AV Geeks 16mm Lunch 9-3-2025

Hello everybody. This is Skip Alzheimer. Welcome to the AV Geeks Lunchtime Streaming Show where we watch old 16 millimeter films. And um if you know what these are all about, my eyes are dilated. Uh I just went to the eye doctor. Um and so there you go. Uh so now everything is very bright and a little fuzzy. Um but we still got some 16 mm films to watch. So what's the big hurry? [Music] [Music] [Applause] Heat. Heat. [Music] Heat. Heat. Heat. Heat. [Music] Hey, [Music] hey, hey. [Applause] Heat. Heat. [Music] [Applause] Heat. Heat. [Music] Heat. Heat. [Applause] [Music] Heat [Music] up [Music] here. [Music] Heat. Hey, heat. Hey, heat. [Music] Hey, [Music] [Applause] [Music] hey, hey. [Applause] [Music] hey, hey, hey. Heat. Heat. [Music] Heat. Heat. [Music] Heat. Heat. [Music] Heat. Heat. [Music] Heat. Hey, Heat. Heat. Heat. [Music] Heat. Hey, Heat. [Music] Heat. [Music] Hey, heat. Hey, heat. [Music] Heat. Heat. [Music] Heat. [Music] Hey, Heat. [Music] Heat. Heat. [Music] Heat. Heat. [Music] Heat. Heat. [Music] Heat. Heat. [Music] [Applause] [Music] I don't get it. I'm Maybe I missed something. uh because my eyes are blurry, but uh I I didn't get it. I did not understand. Maybe somebody in the comments can spell it out for me, but it just seemed like I don't know. Maybe I'm cutting this film no slack, whereas I cut all the other films that I show slack, but this one just uh you know, and the other thing is like the uh the silent film soundtrack great on my nerves pretty seriously. Um not a fan. So maybe that's what it is. All right. If nothing else uh in watching our films, I hope that you learn to stand up for yourself when it comes to peer pressure and drugs. I tried to show this film yesterday, but the man wouldn't let me. So, here we are today. Enjoy. [Music] [Applause] [Music] 1985 Regal Waffle Face. >> Marilyn, we're glad you were able to get [Applause] Who is it? >> Who's there? >> Help. It's not me. No. No. Yes. It's not me. Help. Help. >> Help. Help. >> Help. >> I thought you guys were going out. >> We're back. Don't get any ideas about hanging around cuz you're not. Okay. >> Little children. I'm sorry. This is a PG movie. >> Oh, I've been waiting to see this for so long. >> Forget it. Nikki out. Come on, please. No. >> Thanks a lot. >> Oh, Louis, maybe we should give little Beaver here a break. You did it, JT. Come on. >> No, I'm serious. I mean, what's the big deal? He's cool. Are you cool? >> Yeah, >> right. I mean, the boy is 12, Louis, think back, man. >> All right, he can stay. Owe one. You owe me one. Okay, let's get this party rolling. >> Let's get this movie watching. JT, >> what? >> Will you relax, man? He said he's cool, right, Nick? want to. >> Well, >> I'm thinking I don't know what to do. I mean, I don't want to smoke it, but if I don't, they're going to think I'm a baby. >> There are things that you can do. There are ways to handle pressure. This workshop is to help find ways that will work for you guys. >> Let's see if we can help Nikki out with his problem. What can he do about his brother? >> Well, it sounds to me like his brother's the one with the problem. >> Yeah. Okay, but Nikki has to take care of himself first. What can he do? >> Well, he could just take the joint and put it out. >> Great. My brother would kill me. >> You could pretend to smoke it and not really do it. >> Nah. Look, if you don't want to do it, you should just not do it. >> Well, how do I do that? >> Say no thanks. >> Yeah, >> no thanks. That's all. >> Why not? >> Nikki, what do you think would happen if you tried that? >> Want some? >> Well, are you going to take some or what? >> No thanks. >> All right. >> A lot of times that's all it takes. A simple no thanks. Just let people know you're not interested. >> Right. >> Hey, Athena, you want to hit? >> No thanks, >> Charlie. How about you? >> No thanks. >> It's all it takes. >> No big deal. >> What if they keepounding you? What if they're like, "Come on, come on, try it." >> Yeah, >> really. That's exactly what JT would do. When you say no, he thinks you really mean yes. >> Come on now. Give it a try. But are you afraid that you're going to get caught? Huh? >> No. >> What's the matter then? Go with the flow here. >> No matter what I say, he keeps trying to persuade me. I mean, I like JT. It's just >> It's just he's putting the pressure on you, right? >> I've got an idea. Let's try something. Tanya, try to get me to take this pack of gum. >> Go ahead. >> Go on. Go for it. You want a piece of gum? >> I don't want it. >> I know you want a piece of gum. >> Take it. >> I don't want it. Really? >> Take it. >> I don't want it. >> Come on. I know you want a piece of gum. >> I don't want it. >> It's no big deal. >> I don't want it. >> She doesn't want it. I go, please. >> That's great. She gave the same reason over and over. >> That's right. It's called being a broken record. Same reason over and over. Here, let's try it. Okay. Uh, make this pen a cigarette. Okay. Hey, Athena, you want to smoke? >> I don't smoke. >> What do you mean? Here, just take it. >> I don't smoke. >> What are you being so uptight about? >> I'm not uptight. >> No, don't argue. Just stick to the broken record. >> What are you being so uptight about? >> I don't smoke. >> What do you mean? Here, just try it. >> I don't smoke. >> Great. >> Good. >> I get it. So, no matter what they say, you just keep saying the same thing over and over. >> Exactly. Come on, Nick. Give it a try. >> I don't want it. >> But are you afraid that you're going to get caught? >> I don't want it. >> What's the matter? Come on, relax. Go with the flow here. >> I don't want it. Really? >> You don't want it? I don't want it. >> I don't think he wants it. >> Will you shut up and watch a movie, JT? >> If you stick with it, eventually the other person's going to give up. Being a broken record means exactly that. Say one thing and stick to it, >> right? You wear them out. >> Exactly. They're going to get tired of asking. >> Yeah, but what do you do when people, I don't know, like make fun of you? >> Like how? Well, sometimes people, you know, they tease you. They call you names and stuff and you feel kind of rejected. >> That's happened to you. >> Yeah. >> Go on. >> Okay. There's this girl, right? She's like my best friend. Her name's Lily. >> Did you see what she was wearing? >> One Saturday, we went to the mall. Me, Lily, and this girl, Andy. And we bought this great lipstick that we had to try on. So, we go into the restroom. I go, "Michelle, why are you being so uptight?" And she goes, "I am not uptight." And I go, "Michelle, you're one of the most uptight people I know." What do you think? I like it. It needs something. >> Looks great, Lily. >> Check this out. Is this cool or what? here. What's the matter? Nothing. I just Tanya completes the look. >> I know, but you're so boring, Tanya. She's not always like this, Andy. Usually, she's fun. I'd never smoke a cigarette. My mother would kill me. She's just scared. Yeah, that's really true, Tanya. I don't know why you're so scared of everything. It's just one cigarette. Big deal. I felt betrayed. I mean, she's supposed to be my friend. I don't understand why she was treating me like that. >> Yeah, it's it's really unfair when people do that. What do you do? I mean, I don't want to get in a big fight with her. >> Okay, Denise, you be Lily. Okay. Can I have the gum, please? >> Get me to take the gum. >> Okay. >> Okay. Tease me. >> Okay. Here, take it. No thanks. >> What's the matter? Afraid your mother might catch you? Afraid you'll get in trouble with your mommy? I don't like them. It's bad for you. >> You're such a baby. I don't understand why you just can't relax and stop being so uptight. >> Why are you picking on me? >> What? >> I said, "Why are you picking on me?" >> I don't know. That's great. You pressured her, right? It's called reversing the pressure. He didn't get mad. All he said was, "Why are you picking on me?" >> It's just one cigarette. Big deal. >> Why are you picking on me? >> I'm not picking on you. >> Yes, you are. You're making fun of me. >> I was just joking. You don't have to take it so seriously. Hey, you know those shoes at Kimbles? The pink ones. >> Yes. They're perfect for you, Tanya. Let's go. Come on. >> Reverse the pressure. Just put the pressure back on them. If they're really your friends, they'll stop teasing you, >> right? They want to be your friend just as much as you want to be theirs. >> Exactly. >> What about when you go to a party? >> Yeah. I mean, sometimes you go to a party and there's beer or whatever and you feel I don't know, like everybody's doing it and I'm not. >> You get to a party and you feel kind of out of it. Let me see if I can explain it. Okay, take last weekend. I got invited to a kind of parents out of town party, right? [Music] >> I get there and I sort of check things out. I see some kids with beers, but I can handle that. I just look around for somebody who isn't drinking and hang out with them. >> Marissa. >> Hi, babe. >> How's it going? >> Pretty good. >> Pretty wild party, huh? >> Yeah. >> My problem is dealing with people like Chad. >> Ben. Marissa, you having a good time? >> Yeah. >> Great party, Chad. >> Pretty boring, actually. But listen, you guys want to have some fun? Definitely. >> Sure. >> Let's check out the real party outside. I was just on my way. You want to come? >> It'll be fun. Come on. Come on. Come on. Come on. Come on. Come on. Come on. >> Sure. >> Great. >> Ben, come on. Now, I want you guys to know that this is special invitation only. >> So, where are we going? It's over here. You guys are in for a real treat. See, where did I Here we go. Uncle Chad's highly confidential secret stash. Ben, I'll give you the honor and the privilege of being numero uno in line. >> Look, I don't know, Chad. >> Hey, look, I know Marissa's going to have some, right, Marissa? Sure she is. Okay, man. It's up to you. Let's send this party into orbit. He's got me trapped. I know he's not going to stop pressuring me. You see, it doesn't matter what I say to him because he's not going to listen. >> What if you just leave? Go back to the party. Yeah, just walk away from him. >> Oh, great. That's easy to say. But I can't just turn around and leave. I'd look like a jerk. >> It's not that hard. You just have to do it. Maybe make up some kind of excuse and go. >> Yeah, but Ben's got a point. It's hard to just leave someone. Bye. But like Tanya said, you can't come up with a friendly, believable excuse. Somebody's waiting for me. I got to go. And gracefully ease yourself out of the situation. Okay, man. It's up to you. Let's send this party into orbit. >> I got to go back. >> Come on, man. Don't give me that. >> No, seriously. Milton's waiting for me. Look, I'll be inside. Catch you later. Do you want to come, too? I'll walk you back. What is this? I >> I should go. Milton's probably wondering what happened to me, too. >> I thought we were going to party. Go ahead, man. Have fun. Catch you later. >> You know, you could have stayed if you wanted. >> Are you kidding? I just didn't know what to do. Thanks. >> Sure. >> Can I ask you a question? Wait, >> who's Milton? >> I don't know. I used to feel that it was just me, you know, that I was the only one, but that's just not true. I found that a lot of kids want to say no, and a lot of kids do. It's okay. >> I used to be afraid of what my friends would think of me, but I have to like myself. I have to respect who I am. Friends respect you for that. It's like the best friend I have is me. >> Really? There's lots of ways to say no. Try them. Stand up for yourself. Okay. >> Okay. >> Okay. Let's get out of here. >> Mickey, you want some gum? I don't chew gum. >> You sure? >> I don't chew gum. >> Tanya, you know you're not afraid of a little piece of gum, are you? >> Why you picking on me? >> Ben. >> Hey, Ben. Whoa. >> I got to go. >> What is this? He >> catch you later. [Music] gum. Want some gum? At least they said no thanks instead of just say no. It was like no thank you. Um, at least you're being polite. Like, no, you paid a lot of money for that drug, so it will be wasted on me. Uh, let's see. See what do we got going on here? Let's uh learn about our urban alternatives. Enjoy. It's pretty obvious that our cities have problems. Real problems. We can all see the crowding, the decay, the confusion and ugliness. It's easy to complain about the way the city is now, but what do we think it should be? [Music] The city is a man-made environment. This is where most of us live and work. Over the years, people built this urban environment and they built it for other people to use and enjoy. For decades, well-intentioned efforts at urban renewal have attempted to make this environment more suitable for the use and enjoyment of people. Many of these efforts failed. If housing downtown decayed, build new housings left over, plant grass, call it a park. But this approach to urban problems hasn't worked. If the city is to be the kind of human environment we all want it to be, some alternatives are required. [Music] In response to the failures of the past and the challenges of the present, a new profession has evolved. These are architects, urban planners, designers, landscape architects, sociologists, traffic engineers, and others. And they're working together as a team. They call themselves urban environmentalists. And their work is to bring positive change to the city in many kinds of ways. [Music] [Music] [Music] A city is always being changed and adapted in response to the needs of the people who use it. What these people are trying to do is to ensure that the changes are really improvements and that the changes are the things the community wants. They work on shopping centers, housing developments, parks, and entirely new communities. They study entire municipal areas or small neighborhoods. They plan where new growth should happen and where things ought to be left alone. By working together, they can develop ways for recycling the decayed core of an old city or plan a small neighborhood park. But whatever they do, they think about the needs of the community, about the things people say they want in their city. The result is change. And in small ways, in cities all over the country, things are happening that make the city a more humane environment, a place people can even enjoy. [Music] There are a number of basic problems facing almost every American city and streets like this one are one of them. For many of us, this is the only place we had to go shopping. You've got to have a car to drive from one store to the next, from one stoplight to the next. It's ugly, chaotic, and inefficient, but it's all that is available in many cities in this country. Like so many of our urban mistakes, it wasn't really planned. It just happened. There are several good alternatives to the commercial strip, and this is one of them. It's possible to make shopping areas very pleasant, attractive places for us to use, like this mall in Colombia, Maryland. It draws people from 30 m away. people who could shop at nearer conventional places but who like this environment much better. >> You know, the best way to see what people like is to watch people to to go to to sim similar establishments uh and see what they're doing, see what is lacking. The best way to learn is to build on other people's mistakes and to study if something is successful exactly what makes it successful and how can we make it even more so. The mall seems to be tremendously successful. There people there really genuinely having fun enjoying the space and what it has to offer almost completely aside from the the shops and stores that form the space. It almost becomes a recreational facility. >> This kind of mall isn't the perfect answer to every commercial street in every city, but it is one alternative. [Music] >> I think we have over relied upon one mode of transportation that is the car. we've completely relied upon the automobile to the detriment of other more intelligent ways of moving people around the city. To me, that's that's the problem. Uh you could say that historically that cities have been uh shaped by the kinds of transportation modes that we've relied upon. It was primarily pedestrian say in the last century and then the street car came along and really affected the cities and uh now we're into the automobile. But when you have an automobile city, you know, everything is accessible and there's no logic to the to land planning and so it's just all this it's complete sameness throughout the entire city and complete sprawl. Now we need automobiles. We just think that other things should be included in in the pile. >> A city needs all kinds of transportation facilities. Each mode has its own requirements. Pedestrians can move about in safety if their needs are considered. But we need buses, bikes, cars, and rapid transit to make sure that all the people are able to move around in their environment. If you find that one car can carry one person and one bus can carry 40 people, it would be a much better alternative to utilize a bus from a system standpoint. In many cities, alternative forms of transportation have been allowed to decay as the automobile dominated the urban pattern. Often, bus service was the first victim. But a few years ago, bus service on this major commute route was improved to attract people out of their cars. This is the peak of the rush hour. Yet, traffic moves swiftly because each bus replaces 40 cars. An alternative would be just uh like they're trying to do with BART. That's a fantastic alternative. And if that can work in many other cities in the country, I think we can have a much better city. This is BART, the Bay Area Rapid Transit System. the first rapid rail system built in this country in 60 years. It links the major communities of the San Francisco Bay area. Other cities are either building or planning similar systems and already fast, efficient, economical, rapid transit is changing patterns of growth in urban communities. [Music] An unfortunate consequence that we're faced with in development today in cities is the destruction of some of our fine, really fine old buildings. Buildings with a heritage and good design. Now, you can't save all of those. You can't always keep those buildings. You can't save everything. But certainly, we could be much more discriminating in in our removal. I don't always like restoration. Restoration to me means to return it to its original appearance almost as a museum piece. I like the idea of recycling. That that way it doesn't end the life of the building. the life the life of the building continues and it may house a different function but essentially it's it's a new useful and up-to-date function and activity happening within an old structure and you kind of get the combination of the old and new rather than just a dead monument. Girardelli Square was was designed to be the backdrop or a stage set for people's activities. It was an attempt to take existing buildings and recycle rather than restore those buildings, keep the history and the tradition of those buildings, but apply new up-to-date modern functions within their walls and and thereby keep the thing current, keep the thing alive, alive today, but very much attached with its past and its history. And it it serves as a set. It serves it it gives a lot of opportunities and and choices to the to the participants. [Music] When you go to to Dear Delhi Square, you become a participant. You take part in something there. You utilize the set [Music] Too often there is no refuge from the noise and activity of the city street. No places to rest, to eat lunch, to enjoy the sunshine, or just visit. >> For every car, every automobile, we should have one tree and for every truck, we should have two trees planted just to try and overcome some of the pollution problem. I happen to be interested in in the planting that goes on, but um I need to work with designers so that we can do it together. If they're developing a certain area or interested in making some alternate suggestions on a solution, we work together and we talk about it so that the plants are very much a part of the overall design. Plants in an urban environment are carefully chosen to solve the particular problems. Uh if there's wind or salt air or problem soils, um the plants have to be chosen that will survive these local conditions. I think we need growing things to balance our lives. We need open space and trees and grass and flowers to offset the paving and the walls and the noise and the confusion. Everybody needs a chance to be quiet and sit down and just do nothing to daydream. I think it's a part of our lives. I don't think there's anything wrong with doing nothing once in a while. [Music] This is urban sprawl. The individual houses, all alike, squeezed onto the smallest legal lot. There's no public open space, no trees left, no natural features of the landscape left after the bulldozers. It's a very poor way to use land and to house people. People want and need a lot more from their residential communities, but all they get from the traditional development is shelter. >> We know people want more than the kind of housing that we find in most cities today. The traditional way really abuses the landscape and sometimes this is our fault. Our building laws forces developers to build in repetitive patterns the same lot size and the same kind of house on each lot. And it takes an educated public to force our local governments to provide laws which can allow the developer to build in more creative ways than what is generally available today. Uh but with this new kind of approach, one can rearrange the whole bag of requirements that that you need in housing and and rearrange it in a in a creative way where you could be responsive to the natural features of site as well as to be very responsive to all the needs that people have who live in in that housing area. This is Restston, Virginia. Very different kind of residential community. Restston was designed to do much more than provide housing for its residents. The design of the community was based on an intelligent land use plan. Houses are clustered together which leaves vast areas of undisturbed trees and meadows for recreation and views. Restston, unlike most residential communities, has a beautiful central plaza. People walk here to shop, visit the library or post office, or to have dinner in a restaurant. Rustin is a planned environment for people, but it is an environment designed to harmonize with nature. Good things in cities do not happen automatically. It takes great deliberation and public commitment. Public commitment to a new attitude, a quality of living. Uh a willingness to work for positive change. It takes greater participation to to produce the the good results that you see in rest Virginia. [Music] It's easy to complain about our cities, about the crowding, the confusion, decay, and noise. But there are alternatives to the problems. And it's possible to make our cities livable, even beautiful environments for all of us. Change in a city is constant. And with public commitment and involvement, that change can mean continuous improvement. But people will have to become much more involved in this process of change, more involved in the design of their own environments if it's ever to happen. And maybe this involvement is the most important urban alternative. [Music] Urban Alternatives, a film by Hans Halberstat. Music by Riley Mccclaclin. We wish to thank Lawrence Halprren and Associates, urban planners and designers of New York and San Francisco for their great cooperation and then it just ended. Yeah, there's some great footage in there. 1973. Wow. Uh let's see. Um, let's uh learn about Probing the Sail. Probing the Sail. I think this is an 80s film, but I'm not 100% sure. Let's watch and learn and enjoy. [Music] [Music] What a lovely wedding. She's so pretty. Great to meet you, darling. >> Hi, Claire. >> Hello, I haven't seen you in ages. How's the writing going? >> Oh, don't ask. How's the selling going? >> Not bad. In fact, pretty good. >> You really like it, don't you? >> I love it. Nice wedding, huh? >> Yeah, great. >> Tell me, how do you do it? >> Do what? >> Sell things to people. Oh, why do you ask? You've never shown the slightest interest in my work before. >> I know, but I'm a writer and I write about people. And I really ought to know what people do in their jobs. Selling, for instance. I mean, where do you start? >> Well, the main thing is you have to get the customer to tell you what he needs, which means you have to help him find out what he needs. >> Yeah. But how do you do that? >> You probe for it. >> Yeah. But how? >> Well, it's fairly systematic. You follow a certain line of questioning. >> Like what? What's a typical kind of question you'd ask? >> Well, it depends. I use different kinds of questions. Are you sure you really want to hear all this? >> Yeah, I really want to know. >> Well, okay. Now, the other day, I was at Vanguard Corporation. I started in by asking simple conversational questions just to establish some rapport and get a sense of the customer's style. >> Wonderful offices. How long have you been here? >> A year. >> Oh. Oh, it's really lovely out here. >> Oh, yeah. >> I guess it's an easy drive, too. >> Uh, yes it is. >> What does your company do exactly? >> Well, we lease uh things, vehicles, equipment, different uh things. >> I realized he wasn't the type to volunteer a lot of information. I decided to keep asking questions. Well, as you know, I want to talk to you about copers. >> You must have a lot of contracts and correspondence to copy. >> Yeah, more and more all the time. >> Sounds like you're a growing company. >> Tell me, what are you looking for? What are your main objectives for copying equipment? >> Well, let's see. Um, something that's pretty fast and uh that could handle a lot. Yeah, that's what I'd say. speed and high volume. We want to get this stuff out. >> Well, sounds pretty easy. You just sell them your fastest model, right? >> Oh, no. No. Often people aren't too sure of what they really need. You have to work a bit and not just blindly accept the first thing the person says. You want to give them an opportunity to keep talking and express what's really on their mind. >> But what if they're not very talkative? >> But then you have to draw them out. You see, at first I want to discover what some of the customers overall goals are. So, I begin by asking very general questions. You see Lillian over there? Well, she's a psychologist. Imagine how she might question a client to get them to open up. >> I try to use a similar approach. >> Tell me, how do you feel about the way things are going in your office? Are there any problems? >> Well, some, I guess. >> Please tell me. That's why we're here. >> Well, I don't know really where to begin. I I understand. Uh, why don't I just suggest something in general and you tell me how you feel about it? Cost control, for instance. I don't know. >> Okay. How about personnel? >> Well, they have been complaining pretty much lately. >> Oh, is that because of working conditions? >> Maybe. Our business has been growing very fast. And when the copy equipment breaks down, it's real chaos. I mean, the work just doesn't get out. The whole place just comes to a stop. Well, I think we need to find out more about your problem before you can decide, don't you? >> I guess >> you see, you need to take the time to feel them out. There's a big temptation to try and sell your product to the customer before you've really discovered what they need. Now, once you've determined some of their overall objectives, such as operations or or cost control or better personnel relations, then you can start asking specific questions to find out how the product will actually be used. >> Do you know Ed Taylor? >> Oh, sure. Fasty, >> ace reporter. >> Well, imagine the kind of style he might use interviewing someone for a story. >> Uh, what about full collating? >> Yes. Uh, do you need color reproduction? >> Yes. Uh, how about multicolored paper? >> Yes. >> Uh, do you want the copy paper to contain your letter head >> sometimes? Listen, taxi. >> Of course, you have to be careful with this technique. >> Volume of coffee. >> Nobody likes to be grilled every day. No more questions. I've got to go. Do you want the automatic feed or flexing? >> You really do try to find out a lot. Tell me, do you spend all week with a client? >> Oh, Lord, no. No. I usually see four or five clients a day. Hey, you're kidding. No wonder you have to have a system. >> I'll say it's a logical stepbystep process. >> Mhm. >> You decide what information you need to know, what kind of question to ask. Now, once you locate the problem that's of most concern to the customer, it's often time to use probing questions. These allow you to really zero in on a particular problem or issue. >> You see Dr. Beckett over there? Imagine what he might do. working up a diagnosis. [Music] >> A lot of things could be causing your pain, costs, personnel, but when I mention operations, you seem to flinch. Now, is that a particularly sensitive area? >> Yeah, that's what's really killing me. The copers were down 3 days last week. Well, is it that the machines break down a lot or that it's just takes a long time to repair them? >> Yeah, that's it. Sometimes they're out of action for several days, then we're really hurting. >> Well, why don't you train someone in your office to patch them up? H those damn machines are so complicated only their specialists can operate on them. >> Ah, I see. So, your real problem and your real pain seems to lie in the servicing of machines. Now all these other issues as I see it are just symptoms of this underlying problem. >> Am I right? >> Yeah. >> You have to explore a bit to find out what's really going on in the customer's mind. Now, people often aren't too sure which of their problems is the most important. A good salesperson can help shape the customer's perception of his own needs. Asking leading questions is one very effective way to do this. >> Oh, sounds interesting. How does that work? >> Well, a leading question directs or or leads the customer's thinking into areas that you think is important. >> Mhm. >> It forces the customer to make choices. Imagine what Anita over there might do when she cross-examines the witness. >> A lovely spread you have here. >> Tell me, Mr. Parker, if you could get a copier that printed on both sides of any paper, would that interest you? >> Well, yes, it would. >> What would you prefer? A copier that had to be repaired by outsiders or one that could be serviced by someone in your own office? >> Well, I'd prefer one that we could fix ourselves. >> Now, if this copier were available right now, would you be prepared to lease or buy? >> Well, I objection, your honor. Leading the witness. >> I withdraw the question. Now, let me rephrase that. >> You have to be very careful with leading questions. People don't like to feel you're putting words in their mouths or or pressuring them. If you use too many leading questions, you may never find out what they're really concerned about. >> Hey, you're really serious about this? >> This is wonderful material. I don't want to forget it. Oh, >> listen. I have to call my office. I'll be back. >> Got to stay in touch. Huh? >> For sure. >> Maybe I'll save you some cake. So let's see. After establishing some rapport, there are four different kinds of questions. The general question, these should be broadly phrased to allow people plenty of room to answer in the way they want. >> They're both so psychologically sound. I know their mothers and fathers. >> Then there's the specific question to narrow down a topic to concrete information. >> Let me try one of those. Are they any good? Thanks. Specific questions are also useful in changing the topic. Probing questions help to focus on the customer's real problems, the gut issues. >> And when a customer seems unable to articulate his own needs, you can use a leading question. Oh, make your call. >> Yes. I was just checking to see if a customer called back on something. >> It must be pretty confusing keeping track of all your customers and prospects. >> It gets pretty hectic sometimes. can imagine psychologist, lawyer, doctor, reporter. The salesperson certainly needs a lot of different skills. >> Yes, that's right. But you know, it all comes down to two basics. What the customer needs and can the customer buy. >> A little while ago, you used the word we in quotes. Obviously, you're not alone in your business. Tell me more about the operation of your company. >> Well, we're actually a subsidiary of Allied Marketing, but in our office, Jack and I pretty much run things. >> I see. Does Jack have an equal share in the decision-m? >> Sort of, but he really handles the sales. I run the office, but actually he and I decide most things together. >> Uh-huh. So, there is someone else involved. I think it's really helpful to get this out in the open, don't you? >> Sometimes it's hard asking these kinds of questions because we really don't want to hear the answers. But finding out who is really going to make the decision is crucial. >> So, it's not simply a question of whether the customer wants to buy, but whether he has the authority and the money to buy. >> Exactly. >> Okay. Thank you. Uh, just a few more questions, Mr. Parker, if you don't mind. Are you operating on a fixed budget for a copying system? >> Yes, we are. >> And are you prepared to spend that budget at this time? >> Yes, if we find something we like. >> Well, when would delivery have to be made? >> Uh, within a week of purchase. We can't afford any downtime. >> Okay. Do you have any other fixed criteria or any feature that you absolutely require? >> Yes, some. Uh, could you itemize those? I just want to get the whole story. Well, let's see. Uh, it's remarkable how much thought goes into sewing. >> Oh, yeah. You got to keep on your toes. >> For one thing, you have to find out about the competition. >> Now, this is rather delicate, I realize, but many people like to get a second or even a third opinion, and I was wondering if you'd been talking to anyone else. Well, yeah, actually I have. And then of course there's our present uh >> suppliers. Oh, I understand. Well, do you have a pre-existing service contract? >> Yes. And the lease buy option which expires next month. Yeah. I don't know what to do. I've been dealing with these people for several years now. And I see. And yet your condition, your complaint hasn't really been cleared up. >> No. The breakdowns, the waiting for service, the paper cost. It keeps right on. Yeah, the old hard copy syndrome. Well, I'd like to get the whole picture here. And then I'd like to prescribe something which is going to clear up your symptoms and make your copying completely painfree. >> I was wondering when you stop asking questions and start telling the customer how great your product is. Well, we're not quite there yet. >> Yeah, but >> first you have to verify what you've learned so far. >> And then you make your case >> right >> now. If I might summarize the facts of the case, Mr. Parker, your business is expanding quite rapidly. Is that correct? >> Yes, it is. >> And you need a copying system that can keep pace with your demands. >> That's right. But I don't think we need anything too elaborate just yet. I see you would like a system that is initially simple but that could be easily upgraded. Is that right? >> Yes, exactly. >> Further, you said earlier that you were concerned about the servicing of the equipment. >> I just can't afford any long breakdowns. >> Then having a system that is reliable and could be repaired by someone on your staff is an objective of yours. >> Yes, that would be wonderful. >> Your primary goal is a dependable and economical copying system. Are we agreed? That's right. That's exactly what we're looking for. >> Thank you, Mr. Parker. I have no further questions. >> I think the verification process is a critical step by restating the customer's needs and and getting his agreement that these are his real objectives. It's like making a contract with a customer. >> Amazing. >> And of course, you realize I do all this before I actually present my product. >> You're kidding. You mean this is just the first act? Well, as you should know, if you build a first act, well, the rest should come pretty easily. >> I wish it did. >> Oh, it's my beeper. >> Well, since when does a playright need a beeper? >> Oh, it's just a little sideline. It's not my life. It's It's just a little hobby, really. You see, it isn't just a beeper. It actually prints out the message for you. Call Sheila and the phone number. >> It prints out a 15-word message. >> That's fantastic. Yeah, that's what I thought. So, I started a little mail order business. >> You mean you're selling them? >> Yeah, kind of. I don't really know what I'm doing yet. That's why I wanted to hear how a professional goes about it. >> Well, I'll be Who are you going to sell them to? >> I don't know. People who are out of the office a lot and need to keep in touch and get messages in a hurry. >> People like me, you mean? >> Yeah. Incredible. >> That's what I thought. >> No, I mean it's incredible that I went through my whole song and dance about selling and the whole time you were setting me up for a sale. >> You mean you'd buy one? >> Are you kidding? I can't live without it. You've just sold me. >> Oh, great. Wow. Wonderful. >> Where are you going? >> Uh, I'll be right back. I have to talk to some people. Anita and Sam and Ed and Lillian. They're all out of their office most of the time. I'll bet they'd want one, too. >> Smile. You've just seen the birth of a salesman. [Music] Excuse [Music] [Applause] [Music] [Applause] [Music] [Applause] [Music] me, doctor. >> Yes. I was wondering whether you had occasion to be out of your office and miss messages and phone calls. >> Oh, always. Well, the reason I asked is that I've got this little instrument here. It makes it possible for your office to get in touch with you. Anytime you're out of the office, this carry this in your pocket actually give it in words. >> So, if you had a phone number to call or a person who needed your services to >> you is that's very interesting. I thought you might have literature on this. I certainly do and I can get it for you right away. >> Yeah. No, no radio. Would you be interested in something? You probably got three or four of them. You know, you might be able to get [Music] >> So, dude just crashes weddings selling his beeper that sends text messages. Um, wow. A fascinating film. It's pretty well done. Um, yeah. And I have a lot of films on uh how to sell um from the probably the 40s, 50s up to now. Um, well 90s. Um, and some of them are better than others. Some of them are just some dude talking and then occasionally there's like a chart. But I like the ones that are have a little bit of a dramatic narrative to them, even if it's a stretch. Um, but thanks for watching today. Uh, my eyes are still fuzzy uh from my eye exam and um, you know, go every year and get uh, your eyes examined um, because they might find something. They didn't find something with me, but um, you know, it's I think it's important. Your eyes are very important. And the reason why is so that you can let me borrow your eyes so that I can show you these films. Um, if you like what you saw, hit the thumbs up, hit the like button. You can also subscribe. Uh, you can support us via the superthanks button or go to ko-fi.com/abgeeks or patreon.coms. Those are great ways to support us. Here are your eyes back everybody. Have a great rest of your day and we will see you tomorrow. Thank you. Bye.