I’d like to thank…
Last week, 24 leading agents and property industry suppliers, from Britain and Australia, gathered together in Los Angeles for the fifth Property Academy BlueSky event.
We all experienced and learned so much including:
- A private tour of the new offices for the Oppenheim Group (Selling Sunset), and a full and frank hour of conversation with Jason Oppenheim (who, btw, is truly impressive)
- An exclusive visit to the Grammy museum and a masterclass in sound production (more on the importance of sound in a future four-i)
- Sharelle Rosado (the lead on ‘Selling Tampa’ and CEO of Allure Realty) who with Hollywood casting director Meg Barry shared how they went about creating a hit property TV series, (and how others can too)
- Matthew Luhn storytelling masterclass (Matt’s writing credits include Toy Story, MonstersINC, Cars, Up, The Simpsons – and many more), and how businesses can write and tell stories that will inspire rather than just inform
As is often the case, for me anyway, whilst I learned so much from these amazing people and experiences, the biggest takeaway lesson was not something I’d expected.
I can count on the fingers of one hand the times I’ve sat through all the credits at the end of a film. Normally, when going to the cinema, as soon as the final scene has concluded I’m out of my seat and heading for the nearest exit. On the few occasions when I have stayed for the credit scroll, I’ve been staggered by how many people it takes to make a film. But now, following an incredible behind the scenes exclusive tour of Paramount Studios, I’m in wonder at the teamwork required to deliver an Oscar winning performance.
Never again will I cringe when the Academy Award winning actor, director or producer starts their acceptance speech with: “I’d like to thank….”
I now appreciate that it’s the small, actually tiny, details that make the difference. The people that make the props and the signs which are only seen for 2-5 seconds, but give a location an authenticity, which in turn enables the actors to be believable. The “Grip” who selects from hundreds (no exageration) of different filters to get the lighting just right. The catering crew who are on call 24/7 as the filming schedule rarely runs exactly on time. And so many other, normally unsung heroes, that allow the stars to shine.
I have them in my business – you do too. And so whilst I got to hold the original 1954 Oscar (for Best Effects), the credit for BlueSky LA goes to Danielle Nash, Sharon Snow, and Chloe Dean of Property Academy, and my great Aussie friends Josh Phegan and Kylie Duryea.
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