Welcome to the art of marketing operations, a tailor podcast. Here you can
grow your knowledge about marketing operations, listen to ideas and strategies to help you
scale, grow and optimize your efficiency, drive your speed to market and enrich
your work life. Let's get to it. Welcome to the art of marketing
operations, a tailor podcast. I'm Glen bottomly, and today my guest is
Ross necessary, senior vice president of global marketing operations and Exhibitor Relations at Lions
Gate, a World Class Global Motion Picture Television Studio, streaming and Gaming Company
which has produced some of the most Memorable Academy award nominated films, such as
ex Machina sicario, the big sick, the imitation game and la La land.
Thanks for joining me, todave. Ross, my pleasure. Thanks for
having me. Well, before we get started, I think we have to
start out with what is your favorite movie of all time, and why?
Oh my God, this is it's an impossible question to answer. Um,
well, and there's and there's a lot of ways I could answer right.
What's what's my favorite movie as a as a consumer? What's my favorite movie
to have worked on? What was my favorite movie from Film School. Um,
it's uh there. There's a lot to go on there. Um,
well, I'll tell you. Um, I'll tell you. Sadly, I'M
gonna disappoint and I'm not going to give you one answer, but I'm going
to give you a handful of titles that I think are Muss Um. But
my my favorite guilty pleasure, and maybe this is what leads off as an
indication of what my favorite movie is, but Um, I grew up playing
golf, big, Big Golfer, so caddyshack is by far one of my
old things in in film school I was I was labeled sort of the John
Hughes of my class. So anything John Hughes is good. and Um,
I think some of my favorite sort of timeless movies are just about anything by
Hitchcock, but certainly rear window and Um. And then I remember interning at
dreamworks when we did American beauty, and that was just I just thought it
was such an amazing story and such an amazing way to put it put it
all together. Um. And then among my favorite movies to work on have
been, uh, the hangover and Um and here recently at Lions Gate,
knives out. I think knives out as a fantastic a lot of fun to
be a part of. So, uh. So, anyway, there's I
don't have the favorite movie, I have favorite movies. Yeah, right,
that's wonderful. I love that so many of those that you've mentioned are some
of my favorites too. So thanks for for sharing that. As you stayed,
an impossible answer. Uh, that's great. But now your role at
Lions Gate's it's really, I think, just a fascinating one because, you
know, you're managing global marketing operation and Exhibitor Relations, clearly at one of
the most influential entertainment studios. You know you do. You're working on films,
television series, digital products, linear subscriptions, over the top platforms,
and you're you're literally reaching just next Gen audiences all around the world. So
how did you get to where you are today? So, I mean tell
us a little bit about your journey. Oh goodness, that's uh, that's
certainly a loaded question. Um, so I started off as as any aspiring,
aspiring Hollywood producer or director or whatever whatever you wanted to be. Um,
you know, right out of right out of college. Um, actually
took a little bit of a detour and worked on a Senate campaign and then
after that was done, it was like, okay, time to get a
job doing you know what. We studied and I went to film school and
I had hopes of becoming a producer Um, and I quickly learned just how
cutthroat that day is and just how did a cool that was going to be.
But what was funny about being on the Senate campaign is I as I
find now, as I reflect, how many similarities there are between marketing a
candidate or an initiative and marketing a movie. And what I mean by that
is so much of it is about Um, selling the experience, not selling
the thing, not selling the widget, but selling the experience. Because you
know, in a similar way, when you market a political candidate, you're
asking people to spend the next, you know, two years, four years,
with that particular candidate in office. When marketing a movie, I'm asking
you to spend two hours with me. I'm not asking you. You know
as much. You know when I'm certainly in the theatrical window, I'm asking
you to come out and spend time with me. In the Home Entertainment Window,
I'm asking you to turn this on and again spend time with me Um.
And so that's a that's a very different proposition. Um. And with
that you have a bunch of you know, you have you know, filmmaker
and producers and directors and whatnot who are very opinionated. But a shoe,
you know, doesn't care what kind of box it's in, doesn't care where
it sits on the shelf. Um, it doesn't have sort of the same
emotion that comes with it. But you know, those were all the all
the learnings that I discovered along the way when I again went from working on
a political campaign to then working for a studio and I started off, as
you know, my boss's assistant at the time and then just slowly worked my
way up through Warner brothers, through the ranks there, and I just learned.
You know, I took on different responsibilities. Um, oftentimes I took
on the things that nobody else wanted to do and I tried to turn those
things around to make them better. So I started off as an assistant and
then I took over credits and clearances and then I took over print and then
I did some a v You know production work, and then Um, and
then I you know, by that time I had ascended to the point of
sort of being second command of the group. So then I oversaw uh Um,
you know, those responsibilities. But then I was also helping to roll
out, you know, new workflows, new initiatives, um, looking after
Um, uh Um, workflow management tools, applications and and Um, you
know, various programs that would help us do what we do, you know,
better, faster, smarter, cheaper and Um. And so that's ultimately
what then guided me into Lionsgate, because lionsgate didn't didn't have something as formal
yet. Um. They had something similar, but it wasn't centralized and it
wasn't Um. It was a little bit more taxing for everybody. So then
I was able to bring my learnings from my time at one of whethers brought
it here, established a lot of things at a global scale that they didn't
have yet, Um and Um, and so that's kind of how I got
here today. It's a long story of it. That's it. Well,
but it's it's a fascinating story and I think that, you know, one
of the things that I think is fascinating about what you're doing is, I
mean literally right now when we spoke before. You know, you are leading
marketing operations for, you know, eighties some odd plus productions all at once.
So, yeah, a key question that I think just begs the question
is how do you keep everything straight in terms of the prioritization of your marketing
efforts across so many productions all at the same time? Well, it's Um,
it's daunting when you think about the you know, the volume of material
that you're that you're putting through and and, like I said before, the
fact that each one requires its its own proper care and feeding. And that's
where, you know, utilization of of tools and teams and segmentation of duties
really comes in in in play. Um. And so Um, we're using
platform worms like uh, Monday dot com to manage our you know, workflow
management, Um and task management. Um. We have uh, you know,
robust asset management in place as well, so that, Um, you
know when you are realizing, you know, materials that you've worked on,
Um, and then once those are done, then you know where they are.
You know, you know where they've where they finished. So Um.
And then we've also got, uh, you know, because we're so creative
heavy, we've also got robust sort of work in progress dams as well.
So Um. So again you're able to see all that content from sort of
Um, cradle to the grave, so to speak. and Um, the
thing about it is once you get to the home entertainment world, it all
becomes kind of evergreen to some extent. And so, Um, you know,
there's the initial push of the initial sort of theatrical new release on DVD
or electronic cell through or whatever, and then it kind of quiet, it's
down. But sure enough, you know if it rises to the level five
years from now you're gonna have an anniversary or, you know, ten years
or twenty years or whatever. And then, on top of it, you
start to bundle things so that we're going to release things as a package around
uh, you know, Valentine's Day or Father's Day or east or whatever whatever
makes sense. Whatever that property, you know, sort of lends itself to.
So, Um, I would say, you know, Um, robust
whip, Dam workflow management and a final repository. Those are the things that
help you, you know, keep keep the gears turning and keep aware of
what's going on. Um. And I think that some organizations, Um,
if they have, if they have enough staff, enough resources to accommodate all
that, you know, that that's what really uh, that's where, you
know, they'll really shine, where they really benefit from. So, Um,
yeah, so that's that's kind of it. I appreciate that the details
there. I think the when you're comment to the working process, digital asset
management system, Um, very, very important, and I think that that's
that's an interesting environment, as you describe that, because I think that some
people who are working in marketing operations may or may not necessarily have the longitudinal
focus of their job like you do. Like you say, there may be
some five year event to ten year event or something which brings that property forward
where having the access, you know, basically instantly to that that you can
pull it up from an archive and then be able to modify you know,
uh, you know that that asset is is an interesting difference, Um,
you know, for what you do in marketing operations versus potentially others, and
that's what I think is is interesting, because I think that marketing operations in
the entertainment industry does have some of those similarities to non entertainment industries, but
clearly there are distinct differences, one such as you just mentioned. Uh Uh.
I think that many that are in a non entertainment, UH, marketing
operations industry. They're out trying to find B two B buyers, are doing
lead generation, they're, you know, partnering with the sales are growing their
businesses, etcetera. You, you're building trailers, you're production activities. Uh,
the bonus features in in DVDs or you know itunes, streaming packages,
etcetera. So can you share some of those other sort of lessons that you've
gained along the way to maximize awareness of the of the of the films,
of the properties that the digital properties that Lionsgate, Fan Growth, revenue growth,
etcetera. Well, and you know, funny enough, there's Um,
there's a there's a little bit of of Crossover to, I want to say
kind of, as you take it up, a little bit of the traditional
marketing operations when we talk about, you know, B two B and lead
generation and so on and so forth. Um. But yeah, predominantly my
my business is to create and prepare these materials such that they can be evergreen.
If we need them to be. We we can go back to the
well and repurpose those assets to, you know, bring those bring those customers
back into experience our product. Um. So, you know, again,
if we want to release a title as a repertory title and put it back
in theaters, we're gonna dust off this trailer, we're gonna we're gonna,
you know, dust off these TV spots and reprint that one cheet and do
stuff like that. Um, you know, if we're going to create a
line look from it and put it on the Wal Mart shelves or whatever,
we need to make sure that there's enough m art there that they can augment
it as as they need to. So it's really about, you know,
building the building the material for the purpose, but then buying insurance by Um,
scaling it so that it can be reused and, of course, storing
it with the proper amount of metadata and so on and so forth, so
that not only can my team access it again, but that Um and know
what they're accessing, but then so too can our digital retailers and even our
physical retailers. Um. But another thing that we do that is Um,
that does that does sort of fit in that more UM traditional window, I
want to say, of of lead generation and traditional sales and so forth,
is that we, you know, we have customers like anybody else. We're
going out to Um to Walmart and to best buy and Um, you know,
itunes and whatnot, getting them excited about carrying our product. and Um,
so we are generating, you know, sales sheets. Were doing decks,
we're doing slides when we're giving these elements over to our sales teams to
go execute those sales and generate that interest. So, Um, we're you
know, we're we're constantly trying to make sure that we can service any and
all customers, whether it's the whether it's the end consumer or, yeah,
the B two B Um, you know, the buyer, distributor, you
know, a wholesaler. Yeah, that's that's an interesting tie and I would
imagine that in both of those environments that you just described, there's there's likely
unique measurements in terms of how are you measuring the efficacy of your marketing operations
efforts? Uh, when you're going out to as as you say, uh,
Walmart, another distributor, UM, your B two b clients versus the
others. Now you mentioned, uh, you know, creating something as evergreen.
That is maybe not a metric, that's more of an end goal.
But are there other sort of key metrics that are top of mind for you
that you are always looking at to make sure we have to be, you
know, Um, you know, in the top quartile, the top of
this environment. Um, you know, in the those are the most important
metrics. Are there rules of thumbs that you have sort of generated over the
years that we have to be in such a space to some extent? Yes,
Um. You know, oftentimes in the marketing operations side here in Hollywood,
we're kind of at the affect of our creative team or our strategy team.
You know, they're deciding what they want, their deciding what story they
want to tell, and it's simply handed off to us and we have to
go produce it right. We we produce and distribute the trailers, the TV
spots, the print material, and it's Uh uh. It's very few times,
is it? Is it sort of led by us? So we don't
have those traditional measurements to to Um uh, sort of compare against, but
we do have our measurements of how efficient we're being or how thoughtful we're being,
and that is, Um, almost a measurement of what you don't see,
and that is to say, Um, if we're doing things right,
you're going to see less over time. If you're doing things right, you're
gonna see less assets in the dam. Um, and we're being that much
more efficient by what we're producing. Um. The other thing that we get
to see, and this comes Um, as a result of our partnership with
our international distributors, and it was the same way with Um uh, with
my setup at Warner Brothers. Even though those offices were warner brothers offices,
we were still able to see the efficiency of the marketing material that we were
creating because we were able to put these assets in the dam and then we
were able to see what they were pulling down and repurposing and versioning and putting
back into the dam for that final midel delivery. Um. And this was
through using a global, you know, TV spot distribution service. Um,
but we we used that surface and which doubled as our dam, and we
could see what was being used, and so was informative to us to go,
oh, from a creative perspective, Um, this part of the world
likes this storyline, that part of the world likes that storyline. So on
a similar genre title, we should be producing more of this stuff for that
part, more of that stuff for that part, and Um and then Um
uh. You know, we should we should see, you know, some
really thoughtful and Um uh, you know, and and and better utilization of
the assets that we're creating. So instead of creating, you know, a
hundred pieces of content, we're really we could start to refine and create,
you know, fifteen pieces for you know, Europe and, you know,
twenty pieces for Latin America, and we could see them getting used closer to
whereas before it could be everybody gets everything and they're using it well. And
there's two things that I would imagine benefit you there, correct which is number
one. It's back to your comment about efficiency. It also probably makes the
turnaround time or your speed to market faster, because now the distributor doesn't have
to go in, pull something down, modify it then re upload it,
because you've already done that work for them. So that helps the turnaround time
for you. But then I also would imagine, because you're making it so
much easier for the distributor, the distributor now is much more likely, because
you've made their jobs so much easier, they're much more likely to embrace the
next movie, the next you know, uh, you know, digital property,
et Cetera, because you're just that much more easy to work with.
That's exactly it. And and and that's where we get into Um, you
know, certain situations where, Um, we're doing what are called all rights
deals. We're selling the theatrical window as well as the home entertainment window,
in the streaming window and Um. And in a lot of cases you're selling
those rights in advance of the movie even being produced. So Um. So
you're frontloading it, right, you're getting you're getting those you're getting that revenue
in, you're applying it to Um, to your production, and you're meeting
these these standards. And and everybody's take, I mean Hollywood is is a
lot of times a leap of faith, right, and so we're we're taking
that in and we're um and we need to make sure that they have a
good, positive experience with us, that their consumers have a good, positive
experience. Um, you know, seeing our Um, seeing our films,
experience our experiencing our films. And a lot of that starts with marketing,
right. That's your that's your entree into it. So Um. So,
yeah, you know, anything we can do to leave people feeling good,
feeling positive about the experience, Um, that it's it's gonna pay. Uh,
you know in spades down the dumbline. Yeah, and then in the
creative process, uh, in terms of creating the work, you were talking
about the the creative team and what their vision is. You know, of
a film, you know what, what have you. And then it there's
a transfer over to the marketing operations team. Uh. I reflect a bit
about Google. Um, you know Google, there is a distinct difference,
sort of a wall, a very distinct wall, between the organic search and
search engine marketing, the actual advertising space, and there's, you know,
fundamentally a wall between the two. and Um, you know, not just
a strategic but almost, I don't call it ethical, but a a desire
to make sure that those two worlds don't intersect intentionally. Um, is it
the same from from a Hollywood perspective, in the sense that the creative group,
you know, once you get it, you know you might be modifying
to your point about, you know, this distributor in an international environment might
like this storyline more than another storyline. So therefore you'll be modifying your marketing
that way. But is there is there, UM, the same sort of
wall where creative creates and marketing operations fulfills and there's a very little crossover,
or is there a lot of influence between the two? You know, going
back and forth, here's what we're hearing in the audience, here's what our
distributors are saying, etcetera. Right, there absolutely is tons of crossover and
and in in some ways, Um, it's a bit of a soup and
it's uh, it's you. To the outside, to the outside observer,
it might seem, Um, you know, like a like a bit of
an orchestra where everybody is playing different different instruments, and sometimes it might even
sound like we're also playing different songs. But Um, but once you cut
through the clutter and you understand the core of, you know, what everybody's
doing and what everybody's bringing to the table, stretched to become a little bit
clearer. And so Um, yes, you've got creative working with the filmmaker.
And again, this goes back to what I was talking earlier about,
which with respect to Um, you know, our our product isn't a thing,
you know, it's not a widget, it's an experience and it's so
closely tied to, especially on the heels of, you know, the Oscars,
tied to how the filmmaker feels about it. Um, because not only
do we want those distributors to have a good experience with us and come buy
more product from us, but we want the filmmakers to have a good experience
with us and want to make more movies with us. So we've got a
lot of mouths to feed and Um, and so, therefore it requires a
lot of expertise from a multitude of different categories. So creative working with filmmakers,
making sure they're good digital, listening to the audience, Um, you
know, understanding what's going on in search, what's going on in uh,
you know, in organic, and feeding that back paid media doing much the
same overlaying their search, Um, you know, results with digitals. Uh.
And then, of course, you know, making sure that we're optimizing
for whatever paid media opportunity we have available to us, whether it be outdoor,
online or broadcast. Um. And of course, the earned media team,
you know, in publicity, doing all of their efforts and word of
mouth screenings and influencer screenings and so on and so forth. Um, all
of that's got to be got to be brought back and it's got to be,
you know, processed, and that's where the strategy team really takes all
that in and assimilates it all and make sure that we're stealing it down to
the core of what it needs to be Um and it's it's that kind of
alignment, coupled with what the filmmakers goals are, that help us, uh,
be as as successful as we can be. And there are times when,
you know, what the what we're hearing our audiences say, is in
conflict with what we hear our filmmakers want. And so that's where you have
to thread the needle and that's where you have to be really well choreographed in
your presentation to Um, to the powers that be, and those powers that
be are, you know, the filmmakers, sometimes there their studio leadership as
well, all the way up to, you know, the CEO basically.
So Um, you just have to be really, uh, really coordinated and
able to, you know, defend the position because you know it's what's best
for the property right Um. So now, obviously you're managing, you know,
on a global scale right now, but if you if you go back
in your career, you know, maybe you started Um, you know,
on a regional basis, maybe you moved to a national basis. Now you're
working on a global basis? What are some of the lessons that you have
learned? Uh, you know, when you make that jump to global responsibilities
and marketing operations, you know, it's it's it's pretty wild, Um,
hardywood buy and large is is kind of divided into Um, domestic, an
international, Um. You know, if you're in a more sales or distribution
type of function, you'll have, you know, greater Um subcategories of that.
So you could be for the Latin region or you could be for the,
you know, southeast United States. Um. But when you get into
marketing, you're it's kind of either international, domestic or global. Right.
You've you've basically got those three categories and Um. Uh. I actually,
funny enough, started out on the international side and Um, and I think
that that taught me a lot in terms of the sensibilities and the approach and
how you interact with Um, you know, different regions, different uh sensibilities,
and so you know what was what was kind of ironic about it is
we then uh want to, I want to say, sort of taking over
domestic and and taking that on, and I looked at it like a territory,
like anything else. It's just another country, just happened to be the
US. Um. But then I learned very quickly that that too has its
own sensibilities, has its own Um uh. You know, Um uh,
you know, perspective on things, of course, and what Um. I
was able to adjust quickly because I was able to understand that it's about engaging
that particular market, Um, and making them feel as special as they are
and allowing them the ability to influence what we're doing, whether it be at
a national stage or an international stage. and Um and a lot of that
is, you know, whether it's local talent, whether it's local outlets,
Um uh. You know, local vendors. Incorporate them into the process and
you're going to get greater buying and greater support and UH and greater uh amplification
of your message. Really that's wonderful advice, uh and and I think that.
I think that, Um, anyone that has that scope. I think
that that's a really good lesson. Is, you know, it's almost as
if you don't have to do it alone. Take to take the advice,
learn from the others, uh and, and bring that into your marketing efforts.
Now, exactly, and one of and one of that started interrupt but
one of the one of the other things that's a part of that is understanding
that just because you're based someplace doesn't mean that's the only place all of that
can get done. Um. And I think Um, I think it's fair
to say that Hollywood, Um, until recently, typically had an understanding that
it all gets done here, all the all the key suppliers, all the
key vendors, all the key artists, everybody is here. and Um,
one of the things that I've learned coming over from international to domestic or global,
Um, there are there are quality vendors all over the all over the
globe that you could be using. and Um, you know what's great about
it is a lot of what I'm doing is is I p based right or
or it's or it's not a physical good, and so it's it's easy to
ship it anywhere. So Um, you know, I'm doing a lot of
stuff out of London. I was doing a lot of stuff. I mean
it's, you know, in the I t industry right. So much of
it, you know, has been coming out of India and and that sort
of thing, and it's all very, very valuable, high quality Um,
uh, you know, work product. And so from you know, Malaysia
to London, to India, Um, and you know, unfortunately, Um,
you know Ukraine. There there was a lot of people that have been
Um, supplying us, you know, great work product over the years and
I think that, you know, for for anybody holding a leadership position,
Um, you should be thinking about where's where's the best, where's the best
in class, and the agnostic of of where that location is, because chances
are you find just as good, if not better, work product Um at
at perhaps, uh you know, just as good or oftentimes a better price
than than what you're doing, uh, you know, in your local area,
because that's what you've done all this time. You know what I mean?
Yeah, and I know that, for example, at Tailor Corporation we
have operations of course here domestically, in the United States, but we have
operations in Bulgaria, we have operations in India, operations in China and in
the Philippines, and so for us it allows us to operate really as a
twenty four hour marketing team, a twenty four hour operational team. And so
I would imagine, to your point, by leveraging those other international markets and
and the partners that are there. And again it's just it's one of those
things that again, just accelerate your cycle time. Would you think that's right?
Exactly, and you can follow the sun and and somebody's always were and
somebody's always out putting stuff for you and you're gonna be that much more efficient
for it. Yeah, uh. Now, when we chatted before us,
you mentioned that you had an interesting description. You said marketing operations is not
the hub of the wheel, but that marketing operation is where the rubber meets
the road. So can you pack the unpack that a little bit more?
Yeah, absolutely. Well, you know, it's funny as you developing your
career, right, you're trying to figure out your identity to to to some
extent and Um, and I, you know, was was fortunate enough,
Um, perhaps in my late twenties and early thirties, to to have enough
of a seat at the table that I was able to do a lot of
observation and Um, and that's where I would witness that so many, um,
so many people in positions of of leadership were kind of vying for being
that that hub of the wheel, so to speak. and Um, I
didn't take Umberge to it. I didn't think, well, Gosh, you
know, we're doing some pretty cool stuff, we aren't? We being considered
that, considered for that or, or, you know, something similar,
and I realized, you know what, I don't. I don't. We
don't need that. You know, we're we're kind of in the shadows.
We're in, we're the backstage. We're helping everybody else do what they do
faster, better, smarter, cheaper and Um, and that's really where where
we belong. And so, in that regard, to kind of thought of
ourselves as a bit of an internal vendor. Um. So we are the
suppliers to the creative team, to the media team, to the publicity team
and so on. Um. And as I thought about that, I thought,
well, that means we're kind of the final stop. And and you
know, in particular for our group, that is really true because, Um,
you know, all the music clearance has got to go through us,
all the credits and clearances, making sure that we're contractually compliant with whatever the
personal service agreements are, Um, you know, putting it in the damn
where everybody can access it, Um, you know, actually producing it,
making sure that the trailer is color correct and and mixed correctly, and so
on and so forth. Um, we're that final stop before, you know,
before any of these assets head out the door. And so, Um,
that made me think. Well, Gosh, Um, you know,
all these people can be the hub of the wheel, but unless that wheel
is connected to the ground somehow, you're not going anywhere anyway. So Um.
So we like to sort of think of ourselves as helping this organization get
to where it needs to go. Oh, that's a wonderful description. Thanks
for sharing that. So Ross. What issues keep you? Keep you up
at night? Well, admittedly, Um, you know, and I'm sure
I'm not alone in this, Um, there are I've been, I've been
a part of organizations where there's there's too few people doing too many things,
Um, and I've seen other organizations where there's too many people doing too few
things. Um. I've always been been frustrated by by those. Uh,
and mostly these have been suppliers that where you just you notice a lot of
people but you don't notice a whole lot of output. Those are frustrating,
Um. But you know, for us, I would say it's Um,
it's about having the internal resources to get what I need done done, and
I have, Um, I have a lot of designs, I have a
lot of ideas, Um, and, more importantly, I have people who
work with me who have even more designs and even greater ideas and I want
to help those people realize those, those those goals and aspirations. Um,
but they gotta do their day job. I gotta do my day job and
it's it's really hard to dedicate resources to that. So Um. So that's
probably what keeps me up at night, is achieving these goals. Is particularly
for an operation that's a little bit small. I mean we are smaller by
comparison to the other studios, Um, but we're putting out product that's just
as good, you know, and as capable of the massive box office numbers
that you see. Um. But we, um, we don't have enough
bodies to to get these things done and I think after Covid I think a
lot of you know larger organizations are feeling the same kind of thing. Um.
So that's I would say, that's what what keeps me up at night,
Um, because otherwise we've got really good systems in place. Um,
maybe they could be developed a little bit more right. Our utilization of same
Monday dot com, for instance, could be more sophisticated, more robust.
Um, but you have to walk that line of how complicated or how complex
and sophisticated, sophisticated you can make something and still make it user friendly,
Um, and and so we need to do that. But that requires some
brainstorming, some some ideation and some development and Um, just need a little
bit of time to do that. And that's the or that it's like,
Oh, if I could just get two or three months that I could really
drill down on a lot of these things, throw a couple of team members
at it and really get you know, really get solid on these things,
then we could roll this out and everybody could adopt but in the absence of
that, we've got these things. They're good enough, but they're not yet
great, and I think that's the thing, um, but it's you know,
I don't want to I don't want to say that, you know,
Um, full stop, only because there's a phrase I like to say.
You know, great is sometimes the enemy of good. and Um, you
know, you have to be careful of just how great you're trying to make
things because, Um, good might be all that you need and all that
your organization can can tolerate. But until I can get you know, some
some dedicated resources on these things. I'm not gonna know right. I'm not
going to know that limit that line and and so that's that's what I think
about a lot wonderful Ross says. We wrap up today's episode. What is
the one most important takeaway about marketing operations that you want to leave I think
it goes back to, you know, sort of the thematic elements I've been
talking about the whole time, which is helping those around you do what they
do better, faster, smarter, cheaper, Um, and being being thoughtful
and holistic about the approach. Um, and, you know, a rising
tide floats all boats, and so whatever you can do to help those around
you, help, help the other disciplines, help the other departments, help
the other organizations around you, Um succeed, you'll succeed. Um. That's
that's kind of you know, that's my approach to it. That, UM,
their successes is ultimately my success. Excellent advice. Well, that wraps
up this episode of the art of marketing operations. Thank you so much for
joining us today. Ross until next time, stay safe, take care and
thank you for listening. Thank you for listening to the art of marketing operations
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