Crafting Captivating Speeches
Lesson 11 from: FAST CLASS: Heroic Public SpeakingMichael Port, Amy Port
Crafting Captivating Speeches
Lesson 11 from: FAST CLASS: Heroic Public SpeakingMichael Port, Amy Port
Lessons
Steal the Show
04:52 2The Principles of Performance
14:08 3Communicating Without Words
04:16 4Find Your Voice: Breathing
26:37 5Find Your Voice: Build your Voice
04:52 6Working On Your Speech
10:52 7Finding Your Big Idea!
13:56 8Sorting Your Big Idea
04:32Lesson Info
Crafting Captivating Speeches
Okay. So we're gonna look at some clips from Think Big Big Big Revolution, The Think Big Revolution. Let's move to clip three. I just have my notes up here for the clips. Good. I'm so sorry. This has never happened before. I apologize. Just going to say listen, I'm just is this Michael Port? Yes, but I just I'm in the middle of something. So can you call me back? Well, I finally reached you in person. I thought maybe you were avoiding me. It's Susan from the robot speakers bureau. I'm calling about the presentation. The one that keeps saying you're gonna start giving that presentation. The one about big Big something something big. What do you think you're going to deliver on that soon? Really soon. Just don't worry. You know, you've been telling me that for months now because you said you would do it. I promised my clients they can book you for it. Okay. So this is the very opening of the presentation. The very opening I start to talk my phone rings. And of course you can also do what...
I say. Listen please, Everyone make sure you turn off your phones. Get so rude to leave your phone on, have a ring. Then all of a sudden mind rings. But of course they're hearing it from the speakers so they know immediately that it's not actually a mistake. It's intentional. And what I'm trying to get across right from the beginning is this idea of making promises and keeping promises. So instead of doing a whole diatribe about it, I do a scene, a scene and it's not a real seen it didn't actually happen, but it's a representation of what could have happened. And it demonstrates how disaster it is disastrous. It is not to keep your promises, I have it on the phone. So also now they're watching a little scene where they're experiencing this and they find it funny and it's also very self effacing because I'm the one in the scene who didn't keep his promises. And it's about, well, I didn't do the presentation and I was supposed to do the presentation. I said I was going to do the presentation etcetera etcetera etcetera. And then I have the phone and I then turn it back to them. I say, does that sound familiar? You know, I can't promise, But I'll try and they start to go, yeah, because people have anybody ever had that experience. You say I can't promise, but I'll try and then what happens, it doesn't usually get done. So now all of a sudden I'm demonstrating this is the way the world is, isn't it? For many of us, not always, but often. Yeah. So we talked about that and say what if we kept our promises, you see? So you create some contrast instead of just talking about it now and it's for most audiences and maybe this will change the more I teach this stuff for most audiences. They haven't seen a keynote speaker talk on his phone to another voice coming out of the speakers. And the way that works is it's recorded. And then I'm doing a scene with a recorded voice, so I have to have the timing. Perfect. So there's a little bit of contrast. What kind of contrast is it? Delivery delivery contrast Sound Cool. Is that cool? Yeah. Alright, next. Okay, can we go to clips 4? We're gonna do four. Right into five. Okay, so it's another one that the sound is out of there is so it's actually a dance scene. There's a whole dance that happens. So there's music and the reason we don't have the music on is because um just for rights issues, I have rights to use them in workshops and presentations, but not for broadcast like this. So now look all of a sudden I have dancers where they come from, they come from in the audience, their plan, they learned the routine. My partner is a fitness personality. So there she is, Petra, she's done a creative live event here. She teaches happiness, moving to happiness is her concept, and she's also up on the screen. Okay, now there's music here. There's a dancing here. Now I get up on the chair. So you have to live the only thing that matters. Thank you. So you have what kind of contrast delivery contrast? There's a dance scene, but not only do they watch a dance scene? They get up and do a dance? Yeah. So they have emotional contrast as well. because when you're dancing, when you're moving, when you're listening to music, happy by Pharrell, um what else is in there? Um Madonna's in there, um the everybody wants to rule the world is in there. Yeah, hip hop array, you know, and they're talking back and so you create emotional contrast also. And then of course, it's content contrast. It's completely different content than what they just had, which is usually exciting. Now, I'm not saying everything I've done here is perfect just using examples to demonstrate these points. So, you guys have seen Michael, how he moves, right? How active he is, You've seen him dance. So, you may also get a sense of the power of when he sits down. And this is a section of the presentation that is particularly personal and very much about stripping off the layers and being uh exposed, and he gets very quiet and he sits down in a chair and it's a dramatic contrast to to that that we see, right? And it's a specific choice. There are also images on the screen and you see, I never turn around. I'm cute to the word, I know exactly what word I'm clicking on. And those help tell the story. Now, I historically have tended not to use quote unquote slides in this presentation, I use visual tools and the reason that I used pictures when I was telling that story is because if I'm talking about the fact that I was heavier before, and you hadn't seen me heavier, you might not believe it, You might go, Oh, he was like a little bit happier. It's like £10 or something. So I show the pictures so there's contrast. Oh wow. And then of course, the authentic stories now authentic because otherwise they could think, well this is like a show he just made up a story or he's exaggerating, he's exaggerating. So it helps authenticate the story that it's real. But if you're going to use those, you know, you do not looking at them, you know where they are. Okay. Yeah, good. Let's move on to clip number six so we can try to avoid growing. It might even feel easy at first, but I think it's kind of sad and anyway, it turns out that both growing and learning are inevitable. Who knew? Yeah, there's no getting around it, it might be uncomfortable, maybe even really uncomfortable at first. But if you can let it happen, maybe even seek out new things, then you get comfortable with discomfort and you might even find it exhilarating. So what discomfort do you need to get comfortable? Good. So for those who have mix, what contrast? You can do the same thing. What contrast are you seeing in that particular clip? If you have a mic stand up and tell me what contrast you say. Yes, A lot of vocal variety and change in the level of your volume of your voice. So the pitch and the amount of volume used. So that's one type of contrast. What else? Your movement, you were varying levels, you are high and you were low and you were moving and then you were very still you saw movement side to side up and down and then stillness. Great. What else? I still think there's uh there's emotional contrast there. You know, even even when you do it with your with your voice with the pitch, I find that to be very emotional. Yeah, well, I would hope so because it's going from light moments too. Mhm. This is you know, this is real. This is not a joke kind of, moment. Back to a light moment to this is real. Because generally it's easier to get somebody to go along with you on an intense, serious moment. If you know, you're gonna bring it back to something that's light, they're not gonna keep them in this dark place. It's like if you watch a movie and it's just like, when is this gonna He's up? It's like the whole movie, like, come on, give me some light. So, it's the balance of those two things. The contrast. Good. Anything else did you notice? Yes, I noticed that when you hit uncomfortable, you paused after it every single time to kind of, boom, that in there. Yes. So, there was a contrast in the pacing, so vocal contrast, pacing contrast, emotional contrast and physical contrast all in. Was that 30 seconds?
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