Sue Gilad: [00:00:00] We had this absolutely beautiful off-Broadway show. One of the writers I had met [00:00:05] doing Summer Stock in the '90s and phenomenally talented. And we brought this show [00:00:10] to off-Broadway. We made all the mistakes that a young producer would make. Everybody wanted to keep the [00:00:15] show running because we loved it. It was a party.
But we just didn't, small detail, George, we didn't [00:00:20] happen to be selling enough tickets to sustain the show. But why- Oh,
George Wright III: that's important in Broadway? [00:00:25] I didn't know.
Sue Gilad: Why would something like that stop me?[00:00:30] [00:00:35]
George Wright III: Okay, guys, welcome back to The Daily Mastermind. George Wright III with your daily [00:00:40] dose of inspiration motivation and education and I'm joined with just a super fun [00:00:45] guest. You guys are gonna have a great time tonight. I can't wait. Sue Gilad how are you doing?
Sue Gilad: I'm great [00:00:50] George. You have my dad's name.
George Wright III: Really? And my dad's name so [00:00:55] he's not around anymore but no, this is great. Thank you so much for being here. You're in New York. [00:01:00] You are... Hey guys I'm gonna let me give you a quick background 'cause this is gonna set you up for some really good stuff today [00:01:05] to help you create the life you were meant to live.
So Sue is a Grammy and five-time Tony Award-winning [00:01:10] producer 20 years of experience I guess your productions have earned over 84 Tony [00:01:15] Award nominations 30 Tony Awards "The Outsiders" "Moulin Rouge!" the musical "Buena [00:01:20] Vista" Broadway. You specialize in and this is why I wanted to bring you on [00:01:25] identifying developing funding launching ideas and you're the co-founder of In Fine Company.
[00:01:30] You've got a brand-new musical actually hitting Broadway called "Purple Rain" this coming spring, [00:01:35] right?
Sue Gilad: Yes, and I would love to sing to you that we're gonna party like it's [00:01:40] 1999, but I think we're gonna party like it's 2027, George, 'cause that's when we're opening in April. [00:01:45] And we have had-- We just announced that we'll be opening at the Majestic Theatre, and there has been this [00:01:50] tidal wave of excitement and love and joy.
So I'm excited to [00:01:55] introduce a new generation to Prince's music, my kids in particular.
George Wright III: Oh, this is a great [00:02:00] point. Yeah, and you know what? Music and musical I have some of my fondest memories going to New York and [00:02:05] Broadway and catching shows and plays and things like this. There's been a lot of changes, [00:02:10] obviously, in the world, and we'll kinda dig into that too.
But just, guys, if you're listening to this, I wanted to give you a framework of [00:02:15] why I wanted Sue to come on. Success leaves clues and people that are successful in what they do and how they do it can [00:02:20] teach you so much. I'm gonna frame our conversation with this, Sue.
You are someone who [00:02:25] really is able to take ideas of something before they even exist and [00:02:30] not only put them together and fund them and build them and execute on them, but deal with the [00:02:35] risk and rejection and resilience of what it takes to make it happen. So with that [00:02:40] framework, I want you to help me to understand what brought you into Broadway [00:02:45] and, kinda what drew you into that?
What was your background?
Sue Gilad: I think I was very lucky, George, in that [00:02:50] my mom was an English teacher, so I really grew up listening to her [00:02:55] tell great stories. I grew up as a bookworm, and we would go, um, and [00:03:00] stand on the half-price line, the TKTS line, and get whatever show was [00:03:05] available. Um, we didn't have the internet.
We didn't have cell phones, so we relied on, "The title [00:03:10] of that show sounds good." So I saw wildly age-inappropriate theater at a [00:03:15] very young age, and I just knew that I felt my best self in that dark [00:03:20] theater listening to the stories unfolding. It was the highest high, the lowest low. I would [00:03:25] sob. I would scream with laughter.
I knew I wanted that feeling forever and ever. And when I [00:03:30] was a kid, there weren't any, uh, MFAs in producing like there are today. So [00:03:35] as I moved forward, I just became an actor. I, I loved-- I didn't like acting, singing, or dancing as [00:03:40] much as I really liked being in the room creating the thing, that we were all a bunch of strangers, [00:03:45] and two weeks later, suddenly we couldn't live without each other, and there was the star and the stage [00:03:50] manager and the third tree from the left.
That was usually me. And everyone was [00:03:55] equally important. Um, so I, I really became this, [00:04:00] uh, theater kid. Obsessed, I would say. And then luckily for [00:04:05] me, all my friends that I did theater with coming up in the industry 10, 15, 20 years [00:04:10] later said, "Hey, I wrote something, and you're the most theater-- the biggest [00:04:15] theater fan we've ever met.
How about you produce it?" I was like, "I'm all [00:04:20] in. What does that mean? What is produce?" And they were like, "You know, you, [00:04:25] you build the thing. You find, you find the director, you find the choreographer, [00:04:30] you find the designers, you find the theater, you find the funding, you find the marketing, you sell the thing, [00:04:35] you never shut up about it."
And I liked that part, George. I liked the never shut up about it, because anyone [00:04:40] who's gonna give me license to talk about theater, I am in. So the crazy thing [00:04:45] is, each of our shows is its own entrepreneurial venture. You [00:04:50] know, the success of one will not beget the success of another, so you have to be very, [00:04:55] very comfortable with failure
George Wright III: Well, and you, you made a really [00:05:00] good point, and that is if you really wanna do what you're passionate about, generally it's [00:05:05] not just the fun part.
It always comes with all of the other pieces, and if [00:05:10] you're going to make it happen, and you're gonna really n- not so much be successful, but take to fruition [00:05:15] your idea, your passion, you have to be willing to do the work and all of the other work that comes [00:05:20] around. So were you really surprised, and how much did you hesitate wanting to do [00:05:25] all of the other stuff because you had so much passion for doing the [00:05:30] result of the show that you wanted to do?
Sue Gilad: Yeah, well, it's amazing how many things I'm bad [00:05:35] at. So the one thing I'm really good at is, uh, being a casting [00:05:40] director. Actually, for theater, for Broadway, we have casting directors that find the cast for our shows, but I'm a casting [00:05:45] director of who, what, when, why, how, where. What the show is going to be, [00:05:50] who are my teams- Hmm
who's gonna be terrific at the things that I really stink at or [00:05:55] I don't wanna do. And I'm fortunate in that I have a producing partner. He's, he's sort of [00:06:00] the yin to my yang. We met-- Of course, we met doing theater in the '90s. Um, we were both [00:06:05] Rentheads, if you know the show. Yeah, yeah,
George Wright III: yeah,
Sue Gilad: yeah. And Larry has this amazing [00:06:10] ability to see a show, a germ of a show, just really an idea sketched [00:06:15] out, nothing, and say, "That's the golden ticket.
That's the evergreen theme [00:06:20] that people are going to click into in five, 10, 15, 20 years and forever as we [00:06:25] extend this show around the world." And then I don't have that skill set at all, George, but I have the other side [00:06:30] of things that when, as we're developing it and shaping it, getting ever closer to audiences, I'll say, [00:06:35] "These are the weak points that we should really pay attention to."
So it's a very good balance, [00:06:40] um, on the artistic side.
George Wright III: Yeah. How early on did you notice that you needed, [00:06:45] and, and was it a core decision to say, "I, I need to complement my weaknesses with a [00:06:50] partner"? 'Cause I think a lot of people sometimes either try to go it alone, and then they get pulled out [00:06:55] of their lane that they're amazing at, whether it's in business or life.
And the other thing i- uh, b- partly because [00:07:00] they don't recognize the need for that, but they get pulled out of their lane, and also they just... When [00:07:05] is the best time to bring on that person? 'Cause it's, it sounds to me like that was a pretty core piece of your [00:07:10] success and being able to do what you love.
Sue Gilad: For us it was very [00:07:15] organic.
I didn't have a plan. It wasn't like I woke up and said, "Hey, do I wanna be a policeman or do I wanna [00:07:20] be a producer?" It came over time, and because Larry and I were friends, not just friends but [00:07:25] theater friends, so going to see shows and evaluating and breaking down, and this was just our sense of fun, [00:07:30] that when our friends first came to us and said, "We believe in you.
We think you should produce this," we were like, [00:07:35] "Well, we know we're gonna mess it up 'cause we don't know what we're doing, and as long as we're straight with everybody that [00:07:40] we are inept, we are inadequate, and we are inexperienced, so we manage [00:07:45] expectations- Yeah ... we're gonna have a great time." And, you know, inevitably in our industry we'll have failure more [00:07:50] than success.
That's just the way it works because it's art. So even if the show is a [00:07:55] complete and total failure, which now of course our track record is getting better, but in the beginning, even [00:08:00] if nobody showed up at the reading or no one showed up at the opening night or no one showed up at the party, Larry and I are [00:08:05] gonna be there, and we're gonna have the time of our lives.
So I think that's the trick. I think it's our company [00:08:10] name is In Fine Company to remind us who we wanna surround ourselves with. We [00:08:15] wanna always be in fine company.
George Wright III: I love it, I love it, and I do think a lot [00:08:20] of people in business, they lose track of what they really wanna do because they get caught up in the [00:08:25] logistics.
But if you can do what you just said, and actually, uh, Dan Sullivan and Dr. [00:08:30] Benjamin Hardy talk a lot about who not how, and you find the right who's, then your how, uh, really kinda [00:08:35] translates and, and makes it own i- i- itself come to fruition. So how do you, how do [00:08:40] you pitch your ideas or, you know, your vision [00:08:45] and, and, and help people to believe in it?
What is your secret to making that happen? 'Cause you've [00:08:50] clearly taken some things, uh, out of just nothing but concept to fruition [00:08:55] from everything from funding to developing and producing. So what's your, what's your secret to really pitching [00:09:00] an idea?
Sue Gilad: I think the trick is when you pitch it, if [00:09:05] you are successful, it's your project.
That's your secret sauce. If I'm [00:09:10] pitching- Mm ... something because there's a checklist, George, of things that are going to be good about the show, but [00:09:15] it's not in my heart and soul, it's not my show, I'm not gonna get any result. Yeah. [00:09:20] It might be an amazing product, but it's not mine. On the other hand, if like everything is [00:09:25] flowing, if it's the right team, if it's the right funding, if we landed the theater, if people are...
[00:09:30] You know, last night I- we were leading an event for, uh, Buena Vista Social Club, which is already on [00:09:35] Broadway, and I mentioned, "Hey, guys, we just announced this show Prince's Purple Rain," and the [00:09:40] entire, the entire room, George, went And I was like, "Well, okay, I'm in the [00:09:45] right room."
George Wright III: Right.
Sue Gilad: And that's- That
George Wright III: you can get some leading indicators there with-- If you're [00:09:50] aware, right?
If you're actually looking for it, that's great.
Sue Gilad: Yeah, and we do-- Our, our most [00:09:55] important leading indicator is our out-of-town tryout. So for a musical, because it's so [00:10:00] collaborative, you have to be in the room. In fact, I think it's the antidote to AI. Seriously, [00:10:05] I think that theater is going to save the, "I don't know what I'm watching," because it [00:10:10] has to happen together, it has to happen collaboratively, and it has to happen in person.
[00:10:15] So as analog as we are, it's a very good time to be involved in theater. It's, it's good for [00:10:20] humanity. But we'll do our out-of-town tryout, and my directors and choreographers, they're watching what's [00:10:25] happening on stage, the actors. So am I, but I'm really paying attention to my [00:10:30] audience. Are you leaning in at the right moment?
Are you sobbing? Are you dying with laughter? Are [00:10:35] you spent at the end of the experience? Where are you futzing? [00:10:40] Where are you kind of looking at other audience members? Those are the moments where we need to go back and say, [00:10:45] "What's happening on stage at that moment, and can we Maybe can [00:10:50] we adjust it so that every moment of the show is on the edge of your seat?
[00:10:55] So our out-of-town tryouts give us a lot of information, and of course, my favorite focus group [00:11:00] is the women's bathroom line during intermission. I s- I [00:11:05] usually wanna talk to the youngest person in line because they have strong opinions and they're very candid. [00:11:10] So I just wanna know, "Oh, are you enjoying the show?
What, what's your favorite moment so far? Which character do you really [00:11:15] resonate with?" And they will talk for all 15 minutes of intermission, and that's my focus group. [00:11:20]
George Wright III: I love it because you have to be able to balance your conviction with feedback and [00:11:25] skepticism or, you know, comments or whatever else, uh, but you gotta look for that as well.
And I love how you said get [00:11:30] in, get in the room. Uh, in Fine Company, by the way, that's a such a great-- There's so [00:11:35] many benefits to being in Fine Company besides, like, the value that you get out of it yourself. But also, I [00:11:40] do think being present, uh, being in the room will be a differentiator [00:11:45] between what is AI, what is real, and what isn't, because there's still that human connection.
There's that live [00:11:50] type of thing. So I think that's important to have both your conviction for something, but [00:11:55] also a connection to something. So I think that's something that you, you clearly value quite a bit. [00:12:00]
Sue Gilad: It's really special. At The Outsiders, which is, um, uh, one of our more [00:12:05] recent shows on Broadway, um, The Outsiders is a story about [00:12:10] teenagers fighting for identity and their place in the world.
[00:12:15] And so we have a project called the Stay Gold Initiative, where we'll bring in kids from, [00:12:20] uh, schools in New York that they don't have any arts funding, and they have never seen a show, forget about a [00:12:25] Broadway show. Yeah. And, uh, we bring them in for free, and my favorite thing is to [00:12:30] watch them watch the show because, you know, three more theater kids were just born, [00:12:35] and they never knew before that day.
George Wright III: There's, there's gotta be a lot of fulfillment in that as [00:12:40] well. And but, you know, and I wanted to kinda shift gears a little on you because I think that there's a lot of [00:12:45] resilience needed in what you do, but also in business, because Broadway tends to have a [00:12:50] lot of uncertainty, I would imagine. And, uh, you got some rejections and some nos and, [00:12:55] and, uh, bad reviews and things like that.
How do you balance staying [00:13:00] passionate and driven for an idea you have conviction for in, in, in [00:13:05] the face of uncertainty and skepticism and bad reviews? How do you deal with that? [00:13:10]
Sue Gilad: Well, I think I'm might be an anomaly in that I thrive on that. I [00:13:15] really like the you versus you competitive nature. Can this show top [00:13:20] the last show that I was doing?
But I think being raised as an actor, and not a very good one, [00:13:25] uh, really taught me, you know, 20 auditions, one callback, 20 callbacks, one job. [00:13:30] That's 399 rejections before you get a yes. So I'm very comfortable [00:13:35] with rejection. I never hear no as no. I always hear no as not now, or [00:13:40] maybe I have the Rolodex to where my next yes will be, right?
If I'm meeting [00:13:45] someone new and they're not my people, but they know someone just as crazy as me. So I'm, I'm really comfortable with [00:13:50] no. And, uh, also, if a show fails on Broadway, that doesn't necessarily mean, [00:13:55] George, that it will fail forever. It's really about what you do with the long tail. So if you're fortunate [00:14:00] enough to have a runaway hit like a Moulin Rouge or an Outsiders that will then go [00:14:05] on tour, will then go, uh, our shows will go to London, the [00:14:10] West End, to Australia, to the Netherlands, to Japan, to Germany, and [00:14:15] they will have long, robust lives in all sorts of markets.
Um, but you can also [00:14:20] do that either when your show is not a success on Broadway or when your show is not a fit for [00:14:25] Broadway. Not every show is a Broadway show, and there's a huge market out there in the world for [00:14:30] people who want to hear specific messages. Shows like Dirty Dancing and [00:14:35] Flashdance and The Bodyguard will never come to Broadway, but people [00:14:40] love them in Des Moines and Dubuque
George Wright III: Yeah.
This is interesting, 'cause you, you said that [00:14:45] you may be an anomaly, but-- And that's true, you are. But that's because the top [00:14:50] 1%, 2% of success in life, um, are anomalies, [00:14:55] right? And, and you s- and you said another thing I like, and that is it is how you're, how you view your [00:15:00] perspective, your filter on what rejection, failure, and things is.
Because-- Not just [00:15:05] because I think a lot of people like you, they, they view it as it's a numbers game, and so they already expect [00:15:10] these things. But also, failure's not just failure. I-if it's something that could lead you [00:15:15] to, you know, more knowledge, more, you know, uh, expertise, um, and could turn into [00:15:20] something that was a failure in one venue but not in another or location.
So that's really [00:15:25] good. I really like that. What, um... Have you had some, uh, monumental failures or [00:15:30] unsuccessful projects? I mean, you seem like overall just not only a very successful person, but a happy [00:15:35] person and, and, you know, some people would probably say, "Wow," just like, you know, a, a, a magnet for [00:15:40] success.
Any failures?
Sue Gilad: I wouldn't be in the theater if I did not have failures.
George Wright III: I [00:15:45] thought so.
Sue Gilad: Um, many, many. Um, but it depends how you define [00:15:50] it. So for example, we had this absolutely beautiful off-Broadway show. One [00:15:55] of the writers I had met doing summer stock in the '90s and phenomenally talented, [00:16:00] and we brought this show to off-Broadway.
We made all the mistakes that a young producer would make. [00:16:05] Everybody wanted to keep the show running because we loved it. It was a party, but we just didn't-- Small detail, [00:16:10] George. We didn't happen to be selling enough tickets to sustain the show. But what- [00:16:15] Oh,
George Wright III: that's important in Broadway? I didn't know.
Sue Gilad: Why would something like that stop me?
My writers, who I was [00:16:20] deeply in love with and still am, said, "Can we keep the show going?" And my writers wanna keep the [00:16:25] show going, George. I'm gonna keep the show going. The f-- You know, rule number one: If you [00:16:30] are sending out more money on a weekly basis than money's coming in, you should close the [00:16:35] show. Why does any Broadway show close?
If you are losing more money than you're making, stop [00:16:40] the train. So-- And I absolutely did not, because my writers wanted to keep [00:16:45] the show going. But who cares? We had a great time. My investors knew right from the [00:16:50] beginning, I can promise you one thing, and that is a fantastic opening night. We did. We had a [00:16:55] great opening night party.
Um, but if you want returns, you know, stick with real estate, stick with stocks. [00:17:00] We're, we're art. We are so subjective. If you hit, [00:17:05] if you have an "Outsiders" or you have a "Moulin Rouge," you, you really are Babe Ruth. But [00:17:10] anticipate that it's not gonna go well initially, and then find your niche [00:17:15] where this audience really speaks to you.
There are some shows that are not Broadway-ready, not [00:17:20] appropriate for Broadway, but really, really great for middle schools
George Wright III: Hmm. [00:17:25] Yeah, you know what? Um, and I think it, it do- it is important for... I always talk on [00:17:30] the show here about gaining clarity, uh, around what you're trying to accomplish and, and what your [00:17:35] real goals are, because sometimes we go down the rabbit hole and we say, "Oh, we're, we're just so busy doing things," we don't realize that there [00:17:40] are...
that you also have to have it make money, and you gotta, you gotta maintain. You can't just be doing things for fun. [00:17:45] And you're in a position where you not only can do what you love, but you're also [00:17:50] managing expectations of investors and business. And before we got going on the [00:17:55] interview, you made the comment that there's certain things you just don't deal with, whether it's technology or whatever else.
You let other [00:18:00] people do that. And so you've clearly surrounded yourself with people that will help you to stay on [00:18:05] top of those things. But where do you manage your time now? I'm curious, like, where you [00:18:10] find, based on your talents and skills, you like to keep your sweet spot for [00:18:15] building and growing what you're doing
Sue Gilad: This is the question that we ask on a daily basis.
What [00:18:20] can we be doing today that only we can be doing and nobody else can be [00:18:25] doing? And so I try to farm out anything that is procedural or [00:18:30] administrative. First of all, I stink at it. Second of all, there are people so much better than me, so much more efficient, [00:18:35] but also it's not a good use of my time. So the best use of my time is we have a team [00:18:40] that will sort through and read new scripts for us.
Um, we get, we get a [00:18:45] tremendous amount of submissions. I always request of my writers, in case you have any writers on here, George, please make [00:18:50] sure you have those two magic words, "The end," before you send me anything. Super-
George Wright III: Nothing [00:18:55] unfinished, yeah ... '
Sue Gilad: cause I can't, I, I, I, I need, I, I need my journey. I [00:19:00] need my beginning, my middle, and my end.
If I don't have my end, I, I don't know [00:19:05] if your show is worth it. Anyway, um, so, uh, I will spend much [00:19:10] of my time, when we have time to do this, going to readings and developmental workshops. [00:19:15] In the summer especially, we love going to SummerStock to see shows in early development to see if they [00:19:20] have commercial potential for Broadway, because there are so many shows that I love that are just not a fit [00:19:25] for the commercial potential of Broadway.
Doesn't mean they're a bad show. They're beautiful shows. They're just not a fit. So we [00:19:30] go and we look for that delicate balance of art meets commerce, [00:19:35] and that's how we're spending the bulk of our time. And then because it is my absolute joy to [00:19:40] be a theater nerd, we do so many events with people who don't usually have that [00:19:45] kind of access to theater.
So we will do, uh, on Broadway last night we brought a group [00:19:50] of CEOs to see Buena Vista Social Club. They had the chance to meet the star beforehand to hear a [00:19:55] little bit about the business of Broadway. We do that a lot with our shows on the road as well, so that you [00:20:00] can not just see the show and appreciate the art and get lost in it for two and a half hours, but also [00:20:05] understand the craft and the magic and the business and the entrepreneurship that goes into it.
So my [00:20:10] job is to turn every kid into a theater kid and to make them think that we are [00:20:15] even cooler than sports.
George Wright III: That is awesome. And you know what? It has been in this [00:20:20] digital world where, you know, we talk about this a lot on our Franklin Planner podcast, in this [00:20:25] digital world of overwhelm and quick, you know, dopamine satisfaction, people [00:20:30] really don't slow down to try to enjoy.
And, um, you know, really, uh, [00:20:35] you seem to be a, a, a big storyteller and a creator of memories and things like [00:20:40] this, and I think that that's the stuff that ultimately when people do slow down at the end of the night or end of the day or end of their [00:20:45] life- they wanna have, and they forget that. They lose track of that.
It's almost like you're bringing them [00:20:50] back to that, it sounds like.
Sue Gilad: I am trying, and my kids know if they want a present, that [00:20:55] present's gonna be an experience. It's cer- First of all, I live in New York City. I have no room to bring anything in, [00:21:00] but also you're not gonna get a thing from me. I don't like things, but I am obsessed [00:21:05] with experiences, and usually that experience involves somebody telling a story that will [00:21:10] open your heart, open your mind, provide a different perspective, give you a little bit [00:21:15] more empathy in a world that is, seems to be losing it.
George Wright III: That is such a [00:21:20] great message, you know, to open someone's thoughts and minds in messaging. Um, I love [00:21:25] it. Well, this has been a great conversation. I, I actually am looking forward to more things happening. You have a lot of stuff [00:21:30] happening right now, so the, the new show is gonna come out next spring, so it's
And then [00:21:35] right now, where are you putting most of your time? You have The Outsiders that's gonna be making some rounds, sounds like through, [00:21:40] uh, even some places I'm at with Salt Lake City and Scottsdale, right?
Sue Gilad: We're gonna bring our shows to wherever you [00:21:45] are. We're gonna find you, George. Yeah, the good thing about The Outsiders, we're now just entering year two of the [00:21:50] tour, and we're going to all the best American cities.
We've been everywhere. We [00:21:55] really started in the South, in Tulsa, Oklahoma, and now we get to hit California and [00:22:00] Texas. And Buena Vista Social Club, uh, is gonna launch the tour [00:22:05] next month, and of course we're starting that in Miami because it's Buena Vista. It's a great [00:22:10] Cuban story. We're also gonna launch The Who's Tommy on tour.
Which is a [00:22:15] show we had on Broadway a few seasons ago. So if you're a rocker and you like Pete Townshend and The Who and you [00:22:20] like amazing storytelling-
George Wright III: Sweet ...
Sue Gilad: Tommy. And then we'll chase you around the globe. Moulin Rouge: The [00:22:25] World Tour is happening. We're gonna open Moulin Rouge in Australia in 2027 [00:22:30] again because of the success the first time around.
So wherever you go on vacation, we'll have a show for [00:22:35] you.
George Wright III: Wow, this is so great. Well, listen, I, I, I hope people will check things out. Where's the best [00:22:40] place w- for them to check out where the shows are and what you're doing and kind of connect with you and the company? [00:22:45]
Sue Gilad: Oh, that's such a good question. If you go to infinecompany.com, you'll get links to all of our [00:22:50] current shows that are running.
Okay. And then if any of those shows sound good to you, you can always look them up [00:22:55] individually. Each of our shows have their own, um, PR, marketing, digital, [00:23:00] social. So those are running beautifully, and you can get terrific updates and very fun [00:23:05] insider info from our actors and our teams as we build the show out.
George Wright III: That's awesome. [00:23:10] Well, listen, guys, I'm gonna, I'm gonna put a lot of those links in the show notes for you. I'm gonna kind of make it easy to [00:23:15] track it down. But Sue, it's good to talk with you. Thank you so much for joining us today on the show.
Sue Gilad: [00:23:20] George, thanks for becoming a theater kid.
George Wright III: Oh, this is great. And guys, listen, one last thing.
I wanna [00:23:25] make sure I, I, um, remind you that there's a lot of things going on in this digital [00:23:30] world. The reason I started the Daily Mastermind is so that you could really truly remind yourself daily that [00:23:35] it's never too late to start creating the life that you're meant to live. You just need to take some actions.
You need to plug [00:23:40] in. You need to slow down sometimes and, and, and connect and create those memories. So I hope this is [00:23:45] something that's inspired you. If it has, make sure you share the episode, share the show. We're super excited about [00:23:50] topping the charts again. And so, um, do us a favor, share the show, and I'll look forward to talking with you more tomorrow.
Once again, [00:23:55] this has been the Daily Mastermind. Have a great [00:24:00] [00:24:05] day.
