B (4:48)

was in there, Janine Something else you mentioned, which Roy was the money man. Right. So he wanted to make sure that any money was spent delivering an amazing experience for the guests. Right. But he still spent money and big money to make that happen. So just tell us about. Because I didn't know this, you told us about how Disney is built on different levels and the reason why.

A (5:09)

Yeah. So obviously in Florida, you can't build below the ground. Right. We're at sea level. So if you dig down, you're going to end up in water. Right. So if you're going to build levels, you would have to, in Florida, build up. And so it's. It's fascinating to me. Like, so all the underground areas and the Magic Kingdom that you hear so famously about, it's actually all built up. And so you don't even realize you're walking up when you go into the Magic Kingdom. You don't even realize it. Like, you're going up. And so the main street and all the rides, that's actually level two, Level one is below you. The, like level, the first level are all the tunnels and all the. Everything below the magic kingdom. Level 2 is the actual park. It's fascinating. Right. And then level three are the rides.

B (5:56)

And just tell the story about how that came about, because it didn't start that way. Right. But you told a story about a cowboy that Walls saw.

A (6:07)

That's a little bit different too. So when you go into the Magic Kingdom, there is different lands, right? If you've ever been, there's Tomorrowland, there's Fantasy Land, there's Adventure Land. And when you walk into each land, you are in that land. When you're in Liberty Square, you feel like you're in colonial America. When you are in Fantasyland, you feel like you're with all the princesses. When you're in Tomorrowland, you feel like what the 60s version of the future was. When you're in Adventureland, you feel like you're there with the pirates in the jungle and everything like that. And in fact, to the point where. And they. This is where, like their. The money spent to keep that show alive is so important. So, like, if you walk in, you see the castle the whole time you're walking down Main Street. As soon as you turn left to go to Adventureland, they'll tell you, look back, you're in Adventureland. Now, do you see a castle? And you don't, because they planted and built all these large trees and the foliage to block your view. Once you're in Adventureland, you turn back around there's no castle in sight because we're not in Fantasy Land anymore, right? And so Walt, walking the park as a guest one day was in Fantasyland and saw a cowboy and a cast member had been walking through the park. Through the park, right? And Walt's like, there's no cowboys in Fantasy Land. What is happening? And that is what inspired. When he realized this, it was so out of place. And he said, that could break the magic for a child. Right? You're not gonna see cowboys with Cinderella. It just, it doesn't go, it doesn't, it doesn't work. So that's when they really went full force with this intention of finding ways for cast members to get to and fro without ever breaking the magic. And so they had to, like, they built, they went under, right? So the, the like. And not in all the parts like Epcot, it's behind. They don't go under nepcod. They're going behind. So whichever way it is is that they are finding, they figured out ways for cast members to get from point A to point B without ever having to do it in the eyesight of a guest.

B (8:06)

Steve, I, I, I just see so much of what you teach in this too. I can, I can see the. What's the word I'm looking for? I can see how they match up is pro. Is is probably the best way to describe it. I'm sure there's so many things that you've seen how that aligns with what's thought in Difference Maker Revolution.

C (8:27)

Well, I haven't been to Disney, so this is quite fascinating for me that all of this does align.

A (8:33)

Steve, you have to come. Could you imagine us going to Disney together? Oh, okay. I was like, you've never been to Disney?

C (8:40)

No, I've been to Disney, but I've been. Yeah, but not. I haven't done that tour. So this is like privileged information. Privileged information. But it really does, like, as you're talking, I'm thinking, oh, this is why I preach so much about how the bathroom needs to be set up and, and how that seems to be the forgotten place in most studios. But yet it's where a lot of decisions are made. When a client's feeling a little bit like they need a bit of space, they'll say, I need to go to the bathroom. And we need to make sure that it is presented and that we have appropriate artwork in there. And it's got to be intentional. It's gotta be that extra thing that they should be be buying. And yet it seems to Be the area where something that was misordered is hung or something that is a client rejected is put up. It should never, ever be anything but 150% because it is a very important part of the studio. And, well, every part of the studio is really, really important. So, again, seeing, looking. The number of times I've been to studios and made the studio owner sit in the chair where the CL sits and made them look around to see what a client sees. So then they can actually see what a client's looking at when they're sitting, when they are making those decisions. And almost everybody has said to me, wow, I've never sat here before. Look at what's under that chair. Look at, you know, I can see, like the dust on the frames. I can see. And it's amazing that they've never sat there, sat where the client sits and just looked, because that's what the clients see. And it was mandatory for us in our studio to. After every design consultation, every sale, we would sit in the client's chair and look around because there could be a tissue that's fallen under another chair from their chair. You can see the rings from the glasses from previously, but you can't see it from where you were sitting. And it's almost like Janine's thing. They're flashing in the eyes when, you know, because of the lights that are bouncing light off your artwork, which is intentional in certain places, you're not going to see the same things as what a client sees. So incredible to hear all of this. Incredible.

B (11:03)

So, Jonathan, from what Janine talked about, and you've been at the workshop, is there anything that stood out for you that was, you know, so intentional that it was backstage versus on stage or that it was on stage? Is there anything that stood out? Because if you don't have something, I have something, but I want you to go first.

D (11:20)

I mean, just. I know that they had their back offices, which were out of action for people attending the workshop. Right. So that's kind of similar to what Janine shared about Disney with their backstage versus on stage. Nothing super intentional stood out to me. But Steve has something and you have something running. And so share.

B (11:41)

Do you share to build on what you said? You know, like, there was no paperwork where it shouldn't be, because they were all in the offices. There was no computers, you know, sitting on the side that shouldn't be there. Like, there was no. Everything was in intentional on the base of what is in front of the client. And then what shouldn't be in front of the client. So that was absolutely the case, but the one that stood out for me. So Katinka, she does a lot of boudoir and empowerment, and as a result of that, she does hair and makeup, you know, and Steve got participants in the workshop to sit in the chair that Katinka's clients will be in when they're getting their hair and makeup done. You know, and just the intention of what they see in that space was just mind blowing, you know, in terms of if they looked up, to their left, there was the business owner, Katinka, with her boudoir experience on display as a collection. You know, if in the client looks in the mirror behind them, they see collections of artwork that tells a certain story, which might be another reason to come in. You know, when you looked up to the. I think. I don't know whether it was to the. I think it was to the right. I'm trying to remember exactly now, but when he looked up to the right, there was artwork that would fit in any home, anywhere, even if they have no walls. So everything, everything was built with intention at each stage of the client experience, if you like, you're the expert in this. But that was just something that stood out to me about, you know, the whole on stage piece and the intentionality of it and how it's focused on making the client, helping the client feel a certain way.

C (13:30)

That piece that you talked about on the right was intentionally placed there because there's lots of buying decisions made while the makeup's being done, because the pressure's off, they're having fun and they're looking around them. And so that. That area there is quite important. So the placement's important. But the other thing that was important was that that was a collection of the makeup artists that was working on them. Now, the day that we sat there, the makeup artist wasn't in, so you probably didn't put the two together. But the fact that on their left was Katinka having her boudoir experience, on the right was the makeup artist that is now painting their face. It really. The clients at some point will say, oh, my God, is that you? And it just gives them that talking point. And I think the intention of that is that if we believe in what we do, if we really believe in what we do, we should believe in it so much that we would be willing to have artwork up, and it allows us to tell our story, and it makes the client feel so much more comfortable because you've been where they are right now. They're feeling vulnerable, they're feeling anxious, and you're showing them that you've been there, too, and that you can share your story. And each cast member was given their own experience, and it's given from the discovery calls all the way through. So they're given a transformational experience. And so each of those team members, Cast members have their own story to tell. And it allows a client to realize that these are people that believe in what they do so much that they would be displayed on the wall. They had their story to tell, and they know exactly how I feel. And all of that is very intentional in that space.

B (15:09)

So, Janine, do you remember when you told us last week that when you came back, this amazing Disney tour, right, that you sat down with a team meeting, right. With all of your team to go through everything, was there anything that came out from that meeting about your backstage versus on stage? Was there anything that came out. Came out of that meeting that you decided to make some changes as a team?

A (15:31)

Yeah. And so it's interesting because we have a studio checklist in the morning. Right. Steve, We've. We've released this for our inner circle members. And what's interesting is here's some of the changes that came from. It was when we implemented that studio checklist, it was a lot of me going through with them what needs to happen in order for the studio to. To be presentable to the clients. Right. When they come in throughout the day. And so a lot of sitting in the chair and seeing, you know, if there's anything out of place or where there might be dust and stuff like that. Right. But what wasn't really on there was. And cleaning up from anything that was missed the night before. But the idea of that the client that comes in should feel like they're the only client there that day, even though they're not. And so we do a lot. We. We work with kids. And I think this would be the same way with boudoir, too, with, like, makeup and stuff. I would imagine we had to do a better job. And this is what we work out with a team of putting back everything so it looks brand new at the beginning of every session. Right. So, for example, we have the number one, we have the scripty word one, we have the O, N, E, we have blocks, we have, you know, we have different stools of all shapes and sizes depending on the child for them to sit on. And throughout a session, the studio get, like, things get pulled out to be used with the child, and then they're just left Scattered to the side, right? And so what's backstage comes on stage in the middle of a session, and guess what? At the end of a session, it doesn't always get put backstage, right? And so then the next client comes in and the backstage is now on stage. And so we had a big discussion about that. And this is what Disney. One of their keys, they're so specific about is efficiency. And it's. It's one of their core operating functions is the efficiency. So if we are finding that we cannot in an hour photograph a session and reset the studio for the next client, then it needs to be an hour and a half, right? So we would need to change our timing between sessions, right? So we had this big discussion, can we get it done or do we need to change our back to back bookings? And, you know, and so these were the discussions we had with unintentionality because we cannot leave the studio looking like another client had just been there. And so backstage has to stay backstage. It can come on stage in the middle of a session, clearly, because you need those props for those children. But then it's gotta go back. And the studio can't stay cluttered looking. And there are several stools that we keep out all the time, but after every session, they need to be straightened back up and lined back up. And tape. Like, I mean, it's just crazy things running. Like we use painter's tape to stick things down often. And I went back in the studio and there's like six pieces of painter's tape just stuck up against the side of the wall. I'm like, backstage, it's gotta come away. I'll buy more painter's tape. We don't need to save painter's tape. You know, it's a roll of painter's tape. Just throw it away. We don't have to save it for the next client. And so it's just things like that, right? When you really look at it from that viewpoint of show and efficiency, how you make your. Your systems for the studio, so to always keep the show for the client, but then also to be efficient with it as well.

B (18:40)

Great stuff, Janine. So, Janine, item three. And I know you had dozens of takeaways, right? That's all shared with our inner circle members. So. But these are just three of them. So talk to us about Disney's the peak end rule. Because we talked about intentionality. And intentionality comes into this too, right? Is that how your whole experience at Disney is designed to make you feel a certain way and there's certain things that Disney does in terms of timing to let you have the feeling, when you most need it, that this was a great experience.

A (19:19)

This was. And this, to me was one of the key takeaway for studio owners, especially if you. Well, again, I always say children, but really, honestly, families, boudoir pets. Our sessions aren't exactly short, right? Unless you're doing a theme day and we have quick sessions. But for the most part, families are with you for a good hour. They might be with you even longer if you're doing your design consultation immediately thereafter. Well, you're going to have peaks in that time, right? Human nature. We're not going to stay on and be at peak excitement the entire time. We would be exhausted. And so Disney knows this. And so it is the happiest place on earth, right? Disney wants you to think when you're coming. That's their whole marketing. It is the happiest place on earth. Well, you know when it's not the happiest place on earth, when kids get cranky and everybody's tired and everybody's fighting and it's hot and it's rained and it's three o' clock in the afternoon and dad is done, the kids need a nap, mom is over it and everybody is fighting, right? No longer the happiest place on Earth. But that can't be your last memory because if you walk out of the park, that's going to be what you remember. So Disney has this structured with their peak moments, obviously the big peak at the beginning. You walk in, everything's perfect, the smell is perfect, that energy. We're going to have the best day at Disney, you know, and everybody comes in and. And you see Cinderella's castle and you're. This is amazing. And the Disney photographers are snap, snap, snap, taking pictures. And it's just, it's an incredible excitement at the beginning. Then you're standing in lines and things happen. And it's three o' clock and they know you're tired, so what do they do? They don't make you walk to the show, which is the rides. They bring the show to you. That's when the parade is. So everybody can sit down. You don't have to feel the need to get in line and go do one more thing. You sit down with your family, you find a spot, you pop a squat, you sit down and everybody sits for like an hour. Kids can nap in their strollers. Dad can, you can, you know, you're not walking anymore. Mom and dad can just, you know, relax Rest and the show comes to you. And that's why the parade is at 3 o' clock in the afternoon. So that way you get another peak moment when you're tired and you just can't walk to another ride. Then you're rested, you continue on for the rest of the day. But then guess what? You're tired again, right? If you just leave Disney at the end of your day when you're exhausted, it'd be like, ugh, what a day. I'm exhausted. However, that's not how they end it. They end it with the most amazing freaking fireworks show that you will see anywhere on this planet. And it's incredible. And people pack in like sardines in the magic. And like my daughter who doesn't like crowds, she still loved it. I was actually worried the first time we stayed for fireworks. I was like, oh God, Aaron's gonna hate this. She's gonna have little panic attacks. She's gonn get me out of here. But the anticipation of seeing this show, she was all about it. And even at the end for her, she's like, oh my God, that was the most amazing thing I've ever seen. And so it's. They end with the most incredible fireworks show. And it's scripted, it makes adults cry. Like I literally cry at the end of the fireworks show because, well, I'm a staff anyways, and I cried everything. But they script it to make you think about the magic moments in your life and for your kids and the dreams. And we should always be dreaming and we should always be moving forward and what are we going to do with their dreams in our lives? And you know, and it's very philosophical. So the adults are hearing this and you're like, oh my God, I gotta have a more magical life for my kids. And kids are here watching it and they're just overtaken by the show. And then guess what? Tinkerbell flies at the very end. A real live person flies from the top of Cinderella's castle down to some spot over here, right? And so it's just awe inspiring. And that's the last thing when you leave the park, right? And so they have the peak moments intentionally designed. So when we come back and we look at this in our own studios, it's gotta be like, man, I think most photographers, their peak experience is the, in their mind is the photography session itself. That's not the last thing they're doing with you.

B (23:23)

So Steve, so many, so many connections here with the difference maker experience. I know you could talk for an hour on this, have about five minutes, so give it a lash.

A (23:38)

Go, Steve, go.

C (23:40)

Well, you talked about the studio and taking the photos. That's they're the strobes in the. In the ghost ride. Right? So finishing, you know, you've done the design consultation and the client's leaving, that's when you need to take their money, and that's not how you want them to leave. And half the time, everyone wants to leave too. So with the difference maker, the philosophy is everybody's got to come out and greet the client and ask them about, you know, what their favorite photo was, what they enjoyed. Because while that person is swiping the card, then they're reliving all the magic moments. They're reliving why they did what they're doing. And that's why we have a guest book. So having a guest book at the front so then they can write about their experience allows them to think about all those positive things, all those things that they got out of this experience from the beginning. How did we transform their lives? And I know you're a huge advocate of this, Ronan. When you write something, it just has so much more power and so much more meaning. And so they're invited to write into the guest book and kind of like the Tinkerbell moment, because it's where, you know, all of that is embedded into how they leave. They're reading what other people have have read. Nobody, just rights. They always have a quick look through at what other people have written. And it just reinforces what they reinforces their decision, because other people have done this too. So everything is very intentional at the end to come out and celebrate, the team celebrates. And if you're a solopreneur, you have to amp up your energy because you may be tired, it may be the end of the day, but you have to amp up your energy because this is where the referrals come. And so when you amp up your energy and you know you're there to be with your client at the end of it and walk them out to the car, keep the energy up. You want that client to leave feeling energized and feeling like they've made a great decision. And all of those steps, where to stand, where to stand in relation to the client, how to rotate them so that where they are, the guest book is right in front of them, where you place your card machine, where you take the payment, is all intentional. And so, you know, when we went through the workshop, I think went through this at the workshop. So many light bulbs went off because people could see why they were getting more resistance than others and could see how a simple thing of the placement of the card machine, where the payment's taken, where the placement of the, of that book is, where you stand in relation to the client especially, and directing their energy towards where you want them to go was really eye opening for a lot of people. And so it just comes back to exactly what Janine was saying. They've got to leave on a high, they've got to leave on a peak, and the team's gotta be there to celebrate that decision at the end and for them to relive it and to walk out feeling amazing. Really important.

B (26:45)

What I love, Steve, about the Difference Maker experience is there's not one fireworks moment, there's two because there's the celebration of the client's artwork. So just give us a 30 seconds on that because that's a second fireworks moment in a Difference Maker experience.

C (27:01)

I think it starts even with a phone call. When the artwork comes in, a lot of people are calling up. Oh yeah, or they'll send an email. The artwork comes in, it's ready to be collected. And I've seen, you know, some of the people admitted that they just sent an email. And sometimes it takes months for clients to pick up. But if you call and you're excited and we gave them a script on how to say it because you have to be very intentional in the way that you make that phone call, it becomes exciting for the client to come back and then they're not doing a collection. This is a celebration of the birth of their artwork into their family. This is what's going to be handed down for generations. And we have to make it a fireworks experience. We have to make it an experience where the clients are excited and it needs to be a reveal where we amp up the anticipation. The photos are hidden and then it all, you know, you pull, pull the drape off and the team is there to celebrate. And the clients are literally in tears almost every time. Katinka shared some video, behind the scenes videos of doing those celebrations of people's artwork and they're all in tears. And it's just incredible, the intensity of the emotion that people feel when they are being celebrated and when they do see their artwork. And they've got to feel that because it's a huge moment for them and we have to be there for them. Really important.

B (28:21)

Jonathan, tell me. I want more. I want more of this. What do I need to do to get into the difference maker inner circle?

D (28:28)

So what you need to do is you need to click the link below and apply to join the Inner Circle, where not only will you have access to the amazing training that's going to help you implement this, the community, the weekly coaching calls and Q and A calls and accountability calls with the Community Inventor team, but you'll have access to your next best employee, kcb, who is going to help you to implement better and faster than ever before. So just click the link below. Apply now. We cannot wait to welcome you inside the Inner Circle.

C (28:57)

Bye for now.

A (28:57)

Bye, everyone.

C (28:58)

Bye, everyone. That was great.

B (29:00)

See you in the next one.