And so when I graduated, I immediately just

bought myself an editing system, Final Cut Pro, started playing around with it and, and found opportunities. Sorry, well, what year was this? Yeah, this was like yourself in 98. So this was one. Yeah, pretty much. The very first version that came out.

And a friend of mine was, who also hung around AFI. He didn’t study there. But he was part of the gang. He was directing his first feature in Pennsylvania. And I knew his DP because he was my DP for my student film. And Patrice was the DP sort of really heavily recommended that I should produce this film. And I said, I’m not interested. But what I would be interested is to just hang out on the set, and tell sort of the behind the scenes story in turn that into a webcast. So even before YouTube, I was only like, interested in new media. And the story lend itself to that because it was about a guy who puts us live on the internet. So it was just a natural idea to webcast the making of it. And I got to just cut packages to live broadcasting and switching all this stuff. And we get some, some press with it. And I got a call from David Cameron, who’s James Cameron’s younger brother, who said that this sounds really interesting to him. And once I’m done, I should give them a call and have a meeting. So I had that meeting. And I got hired to build a prototype for James Cameron to do a live webcast behind the scenes on his next film, which was Spider Man. He dropped out of Spider Man, we took that prototype and applied it to his next film, which was ghosts of the abyss. I ended up going to on the boat Russian research vessel for several weeks to the Titanic expedition to the live webcast. What’s the onboard documentarian sticking a camera into Jim’s face every day and not getting fired. And I just stayed on as the assistant editor. Once that was done,

that the night shift started cutting the film at some point opportunity arose. I showed him a scene. And I got hired as an editor on the film and at that point, sort of my career was kind of started, I directed two films in between so I stopped every now and then but I really really love editing I really love the process of telling stories by putting the pieces together and finding it in in the edit room. I think it’s super super rewarding super creative.

So the the project with the the feature that led into the James Cameron stuff that that was straight out of film school, so and I’m guessing that was lucky enough

Turn kind of situation you weren’t getting paid, you’re working for free. Is that correct? Well, I raised my own money, actually, for the just a webcast portion. So we got sponsors, we had Microsoft, all this stuff. So I used all the producing skills that I had not to produce the film, but to do the webcast, I had a partner, and we were able to pay ourselves a little salary on that as well. And the feature itself was very small, was an indie feature budget was maybe 50 to 75 grand. And I mean, our budget wasn’t that great, either. It was, like 30 grand or so that we had.

But yeah, what was what was your thinking? Well, what was your thinking behind doing that? Obviously, you have

a kind of an entrepreneurial bent in you from from the get go, like you’ve seen, you’ve seen it up, you’ve seen an opportunity, someone’s come to you and said, Oh, can you do this thing, because you’ve gone to film school, and you’ve been taught producing, they’ve seen you as a, as a service provider for that role. And you’ve gone now, I don’t want to do that. But I can do this. And then you’ve, you’ve used those skills that you had, but in a way where you’re being able to leverage it. And I’m betting almost, from a strategic point of view, this was a long play.

You know, cash flow, you’ve got that worked out, but you’re doing this so that longer term, something bigger comes out of it? Was that what you were thinking with? With the first one?

Yes, and no, I mean, I wasn’t thinking that’s gonna lead to me working as an editor for James Cameron. So you can never predict those paths. But I definitely thought we were the first one to do ever live webcast from from a movie set. So we branded ourselves that way. And we thought, This is what’s going to put this film on the map. So the long term goal was to, to make sure we all successful with the film.

And what really made me do the moves is much more something that I keep on doing, which is I really

look for things that I’m passionate about. So anything that sounds like a whole lot of fun doing. I’m game in anything where like this sounds like work, or this is something that

I’m not really into, I get in really good of saying no to. So it’s really the pursuit of fun projects that sort of

directed me to where I am right now, as opposed to really be a view of what I want to do. I mean, my goal always been be a big time Hollywood director and win an Oscar, that was my goal.

But like most of I kind of always get swayed by what’s the fun thing to do, as opposed to what’s like Mark thing to do.

Although, I mean, it sounds like it was very smart.

And you, you’re obviously good at seeing opportunities as well. So being able to spot an opportunity understand. And obviously, it has to be fun, but to then spot an opportunity that is going to be fun. And then to leverage strategy. So that it’s that it’s

both useful and has utility in the moment, but also has some kind of long play. So even though the James Cameron story is something you could never have guessed. But you were setting everything up from the get go so that those potential opportunities could come about.

Does that sound correct? Yeah, that’s absolutely correct. I mean, I always look for synergy, always look for Win Win situations. Just to give you an another example, I just started a YouTube channel about a year ago just about Tesla. Because I get really excited about the car and the solar. And so I like this is what I mean to why should I do a channel about and then use that sponsorship money and the AdSense money to finance a lot of these things. So I just posted a video where I basically show that the solar Tesla roof that I got a year ago, was financed by YouTube. And so these Win Win situations where I’m like, this is cool. I could see myself doing this for a year or so. And then see how can I how can I do it in a way that it also makes financial sense or has an audience attached to it? It’s definitely something that I’m very, very keyed in on.

What’s the

is there like a bigger plan for that though? Because just just doing something for fun, that makes a little bit of cash.

And particularly if you don’t know whether it is going to make a little bit of cash, can

I guess it comes down to you know how you want to use your time and in which way is the best way to use that time?

How do you make those judgment calls? Because there’s a lot of cool things that we all want to do.

But you’ve got to, you got to pick and choose, are you strategic insofar as I’ll do x and then that leading to y, and then maybe this other thing will happen down the road? Or is it just kind of gut feel and see that seat of the pants kind of stuff.

Um, it has a bigger strategy. But so I don’t know if you heard about the Big Five for life, which is a book by someone, I forgot his name, where you, it’s an incredible book, it’s really like, it’s basically more of a story where he tells tells the story of somebody who’s about to die. And what he like looking back at his life, what he’s done to, to make sure that he feels like he had a rich and accomplished life. And it basically boils down to like, at the end of the day,

let’s say you live as a museum, and you want people to walk around in that museum, what are the pictures that they’re going to look at? Is there going to be a picture of you sitting

in the office, and there’s going to be another picture of you sitting in the office and another picture of you sitting in the office, or it’s going to be a picture of you going to a safari in Africa, and getting that great picture of an elephant. So you really like the ideas.

You want to accomplish a couple of things in your life that you feel like are really important to you, so that you feel like you have a purpose. And once you kind of reflect on that, and see what is it that’s really important to you.

You can take life in a way where you just see all the opportunities that come your way, and you get to pick, what opportunities are you going to go after.

And hopefully, they’ll bring you much closer to it. And even though that’s not manifestation, it kind of you have a bigger plan behind it, by just being very aware of where you want to end up being where you kind of instinctively make the right choices. And for the most part, I feel like I’ve done pretty good choices. I mean, just to give you an example, I could have just stuck with James Cameron all the way. And I would have

possibly likely cut avatar, like the person that I co edited growth of the Abyss with, he did that. And he he got avatar. So that could have been my path. But I was at a point in my life where I’ve I was done with that part. Like, it wasn’t interesting to me anymore. I went to find another really cool thing is, which is a director feature film

and went through that experience. So this is something where when I look back, I’m like, Yeah, I could have, I could have done that feature, or I did what I what I do right now. And because of the choices that I made, I’m here right now, as a matter of fact, there’s so many things tied to that choice, like, my daughter wouldn’t exist for very obvious reasons, if I would have taken that choice, just because of timing.

And I wouldn’t be in a position right now where I get to pick how I spend my day, every day, and what I do every day, if I would have made that choice. So I can be very comfortable with that knowing that I really make these choices because I want to be somewhere ultimately where I feel really comfortable with having had a full life.

Okay, and so

you’re you’re you’re effectively strategizing out your life and work big picture wise, and almost like creating


through a journey. And then just making sure that when you make decisions that strategically they map through to those particular milestones. So if it’s not leading to one of those milestones, it’s a no

I think there’s a that Derek Civ is shivers or sevens disease is his name. He wrote a book, how yes or no. So the way that he makes decisions if he asked someone asked him to do something, it’s it’s either Hell yeah, or no, thank you. Yeah, and in a sensible way, it’s it’s it sounds like that’s what you were doing. Did you? Do you do that also, when you’re picking projects because you’re still I know still doing? You’ve got your you’ve got your course on, on editing, you’ve got your two YouTube channels.

You have it looks like you’ve slowed down in production of the YouTube channel videos themselves. So you’re obviously doing other things. Have you have you? You’re still taking on narrative work. Do you do docs or any kind of commercial work at all?

I do documentaries, I do features. I do.

Sometimes though, I used to heavily do television. I almost don’t do any television anymore. I did kind of a pilot at the beginning at the end of last year.

But it was one of those Hell yeah, a project was an HBO pilot that that I really wanted to be involved in.

So yes, absolutely right. I slept on on YouTube. But it’s actually because I’m working on a lot of things in the background that’s still related to sort of the This Guy Edits ecosphere. But they all have to like come into place. And it devotes a lot of my time, it has to do really with making sure that it’s that it’s more of a like, I’m delegating more, I’m having a team behind it, I have to build the team, I have to build certain kind of products, like something that we just launched a few months ago is a mentorship program, where we actually have high level, a list editors that agreed to be mentors to some of our students from the go to editor course. And they spent six months with them every week. And so that’s something that we’ve built, and nobody knows about. Because we haven’t really talked about it yet. It’s something that’s already running.

We also run a boot camp in the editing course, where we get people actually the opportunity to, to kind of feature film, like they actually eat, go through the entire process of interviewing for the feature film, they get to cut a scene, and then one of the students got hired, and three students that get hired for this feature film. So we’re solving a lot of these problems that I think film school doesn’t really address, which is like, how do you really have very hands on work related experiences lead to real opportunities, that’s something that we’re really focused on in the background, and there’s a lot more coming, and then once it’s already in place, I’ll become a little bit more active on YouTube again, and then it will sort of close the loop. Okay, so I’m going to kind of make sense with with film school,

the, the, the, the lecturers, the professors, and what have you are, to a large extent, academics, and traditionally, they would be there to teach film theory and grammar and history and the philosophy of, you know, this and that.

They don’t really have, many of them do, but not all of them have the experience of actually being a filmmaker, in my case, or an editor in your case, and what it means to find clients and how to speak to clients and what have you. So it kind of makes sense that you go to film school to learn the theory. And you, you go to mentor, you find mentors, who are actual working professionals, to show you the practical side of of, you know, how to get work, how to how to do things in the field, it kind of makes sense. So, I think that for me, there’s still a,

there still is room for film school, because

the history of cinema, as an example is something that’s really important to know. And you’re not going to really find that out on the internet. But if you do, if you do a film appreciation course, at uni, or college, then that is something you’re going to get and you’re going to get it from someone who has deep knowledge in that.

So it’s I think it still does have a place. But it really is in that kind of area of academia, which is something i i In the history of film is something that fascinates me but if I walk into a client, I’m talking to a client about you know, this video or what have you like that, okay.

I do not care.


So yeah, the I mean, the court sounds amazing man and being able to have mentors in in that way. makes it highly, highly practical.


the second question I really have for you is moving away from kind of that area and back into just the editing process and and kind of finding clients when you were, although it sounds to me, very much like because you’re so entrepreneur, you’ve made it happen yourself. So the question that I want to ask you was is there one thing that you’ve done in your career that you that

enabled you to

almost like this the one thing or the one trick or the some some kind of strange thing you’ve done that led to success? Can you point to one thing?

There’s a there’s a certain

I’m very good at this regarding authority. In a way there are certain ways

You’re supposed to behave in a certain way you’re supposed to, to perform in order to be successful. And I’ve fairly quickly was in a position where I could make that choice to say that’s not how the world works.

So just to give you an example,

in order for me to get that job for James Cameron, I had to risk my job as an assistant editor, because I’m not supposed to cut his film.

I’m going to do it anyway, because I have ample time at night. And that’s really what I want to do anyway. And then I want to be ready for an opportunity when it comes along. So when Jim walks into the office one day and wants to see something cut, and nobody’s cut anything yet, because everybody’s just organizing, they’re waiting for him to give direction, there’s no script, it’s a documentary.

It’s an opportunity for me to say, Hey, I actually shot some initiative wide, I got something to show you fully, well aware that the producer might think that I’m throwing her under the bus, or for whatever reason, she’s gonna fire me, because she wasn’t able to deliver while I was telling her, played around with a movie. And I took that chance, thinking I might get fired, but not caring, and paid off big time. And I really formed an experience where I realized, when you are talking to the top people in whatever area you’re working with, they’re not really interested in rule followers, they’re interested in results all the time, it’s really the middle management, that is

super worried about doing it by the book. Just to give you another example, right now, I’m waiting on a video to be released by a studio. And it involves a big time director. And nobody wants to sign off on the video until that guy has seen the video. And for me, it’s like this is a clear case of fair use. You don’t even have to sign off on this video.

We’re making a commentary on on the work.

But nobody is willing to make a decision or stand up for it until that top guy says yeah, no problem, show it. And you want to know,

sorry, you want to name the director.

I do not because I don’t want to throw the network under the bus. Fair enough. If at some point a video appears on my channel about a big time director then you can make the connection.


this, this idea that you don’t necessarily have to listen to people that decide that sign off on what you do, has been really helpful for me to to make bold choices. And I think part of of being successful is you have to make bold choices sometimes. Yeah, I agree. I think it’s the same in the commercial world, if you’re.

So I do a lot of work direct to brands, and you speak with business owners, what they really what they’re really interested, they don’t care about the video. They don’t, honestly, they really don’t what they care about is result. So if the if the end for them, if they’re a business owner, it’s a business result. That’s not to say that the video is not important to the quality of the video is not important, the quality of the video of the storytelling is not important. Obviously it is but what they care about is the results. And if you if you do something really bold, like get really dark in a commercial and that’s going to create a business result, then they’ve got no problem middle management, so marketing managers or you know, that middle management area that they’re, they’re not in a position they’re in a position where they need to look after themselves, and therefore they’re a lot more risk averse. So I think going if you’re a commercial filmmaker going knowing that and and knowing who you’re talking to is really important. And if you’re able to therefore get

get in front of someone who is not middle management, but his upper tier or you know, even business owners or EPs in the indie world

studio execs then you’re able to you’re able to be strategically bold

you know, balls out bold at that at that time, but if you do it at the wrong time, due to toast.

So that kind of leads to the question with the producer.

What happened with that producer? Obviously you even said throw under the bus. Are you still friends you’re still in contact or was she just like, dude, I’m done with you. Had that?

Well, to be honest, she

He had to kind of just eat it. Because Jim said it’s okay. So at that point, it was decided it was done. But if if the scene would have sucked, then I probably would have been in a really bad spot. And that could have been the end of it. So just because I mean, as soon as you get the top doc to sign off, then you then you have breathing room, you don’t have to really worry about it. Maybe, maybe sometimes the politics get you later at some point. But

yeah, that was kind of my point, you do have to take care of those middle manager people, because sometimes middle managers, they don’t stay there, sometimes. Not always.

But sometimes they they do kind of level up over the years. And

I think, you know, filmmaking, whether it’s indie, whether it’s commercial, it is a it’s a it’s a networking is extremely important. And having people

having a network of people that that see you as someone who is reliable, and good, is really important to to your career. Have you if you had one piece of advice to give to

young filmmakers, young editors, who are looking to go down a similar track to you what would that one piece of advice be?

So advice as to how they become editors, successful editors, whatever, whatever comes to mind for you, as you use you believing is an important piece of advice, then just that’s that’ll do. That’s fine. Yeah, okay. So I would say,

you, you probably have an itch, you have a hunch about what you’re really into, you got to pursue that. A lot of people, let’s say, let’s say we talk about editing, but it could be directing could be any of the departments in filmmaking, you kind of really intrigued by the idea of being a director of being an editor. But you may not really be interested in doing the actual work, like editing is a grind, it’s not fun. If you’re not into it, it requires you to work for hours in front of a screen, don’t have a lot of interaction with other human beings. And it can really, really hard brain sucking work, to figure out how to tell a story with what you have, how to fix a story, all that stuff, if you’re not really into the process of cutting, every time you have to step to the cutting room, when you have to get in front of the computer, you’re going to feel like a burden. And that’s, that’s, that’s something where you have to really be aware of that maybe you’re, you’re in love with the idea of being an editor. But you know, you really enjoy the process. And once you realize that, you do might need to move on. Like I’m a big fan of trying a lot of different things that you think are cool, that you’re passionate about. But ultimately, it’s going to be the passion that’s going to make you keep doing it over and over repetition is so important to get good at it. And the only way that you’re going to be able to sustain that is because you’re kind of fundamentally into the process of editing. So I would say at the beginning, pursue a lot of different passions, a lot of things that sound really cool. And just listen to yourself and see if you actually really enjoy the press process. And I mean, ultimately, most of the time, within a few months, you’re going to realize it’s not for you anyway, because you just can’t make yourself do it. And then just accept that acknowledge that and move on and find that other thing. I mean, the few people that seem to really be knowing what they want to do feel really good about where they are, I think that just sort of got lucky figuring out what they’re really passionate about, and harnessing that as a fuel to turn it into something that they can make a living with. And if you if you feel as a young person, you haven’t you don’t have that fire. Just find it somewhere else. Like try different things. Anything that sounds cool to you play around with it and find that thing that’s going to keep burning, and it’s going to keep making you want to want to pursue it. For me, it’s like it’s YouTube, as well. Like I can’t stop thinking about YouTube. And I’m really really addicted, the process or the entire process of making a video and then finding an audience for that video.

Cool. I totally agree with what you’re saying that the and what while I go on a bit of a rant, you can fix that light coming through into your face.

The enjoying the process

Even I mean that that really is fun to fundamental to having being successful at anything. So for people that are that are that follow me and my students, we’re all about starting and growing video production companies that are mapped to, I’ll just, I’ll just keep talking why why you find that light source, there we go.


growing businesses is hard. It’s, it’s a tough thing to do. And you’ve really got to enjoy the pain of the process. I know when I when I edited

my so I shot wrote directed shot, edited a feature film.

And I enjoyed every part of it, except for the edit. And particularly the assemble, like I did everything and I, when I had the the assembly cut, though I actually cried at one point there was it was so fucking bad.

Particularly in one scene, it was like I, I put so much effort and time and money and

literally blood, sweat. And then there was the tears and the tears were in the edit. So I know, I’m not, I’m never going to be a long form editor, because I don’t enjoy the pain of the process. But the pain of being a director, I love that that’s something that a lot but you only know, you only know whether you whether you’re going to enjoy the pain until you’re actually in the middle of it, and you’re experiencing it. And is Is it is it bringing

a dopamine hit from the actual pain of the process or not. I think that’s actually really, really important for all all aspects of life, not just working life, but particularly for finding out what you want to do in your career. So we’ll switch over now to

the members only section of the interview.

And in that I particularly wanted to focus in on leveraging YouTube

in order to find work. Now I know what with what you’ve done.

Initially it was about I’m guessing it was about if I can build up

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