Hello everybody and welcome to that will never work today. I have with me Riley Clark, who is the founder of a company called floor, which is trying to disrupt, wait for it? The art market? Uh and what's interesting about this is this is kind of an idea which seems to keep recurring every few years. Everyone takes a new whack at it. And I think what we're gonna talk about today is what is the whack here? That's gonna work. Hi, I'm Mark Randolph, co founder of netflix and six other companies over the years I've heard that will never work thousands of times, but I've learned there are things we all can do to increase the chances that they will so join me for that will never work. Riley welcome to. That will never work.

Hello? Hello. Thank you for having me. My

pleasure. So do I have that? Right? This is about art, correct?

Yeah, it is and it occurs for a reason. You know, this is a fundamental human impulse. We as human beings, we do shelter, we do fire, we do visual art in my mind. It's right up there with music and entertainment, Spotify, netflix. So I really appreciate you taking the time to talk with me. Um and I'm happy to talk about why other folks haven't gotten it quite right and why? Um we're excited to take a new

approach. What's the problem? I mean, listen, I've got art on my walls. Uh there's probably more art on more walls than there are netflix subscribers. Uh it seems to be working. Where's the where's the breakdown here?

Yeah, well, unfortunately if you look at the numbers, it's not working. Um, most people feel disconnected from arts and interestingly, it's not even about the money, right, there is money, there is interest in art, but none of it's going into the market, none of it's helping artists. Like there's a number going out there that only 2% of high net worth individuals by arts. Um, the problem is actually much more fundamental than that. The problem is you have to take that first step when it comes to visual art, you have to walk into a gallery,

you have to find an artist who resonates with you. You have to have that moment where it all clicks for you and then when you've had that moment that's done, you've even been by the bug. Problem is most people never have that moment. Problem is there are no structures in place to help. The majority of people have that moment, have that first encounter, have that access to art. And that's what we want to change.

So, you really think that's the problem is that people don't have access to, uh, not

meaning, not meaningful access. And again, it's worth noting that the problem isn't even about buying art, the problem is about taking that first step. The problem is there are creators out there who are right for me, there are artists out there, who is speaking to me, but you'll never find them, right? The chances of you finding them in the gallery system are incredibly low. The chances of you finding them on a search engine are incredibly low. And I guess a lot of where I'm coming from is as a young person, you know, I'm 25 generation Z. We especially feel disconnected from the art world that exists in new york and exists in L. A.

And exist in um these urban centers where it's pretty narrowly defined what art means, what art looks like, how you engage with it. We as a generation are disengaging. And I think that's an issue. I think that we want to engage with art on our own terms on our own time. And that's again what we're all

about. Well I'm gonna I'm blasting onto something you said, which is I think 2% of high net worth individuals by art. Did I hear that correctly? That strikes me as being a pretty fundamental message of some sort why isn't the conclusion that 98% of high net worth individuals don't want to buy art? Where do you really think there's some simple thing that unlocks it? And all of a sudden 60% of those people buy art?

Simple. Absolutely not. Um You say a lot of things in your writing and your speaking that I really like you know the idea that no one knows anything that um big structural systems level problems like this aren't easily solved. Which is why when you hear headlines about N. F. T. S. And different things. Um I'm suspicious right? Because it's not one killer app. It's not one lightning bolt moment that solves the problem. It's a super complex systems level problem. The reason most people never buy art is because most people never take that first step. Very few of those people walk into a gallery. Very few of those people buy from a gallery. Very few people few of those people continue on their journey. Um Whenever I talk with a collector you know they always tell me oh I met this neighbor who collected art and who loved it and who shared their passion with me and now I love it.

Or I just had this moment with an artist while was traveling there. Great meaningful personal stories but they're totally incidental right there. Totally accidental what we're talking about is trying to imagine um new systems for people to engage with art. Like the reason I one of the reason I reached out to you is because you know you at netflix fundamentally change the system by which people engage with entertainment right? This fundamental human impulse before you would walk into a brick and mortar space. Have a pretty bad customer experience and walk out with something that maybe you liked enough to watch right there's a real parallel with the system around visual art right now and just like netflix change things with personalization and democratization and technology and convenience and comfort and fun. We think we can do this something similar with visual

arts. Well I have a million directions I can go here. So why don't we try narrowing it? What specifically would you like to to explore today?

Yeah. Well specifically, you know, you've really been there, done that. Um I really I really do admire everything you've done and I appreciate the stories you've shared. A lot of the similarities strike me, but a lot of the difference to strike me as well, you know, um in some ways it's never been easier to do what we're doing in some ways. It's never been harder. Like we can do things for free with a P. I. S. And you know, in in very little time that would have taken millions of dollars in an office space and whole funding rounds to do back in the early days of netflix. And in a way that's great in a way that's a real challenge. You can do a lot more with a lot less as an entrepreneur, which means that you have to, so my questions are all about really getting started really going to the next level going from not nothing but something to something, you know?

And have you started, do you have something yet?

I mean do you have an approach

that you're taking that you think is going to make you the transform the buying of art.

Yeah. Yeah. I'm speaking about this because I've been really pleased with the response from our open Alpha. So you can go onto our website, you can check out our open Alpha, That's floor dot ai F L e Ur dot ai. Um what happens is you take a quiz, we get to know you get to know your taste before you even articulated them usually, and we connect you directly with artists who are right for you. It sounds awfully fundamental, but the problem is awfully fundamental. Most people don't even feel comfortable saying what their tastes are saying, what they like expressing themselves when it comes to art. So they disengage, they never take that first step. They never walked down the path, even though they want to. So, like 90% of our users have never really engaged with art in the past. That's really exciting

to me. So, so Riley, I'm tell me what you're doing and tell me what the price, how give me some sense of whether this is working or not. You say you do have a website and people are buying art from you or through you. I mean, that's what I'm let's let's just figure out whether you whether this is conceptual or whether you're actually struggling with something real.

Sure we are struggling something real. Um let me actually share a bit of the story because I think, again, this marketplace idea keeps coming up which is actually um speaks to the original point you made you first made that this people keep tackling this issue, but they keep tackling as a marketplace. People think that the way people want to engage with art is as a marketplace and that's just not how most people engage with art most of the time. That's certainly not how most people begin their journey with art. Um we started as a marketplace, for example, when we all got together in the midst of the pandemic, we wanted to make art accessible for everyone. So we started working with a younger, more diverse body of artists selling to a younger, more diverse body of collectors. It was fun, it was going well, but it wasn't a systems level change,

it wasn't going to be big or or or important enough change for artists. And we were still extracting value from artists in the form of commission. So we were wondering what to do. And friends and peers kept coming to us asking, hey, you know, I really want to find abc artists, I really want to find X. Y. Z artist or they would come to us and say, I don't know what I want. Um can you help me find it? Can you help me articulate my taste and help me find artists who are speaking directly to it? So enough people came to us with this problem that we decided why don't we build technology that does this, why don't we build a platform that does this for them. So we built out um you know,

curation algorithms and some basic artificial intelligence models that would get to know people's tastes often times before they'd even articulated it themselves, Find them artists who speak to that taste and then connect the two. Um Now what we've done is we've launched this as an open Alpha. So getting people on board, usually people who have never engaged with art in the past and connecting them with their first artists, feeding them more, trying to create as many of those moments as possible. The next step is making those recommendation algorithms better, but it's also creating points of engagement on top of that on top of that platform? It's finding new ways for people

to engage. Once you connect somebody, do they buy a piece of art from you? Is that what the model is here?

That's definitely in the cards for the future. But again, most people don't engage with art just to buy it. Most people want to engage with art because they feel a sense of relationship to an artist. So to answer the question,

companies purpose are you trying to sell art or not trying to sell art? That's I'm still confused.

Right. Well, I think the underlying question is maybe what is the business model? How do we make money? Um which is which is the point I'm getting to, you know, which is the point of getting two subscriptions right? People want to feel a sense of connection with an artist. People want a personal para social relationship with the creator. Um they do that over time, they do that through sustained engagement. And it is only then that they buy if they buy it all. So for us, you know, rather than compete with every other art dealer in the world for that small percentage of people buying art that small percentage of the time, why don't we actually create those points of connection? Why don't we actually help people build relationships with the artists that make them feel more confident that make them engage with art more and actually monetize that time, monetize that engagement. Um you know,

so right away, I will dig in here for a second. Um and just the thing that I'm struggling with is not just me struggling with it, it's trying to get a really clear picture of what the point is. Um and I can't tell whether that's just a challenge of articulating it or whether you don't have this really clear, narrow point of what you're trying to accomplish, because if you don't, it's that's just the first step toward flailing. Um for example, you mentioned netflix a few times, and is that and every other startup been involved with, there was always this very, very clear thing that we were trying to do what, how we would measure success, what we were trying to get an end user to do, because you have to do the first one before you even get permission to the second one. And and I also mentioned one thing just to draw the line between perhaps what netflix is doing,

what it sounds like you're trying to do is that netflix, We were not trying to create demand for something. This was not like only only 2% of all people in the world watch videos And we're going to create a new way to watch videos which allows people to watch videos. No, there was 9000 blockbuster stores. You know, there was 100 million people who watched videos. We were just trying to do it a different way. We're trying to solve some of the problems of how that worked. But there was a very, very established market about that we knew about. So our focus was not, can we get someone to watch movies? It was can we get them to accept selecting them and having them delivered to them in a different way. Very narrow problem. Not saying it was easy.

It was brutal because there was a lot of uphill you had to do to get someone to get it in the mail and get it in two days versus drive 10 minutes down the street to your blockbuster. Nonetheless, I wasn't trying to get people to watch more movies and that's why I'm really was trying at the beginning to folk get you focused on what's the problem you're really trying to solve. And I'm a little scared, I'm not there yet, but I'm a little scared. This is the classic. I have this solution and now I'm just looking for a problem. I really want to use ai to predict what you're going to like. Now let me figure out some reason why that should exist as opposed to going the other direction

and whether

it's you articulating it more clearly to investors or two advisers or to customers, that would be a really, really powerful thing to do.

Sure, that's that's a good note and I appreciate that. That is kind of young entrepreneur articulation issue, but I want to be really clear about something. We're not creating demand. The demand is there? Everyone wants to engage with art. Now, let's be clear. I say, engage with art, find connection with artists, relate to artists as human beings.

You have 98, you have a huge number of people who have lots of money. Okay. and 98% of them don't buy your own number If they wanted to. There's not some huge funding. It's not illegal. I mean, listen, it was legal, but everyone wanted it. You would still see 20% of them buying it. I mean, it's just that there's something you're missing here, that I in other words, I don't accept your starting premise if or I want you to say I can unlock that. There's some there's some fundamental reason why no one buys art And here's what it is. But that's what I mean by this real clarity of it.

Or you go for the two who buy art fine. That's a huge multi billion dollar market. And I think we can disrupt that because we can do it for half the price or we think there's this category. I mean, I don't know who in other words, that's what I'm trying to look for is some real clear problem. So I'm sorry to interrupt you,

but

I I get what you want to do. You want to do basically a sina match, you know, for art basically say, which is we great if I could predict what someone likes, so I could introduce them to artists they're gonna like and establish this connection with an artist they're gonna like, but that's not a business or at least I want to hear how that's a business.

Sure, sure. Well and again and again, I I appreciate where you're coming from actually, I appreciate the hard questions. I know this is this is kind of fun and well and actually, well meaning and that does matter. Yeah, I mean the problem is people do want art in their lives, people do want to call, people are calling up for art, but let's be honest, galleries are terrible, like who, especially what young person who doesn't come from that world, wants to walk into a gallery and be looked down on, be humiliated you wonder why people aren't engaging with art.

That's why, right? Because the pathways that exist today, the user experiences that are available to you today totally suck. Um surprise, surprise most people aren't doing it and surprise surprise most young people aren't doing it most people and, you know, the technology industry aren't doing it. Um when I was a, you know, young stanford grad studying art history and wanting to, you know, open up access to art for my peers, everyone told me no one wants to know your generation doesn't like to buy art. Your generation is all about experiences. And I think the way that we engage people don't change,

right? Not fundamentally the same things that we're doing now, we're doing, we're a caveman and whether that's having music in our lives, having entertainment in our lives or having visual art in our lives that hasn't changed, right? The thing that's changed is we live in a system where access to art is dominated by terrible user experience, brick and mortar, galleries, pretentious art advisers, things that aren't for most people explicitly deliberately by design. That's something that we're looking to change. That's something that we're looking to unlock by creating, um not just a fun techie, you know, recommendation engine, but a comfortable place for people to land where they can scratch this fundamental human itch and do it as a subscription platform.

Well, I'm fighting to not say prove that to me. Okay, because I don't believe it. All right. But listen, you know, I I love people proving me wrong, but I would love for you to demonstrate that all these impediments are in fact the thing that will unlock that, removing these impediments will unlock it.

I because

I don't I don't I don't people people have been destroyed or I put it this way, I haven't heard what is the piece that you do that eliminates all these things. It's automatically predict what someone wants and that that has gotten rid of the snooty Art advisor has gotten rid of the gallery, the intimidation and that does it. Is that is that the point?

No. The way that people get involved with art. First of all, it's social, right? You you do it and and and you don't do it in a vacuum and do it in a social way. Then you create content, you context, you engage with content, you educate yourself, you are in the language, you find artists you like, you figure out your own tastes and then you're really in it. Then you're in a place where you can engage more, bringing more people buy if you so wish The problem is every quote unquote solution that exists in the space and you set it up top there are a lot of them. There are a lot of people trying to crack this egg. They're all about that last pillar.

They're all about the final mile. The problem is they're all solving for that 2% of high net worth individuals. They're all preaching to the choir. Um really this is an approach issue, this is an audience issue. No one is preaching to the congregation and no one's doing that with more than rhetoric. You know the N. F. T. Crowd talks a big game about democratizing art but they're actually not preaching to the congregation that's actually not built into the product. It's not built into their design. It's um like you said there's no one killer app there's no one technology or tool or special sauce that's going to fix this problem. It's about connecting with this kind of untapped audience uh in ways that work for them and making them feel comfortable and confident and actually creating ways for them to take that first step um better than existing.

And what is that step that you're giving them to? That first step you're gonna give them to take.

I mean it's our platform, that's the whole that's the whole product

and the platform is you come in and what happens,

you come in you you take quizzes, you give us a sense of your taste and then you start engaging with artists who are right for you

and do you and and and this is showing to resonate so far that it's working. Yeah

in a in a limited way now I'm not you know one of these people who's gonna say, you know, we have this figured out, I am very aware of the fact that we don't I'm very aware of the facts that were three uh, founders who are really passionate about this issue, who really want to create access to art for everyone who wants to create better structures for artists, that's why we're doing this. Um, and we're iterating, we're experimenting, we're finding early

success. I understand a bit better. So, um, as you've seen by my struggle to get it, and I'll be quite honest by my cynicism is basically because pointing out all the reasons it doesn't work, um, and hasn't worked in the past is not that useful. Uh, and so I accept the fact that it hasn't worked. I understand that there's no sense in, but what I'm really trying to get to and what I think you have to get to if you're not there already. And what I think more importantly, every entrepreneurs to get to is as this very, very clear sense of what my hypothesis is about what is going to unlock it. What I expect the unlocking to look like, in other words,

what do I want to see happen if my premise is correct, and, uh, and in my opinion, those things should be very, very narrow and very, very concrete that if I'm right, and I do this small thing, then the following thing will happen, and the danger is building out some something big and complicated with, and then lo and behold, it doesn't work, and you never then you go, okay, great, I've now added to the list of things that don't work,

which is not certainly isn't very fulfilling. It doesn't, it doesn't is not what a startup should be about. It's really saying narrowly defining what is the problem and trying to solve, but not in this generic way that people don't buy art. Yes, that's the world you're living in, but way, way closer, here's what the specific problem is that my hypothesis is that this might do it, and here is the test I'm gonna run, and here's the evidence that I want to see that if I'm doing it correctly at a very, very narrow thing. If, for example, you go,

it's my taste quiz, well then I want to see on the back end some very, very clear metric of what happens if I did a good job, but more importantly, that doing a good job and a taste quiz results in some concrete action that I actually want. And and and you have limited people, you probably have even less money and even less resources, you've got to narrowly focus on it, because what you have to demonstrate in this first iteration is that my premise, which is that doing if it is doing this building this platform where I match people up with artists who they resonate with because of what taste thing does the following and wow, it does, it's amazing how well it does it. But uh and and that's I don't I don't sense that you have that narrow focus, which means which makes me um concerned about your ability to actually achieve it. You have a good vision, it sounds like what you want to build,

but not this very narrow sense of what specifically in this first iteration you wanted to accomplish. It does not need to be, it makes money, does not need to be. Its cells are yes, I'd like there to be a path To eventually there's a modernization. But if your premises, the thing that's been missing from 2000 years of art sales is this. And look, I've constructed, I've built this experiment, our whole startup is this experiment that this missing ingredient, we're onto it. I'm sure it's this and I'm gonna test it and if I'm right, here's what's gonna happen. And I just don't understand what that one narrow thing is,

nor do I understand what that went and how long have you been working on it for a little bit. And have you gotten that that peace? And it shouldn't, even if you say it's gonna be, I'd even accept it completely non technical solution because the technology might make it repeatable and might make it scalable, but it may not be required to make it possible. If you really thought it's about introducing people, then do it, you guys are art, people do it manually and demonstrate that, look what happens when someone does get connected with art? They love, boom, it takes off, but that's where you should b

no, no, no, no, this is, this is incredibly helpful and hey, like as a young entrepreneur who didn't set out to be an entrepreneur, didn't set out to be a tech person or a startup person, but wanted to solve a problem. I care really deeply about this, great advice, I actually really appreciate that. Um, and hey, I mean, you know, if I can take a second to walk through the problem is solution. I'll say people have been doing

that man, I don't want the problem, I want to know what your premises and what and what evidence you have gathered so far that your premises correct?

Right. I mean to your point of what has been missing from the last 2000 years of, of the art world,

What's missing from our world in

the last 2000 years

that your precise,

sure precise emotional connection between artists around the world and art lovers around the world. People can do what you say they can do manually person, a person in a very limited sense, but that's not scalable. You can't connect with an artist in a really personal way if they're in kenya, but they're doing something that's really right for you, if they're in

now, what do you, what's your first generation experiment to solve that problem?

Yeah, sure. Well, the really exciting thing for me is that we're working directly with the artists to gather this information. We're working with artists everywhere to gather this information and you know, I started with the problem for users, but it's a problem for artists to, artists don't want to be working with a local gallery that takes 50% if they can help it. They want to passively connect with people all around the world who appreciate their work, who are algorithmic, li curated to like what they do and yeah, maybe buy it down the line, but that's what we do, right? So we are working with artists around the world, gathering data points from them that no one else has or seems to be interested in, you know, galleries, you know, collect data points like price and size

and now you, you have a bunch of people who want, you found who, who may want to engage with artists, correct? You found a bunch of them?

Yes.

And you're connecting them how?

Yeah, well that's what I was going to work through. So these artists are helping us build a database and again, it's not perfect. I'm not gonna say that it's not expensive. It doesn't say that I don't care about that, but it is, but it is unique. It is proprietary and it is self learning. Um, it gets other subjective data points, you know, not just, you know, things like price and size, but artists identities where they're, you know,

where they're working, but what kinds of emotions does this engender? What are the actual words that people use to describe these works of arts? The reel kind of nuanced but quantifiable things that make us engage with an artist. Right.

And what are you doing from the to find customers to collide them with these artists

right now? Yeah, well you you made a good point earlier that we're actually starting with very few resources. Um, I mentioned that it's never been easier to do what we're doing, but it's also never been harder. Um, what we're building out now is the, is the technology building out the database, building out the product, testing this with a limited but growing number of users who really like what we do. Um, we really want to get behind the ball on this first before we start rapidly trying to sell something that people don't actually want.

Right, okay. I got I'm ready. And I'm sorry, this has been, this has been more aggressive than I normally am. And I, and I

apologize,

yes, I'm not like a beat you up type of guy. So, but listen, you need a little beating up here. Sure. Uh, in my opinion, which you are welcome to ignore. But in my opinion, you have got to start getting real live human interaction with your idea and you have this preconception, I can tell that you've got to have these unique artists, you've got to have all the data points. You've got to be figuring out all that bullshit. You do not fake it, make it up, scrape the web.

You don't need real people to the if you really are a smart kid and are your other two co founders of a kid? Are the other two co founders. They also from stanford. Is that okay? So you're three really smart Men. Um so what I want you to use is stop using all those smarts to build databases and design structures and figure out data points. I want you to go back and spend 48 hours and do nothing but say how can I buy next week, start getting a whole shipload of people colliding with this art data and seeing what happens. Stop thinking about this. I mean, your your your your your data you're making up the data points you're going on and maybe it has to do with how tall they are. Maybe it's we need to have what medium it is. You do, who knows, make it make up have fake artists scrape art that's not real. It's other people's art fake the database because you don't doesn't need to be real right now.

Right now, you're trying to understand you have this fundamental premise that says if we have this great data of art and we have all the different points, we can connect people and we have all the people, we learn their points and we match them, there's gonna be this magic explosion. Well, I promise you the first time you do it, there's gonna be this, here's the explosion, nothing's gonna happen. And you're gonna go, oh, what happened either is our premise wrong? No, no, we're confident.

Let's try this one. You've got to start doing that. You've got to go faster and faster and faster and faster. I mean, here's my art, Okay, Oh, this is perfect, this is my art story. Okay, so, um you know, the school that I went to, I think stanford has it too. It was it was basically a 414 where you had like a fall semester, spring semester and a short winter term.

And one of my friends was studying with this really world famous artist, a sculptor, she was a sculptor, and she made these incredibly complex sculptures, like fractals almost. They took her months to do one. So, the first day with the big fancy artist, she starts in and she's starting it and she kind of has the base bill, maybe the first thing is coming up and the end of the day, the famous artist comes around and looks at it and goes okay and squishes the whole thing flat and she goes, what are you doing? Goes try again tomorrow. So she works a little faster and she gets it up couple six inches and he squishes it flat end of the day. And each day he just totally destroys it. And she gets the point which is that building one thing over 30 days,

she's not gonna learn shit that what he wants her to do is experiment, go different directions, try different things, make it crappy. But and that's what you as you what you have to do with this startup is you've got to move much much faster through the experimentation phase because you're trying to solve a problem which by your own admission, no one has solved before. And if you think oh we know what it is now we just need to build it. You're wrong. I mean, not that I know anything about art or even about your idea, I just know that your first take on it is wrong. And the people you have where the well many people who are helping you, you're not getting enough data, you've got to figure out some way to quickly launch something in some rudimentary, non repeatable, non scalable way to find out whether in fact you have a clue whether you're right or not.

And you know I started off by mentioning at the very beginning of the intro how many people have tried to solve this problem. And if you come from the premise that oh we finally have the idea you don't um that that I've seen I mean really I've personally been involved a company who was trying who had the exact same thing and they were pretty far along, they had a really interesting angle and it still doesn't work. There's some fundamental thing they're missing which someone and hopefully it's gonna be you and your co founders are gonna figure out but it's not gonna come from, oh my gosh we have it. It's help right up here quick. Let's build it and we'll still it's gonna be amazing how it's gonna do. You know you're gonna learn it by getting in there and trying stuff and be humbled by the fact that only 2% of high net worth people buy art. There's something broken there that's not easily simply fixed. Be humbled by the fact there's been 100 different startups trying to democratize art. Be humbled by the money that's pouring into as much as you trivialize it. N. F. T. S trying to do that. This is a really hard problem.

And the ones that are not which everyone's been trying to crack for a long time are the ones you should be most scared about because this is not no one's I promised this is not no one's thought about it. This is everyone's tried. A million people have hammered on this. There's something about this that none of us really understand. There's some fundamental reason why people aren't doing this. It is a broken system. Art galleries suck. I mean apologies to any art gallery owners. Um They do it's just you're right. It's a terrible way. And the evidence is how few people buy art, but you're not the first person to recognize this. You're not the first team to go after it. So you have better be trying some dramatically rapid iteration ones to learn what is the fundamental broken piece and what are you doing

to fix it? Yeah, come

on. You're, I mean, you're, you're at the point now where you can do this. But listen, you don't need to do exactly what I said, but I would back up and go, what can I, we can't wait to build this and have it ready. What can we do to fake it. Startup 101 figure out some way to test your premise. Now, next week tomorrow behind the scenes use paper and three x 5 cards and waving your hands and fake art just do something to stumble on and and and decide in advance what success looks like. What, how will you know when this thing is taking off anyway, enough about enough about this.

You get that. You get the point, but um, don't stop with the hand waving about all the problems and how this is gonna be the unique one to solve it. Uh, you're gonna get the exact same question from me that everyone's thinking, even if they don't say it, which is prove it.

Fair enough, Fair enough. Well, there's only really one answer to that, which is okay. We'll try and prove it

and here's your chance. I would love it. Love it if you came back in six months and go, hey, we showed you Randolph. Okay, so there's your challenge, proved

me wrong. Show

that you actually had it nailed and in fact, you took this idea that you had, you hacked it together. It worked and you built it out and oh my God, you are changing the art world and I'll be the first person to buy a piece of art from you

or more realistically takes longer than six months. It's not this idea. It's three ideas from now. We

don't know what it is, but

we get

we keep trying. Yeah. Well done. Yeah. That education getting somewhere after all.

Yeah,

it's good. A lot of respect for a lot of respect for you. So listen, go, go get them and then prove me wrong. Let me know. But again, start doing, you know, get to make some progress. That'll make you guys really pumped up. That'll be all, a lot more. Look what we've done rather than here's what we're thinking and that that'll bring a lot more people on board for you Riley. Well,

that certainly that certainly sounds good to me.

Good work. Um at least you're starting, Most people just sit and dream, you're doing something about it. So props for that. Okay,

well, I appreciate it. Thank

you again for your time. My pleasure. Good luck Riley. Well that's all for today's episode. That was a classic case of stop thinking and start doing, don't fall in love with your idea, fall in love with the problem and figure out some way to quickly, cheaply and easily collide that idea with reality. I guess today it took me giving Riley a little bit of tough love and hopefully it'll push him over the edge. So if you've got an idea and you might need a little bit of tough love, I'd love to have you as a guest on the podcast, simply come to Mark Randolph dot com forward slash guest to apply. If you liked what you heard today, take a minute to subscribe. So you don't miss a single weekly episode. If you've got a business problem you're struggling with and would like to join me on the show, simply come to Mark Randolph dot com forward slash guest to apply.

If you enjoy hearing about the topics of the show, why not read the book that inspired it? The paperback that will never work The birth of netflix and the amazing life of an idea is out now for purchase online and in all good bookstores and did you know, there's also a video version of what you heard today, check it out at youtube forward slash Mark Randolph, there's new episodes every Tuesday and finally if you'd like to get my entrepreneurial tips in short form. Follow me on, linkedin twitter instagram and yes, even Tiktok Hilton Media Group.