>>> NOW WE TURN TO THE ART OF ACHIEVING GREATNESS.

HAVE YOU EVER WONDERED HOW EXPERTS IN VARIOUS FIELDS , LIKE MAGIC OR PAINTING BECOME SO EXCELLENT, THE ANSWER IS IN BEST-SELLING AUTHOR ADAM GOTTLIEB'S BOOK , THE REAL WORK.

WHERE HE DISCOVERS HOW GREAT SKILLS ARE BUILT WITH LEARNING WITH ARCHES, AND BOXERS.

HE'S JOINING US TO DISCUSS THE SECRET OF FINDING PERFECTION.

>> THANKS SO MUCH FOR JOINING US.

YOUR BOOK IS CALLED THE REAL WORK ON THE MYSTERY OF MASTERY .

WHEN PEOPLE THINK OF MASTERY, PEOPLE THINK OF PUTTING IN THE HOURS.

BUT WHAT IS THE REAL WORK?

>> THE REAL WORK IS THE TERM THAT MAGICIANS USE.

MAGICIANS LOVE.

TO USE IT TO REFER TO THE TOTALLY MASTERED A TRICK.

NOT NECESSARILY THE PERSON WHO INVENTED IT.

NOT NECESSARILY THE PERSON WHO DOESN'T IN THE SLICKEST WAY.

THE GUY OR THE GIRL WHO'S REALLY GOT IT.

CAN DO IT IN A WAY THAT STARTLES AND ASTOUNDS YOU EVERY TIME.

THEY SAY HE'S GOT THE REAL WORK ON THAT.

WHEN I WAS SPENDING TIME WITH MAGICIANS AT THE BEGINNING OF THIS BOOK, I FELL IN LOVE WITH THAT TERM.

I JUST LOVE THE WAY THEY WOULD REFERENCE, WHO'S GOT THE REAL WORK?

HE'S GOT THE REAL WORK.

IT SEEMED TO ME SO EXEMPLARY OF THE WAY THAT WE ALL KNOW WHO'S GOT THE REAL WORK WILL BE NEEDED.

THAT THERE'S ALWAYS A KIND OF MASTER.

I SPEND A LOT OF MY TIME AS A REPORTER.

WHENEVER YOU ASK ANYBODY, NO MATTER WHO IT IS.

A PLUMBER OR A PAINTER, WHO'S GOT THE REAL WORK IN YOUR FIELD?

WHO'S THE WILLIE MAYS OF PLUMBERS?

YOU NEVER HAVE A MOMENT'S PAUSE.

THEY ALWAYS HAVE AN ANSWER AND WE INSTINCTIVELY FEEL , WE KNOW WHO'S GOT THE REAL WORK.

THIS BOOK IS ABOUT SEARCHING FOR THE REAL WORK IN MANY DIFFERENT MATERIALS.

>> THERE IS A LINE THAT SAYS THAT THE METHOD IS NEVER THE TRICK.

ONCE YOU'VE MASTERED THE METHOD, YOU'VE HARDLY BEGUN THE TRICK.

WHAT DOES HE MEAN?

>> THAT'S ONE OF THE WORLD GREAT SLEIGHT-OF-HAND MEN .

HE MEANS IT SOMETHING THAT'S PROBABLY TRUE AS ONE OF THE THINGS I'VE LEARNED IN LEARNING TO DRIVE, LEARNING TO DRAW, LEARNING TO DANCE, LEARNING TO BAKE.

THAT IS A DEGREE OF TECHNICAL VIRTUOSITY, THOUGH IT MAY BE ESSENTIAL FOR YOUR FIELD, DOESN'T BEGIN TO GIVE YOU MASTERY.

TECHNICAL VIRTUOSITY IS SOMETHING THAT'S WIDELY SPREAD , BUT WHAT HE MEANS BY THIS IS BEING ABLE TO DO THE MOVES WITH THE CAR DECK IF YOU'RE DOING CARD MAGIC.

IT DOESN'T MEAN YOU WILL DO ANYTHING THAT'S ASTOUNDING.

WHAT MAKES A MAGIC TRICK MAGICAL IS THE WAY IN WHICH I OR THE MAGICIAN CAN ANTICIPATE WHAT YOU'RE THINKING.

CAN READ YOUR MIND AND KNOW IN ADVANCE WHAT YOU THINK I'M GOING TO DO AND STAY ONE STEP AHEAD OF WHAT YOU'RE GOING TO DO AND EVERYTHING I DO.

AND RIGHT ACROSS THE BOARD, IT SOMETHING EVERY GOOD ACTOR WILL TELL YOU WHERE EVERY GOOD COMEDIAN, THAT THEY HAVE TO BE AT LEAST A SECOND AHEAD OF THE AUDIENCE IN THOSE STORYTELLING THEY ARE DOING AND THE JOKES THEY ARE MAKING.

IT'S THAT EXCHANGE BETWEEN MINDS THAT'S THE REAL ROOT OF MASTERY.

NOT SIMPLY TECHNICAL EXPERTISE.

>> YOU GOT A CHANCE TO SPEAK WITH SOMEONE WHO DOESN'T GET HEARD VERY OFTEN, AND THAT'S THE MAGICIAN TELLER OF PENN AND TELLER.

HE USUALLY PLAYS THE MEAT.

YOU HAD A VERY GOOD CONVERSATION WITH HIM AND I WAS INTRIGUED BY HOW HE PERCEIVED THE INTELLECTUAL PART OF MAGIC.

I HAD NEVER THOUGHT OF IT UNTIL THE CONVERSATION.

>> I FELL INTO THE COMPANY OF MAGICIANS A MY SON LUKE , WHO FELL IN LOVE WITH MAGIC AT THE AGE OF 13.

SEE HIM GO ALL THE WAY DOWN THIS RABBIT HOLE, BUT THEN REALIZED HE WAS EARNING MORE AND GETTING A DEEPER SENSE OF ACCOMPLISHMENT FROM MASTERING CARD MAGIC THAN HE EVER COULD FROM STUDYING CALCULUS AND SPANISH IN SCHOOL.

I FOLLOWED HIM DOWN THIS RABBIT HOLE AS I SAY AND GOT TO MEET TELLER.

TELLERS WHOLE POINT ABOUT MAGIC IS ITS ESSENTIALLY AN INTELLECTUAL EXCHANGE.

IT'S MY MIND RACING AHEAD OF YOUR MIND.

YOU KNOW THAT I'M GOING TO MAKE THE CAR CHANGE COLOR, SO THAT'S NOT GOING TO BE ENOUGH.

I WILL HAVE TO MAKE THE CARD CHANGE COLOR AND SUIT.

OR I HAVE TO MAKE IT SIGNED AND FIND IT IN YOUR BACK POCKET.

IS THE ARMS RACE OF MINDS MAKES MAGIC WORK.

THAT'S WHAT TELLER WAS TALKING ABOUT.

>> YOU ALSO HAVE A CHAPTER THAT I THINK A LOT MORE PEOPLE CAN RELATE TO.

THAT THERE IS MASTERY AND WHAT MANY OF US DO WHICH IS TO DRIVE.

EXPLAINED THAT.

>> I WAS, IF YOU CAN IMAGINE, TO DRIVE AND I THINK THIS MAY BE A UNIQUE DISTINCTION.

I GOT MY DRIVERS LICENSE, PAST MY DRIVERS TEST ON EXACTLY THE SAME DAY, WITH EXACTLY THE SAME DRIVING INSPECTOR AS MY SON LUKE , WHO WAS JUST 20.

I WENT IN THE CAR FIRST AND THEN HE WENT IN THE CAR AND GOT HIS.

I DON'T KNOW HOW MANY TIMES THAT'S HAPPENED.

IT'S FASCINATING THAT SOMEONE WHO HAD NEVER DRIVEN A DOLL , AND THAT WAS A HUGE AMOUNT FOR ME TO SURMOUNT BECAUSE I WAS COMING TO IT SO LATE.

WHAT I LEARNED ABOUT IT IS THAT DRIVING ISN'T JUST A TECHNICAL, ISN'T JUST A MASTERY OF THE CAR .

OF THE TECHNOLOGY.

IT'S A WHOLE ENTERPRISE.

WE ARE CONSTANTLY COMMUNICATING WITH OTHER DRIVERS.

THIS GREAT, CRAZY DRIVING TEACHER, ARTURO, HE SAID ALWAYS GIVE SOMEONE THE HAND.

THE HAND MEANS BLESS YOU, F YOU , WHATEVER YOU MEAN IT TO MEAN.

AND YOU ARE CONSTANTLY ENGAGED IN THE KIND OF COMMUNICATION WITH OTHER DRIVERS.

ABOUT IS THAT CARS ARE NOT TERRIBLY DIFFICULT TO OPERATE, BUT THEY ARE INCREDIBLY DANGEROUS.

WE HAVE SORT OF ABSORBED THAT DANGER INTO OUR SYSTEMS.

AND ON THE WHOLE, WE HAVE ACCIDENTS , GOD KNOWS, BUT ON THE WHOLE, NEW YORK CITY, YOU DON'T NECESSARILY RISK YOUR LIFE EVERY TIME YOU CROSS THE STREET BECAUSE DRIVERS KNOW HOW TO INTERACT WITH OTHER DRIVERS.

IT'S A BEAUTIFUL EXAMPLE OF WHAT'S CALLED A SELF EMERGING, SELF-GOVERNING SYSTEM.

IN THAT WAY, DRIVING IS VERY INSPIRING FOR A DEMOCRATIC IMAGINATION.

>> WHAT IS IT ?

THE MASTERS YOU SPOKE WITH , WHAT'S HAPPENING TO THEIR BRAINS WHEN THEY GET TO A LEVEL OF PROFICIENCY OR MASTERY?

IS THERE AN AUTOPILOT?

IS THERE A ZONE THAT THEY GET INTO?

>> YES.

WE HAVE A BEAUTIFUL PHRASE FOR IT.

THE FLOW.

IT'S ONE OF THE THINGS THAT WE LEARN RIGHT ACROSS EVERYTHING THAT YOU ATTEMPT IN MIDDLE AGE.

BY THE MYSTERY OF HOW OTHERS HAVE MASTERED THEM.

IT'S THAT EVERYTHING YOU TRY, WHETHER IT'S DRAWING OR DANCING OR BOXING, WHICH I TOOK UP, BEGINS WITH A SET OF SMALL, AWKWARD STEPS THAT YOU HAVE TO MASTER.

IN BOXING, IS KEEPING YOUR HANDS UP .

THROWING A JAB AND THEN THROWING CROSS.

WE SEEN THAT 1 MILLION TIMES, BUT WE ARE NOT AWARE THAT IT'S A LEARNED SEQUENCE.

SLOWLY, OVER TIME, WHETHER IT'S A DANCE STEP OR A RUSH MARK OR A JAB AND ACROSS, THOSE SMALL AWKWARD STEPS DEVELOP INTO A KIND OF SEAMLESS SEQUENCE.

THAT'S TRUE RIGHT ACROSS ALL THE FIELDS, THAT I LOOKED AT.

IT'S ALWAYS ABOUT A SERIES OF SMALL STEPS BECOMING A SEAMLESS SEQUENCE.

THAT SEAMLESS SEQUENCE COMES TO SIT INSIDE OURSELVES.

IS WHAT WE CALL THE FLOW.

THAT FEELING OF THE FLOW.

OF ABSORPTION IS I SUGGEST MAYBE THE BEST FEELING, ONE OF THE BEST FEELINGS WE EVER GET IN LIFE WORK DRAW, YOU HAD THE OPTION TO WALK AROUND AND UNDERSTAND ART IN A DIFFERENT WAY WITH SOMEONE WHO IS VERY GOOD AT IT.

WHAT DID YOU LEARN DURING THE PROCESS OF WHAT IT TAKES TO BE GOOD AT SOMETHING AS SIMPLE AND UNIVERSAL THAT WE SEE AROUND US, WHICH IS TO DRAW?

>> IT WAS DELIBERATELY KIND OF COMPENSATORY.

CHASTENING IN MIDDLE AGE.

I'VE BEEN AN ART CRITIC FOR 40 YEARS, BUT I NEVER KNEW HOW TO DRAW.

YOU DON'T HAVE TO BE A GREAT DRAFTSMAN TO BE A SMART ART CRITIC .

BUT IF YOU DON'T UNDERSTAND IN SOME PLACES YOUR INNER SELF WHAT IT FEELS LIKE TO BE ABLE TO DRAW, THEN I SUSPECT YOUR JUDGMENT WILL NEVER ENTIRELY RIPEN.

SO I WENT TO STUDY WITH AN INCREDIBLY OLD-FASHIONED REACTIONARY DRAWING MASTER , MY FRIEND JACOB COLLINS WHO HATES ALL MODERN ART.

AND I'VE BEEN WRITING ABOUT MODERN ART.

THE FRICTION BETWEEN THIS BEAUTIFUL SYSTEM OF SHADED LINE DRAWING STARING AT A NUDE BODY FOR HOURS ON END.

LEARNING TO DEPICT EVERY PATCH OF SHADOW.

EVERY LITTLE TROLL OF FAT ON A HUMAN BODY WAS AN INCREDIBLE FORM OF INTELLECTUAL DISCIPLINE FOR ME.

AND IT INCREASED MY RESPECT FOR THE GREAT DRAWING MASTERS AND I LEARNED AGAIN EXACTLY THE SAME THING.

THE WAY YOU LEARN TO DRAW IS NOT BY LOOKING AT A FACE AND SUDDENLY AN EPIPHANY COMES DOWN AND TOUCHES YOU ON THE SHOULDER AND YOUR HAND IS MOVING IN THE RIGHT DIRECTION.

YOU LEARN A WHOLE SERIES OF STEPS.

JACOB TAUGHT ME , ALWAYS DO TILTS IN TIME.

LOOK AT THE FACE AND THERE, YOU JUST MOVED YOUR HEAD TO 25 MINUTES TO 11.

I'VE DRAWN THAT AND MADE THE FIRST OF TWO DRAWING YOU.

ONCE AGAIN, IT'S AN AWKWARD SCHEMATIC , ALMOST CHILDLIKE DEPICTION WHEN I DO THAT.

BUT IF I MAKE TILTS IN TIME, I CAN BEGIN TO ASCEND TO BEING ABLE TO DRAW.

>> LIKE A LOT OF PEOPLE, I PICKED UP MAKING SURE THE PANDEMIC AND I ALWAYS WONDER, WHAT IS IT THAT WILL SEPARATE SOMETHING THAT I MAKE FROM ANYBODY ELSE, IF THEY FOLLOWED THIS SAME INSTRUCTION?

IF WE USE THE SAME INGREDIENTS AND FOLLOWED EVERYTHING DOWN TO THE LETTER, WHY IS IT THAT THE PERSON WHO WROTE THAT RECIPE , THE MASTER, SO TO SPEAK , WHY DOES THEIR COOKIE TASTE BETTER THAN MINE?

>> IT'S THE KEY QUESTION.

I HAVE A CHAPTER ON THE BOOK ABOUT BAKING WITH MY MOTHER.

BECAUSE MY MOTHER WAS A GREAT ACRE.

I WANTED TO LEARN EXACTLY THAT.

WHY WAS IT MY BREAD TASTING LIKE MY MOM'S BREAD?

WHAT IT IS COVERED IS EXACTLY AS YOU SAY.

AS IN EVERYTHING IN LIFE, THE SECRET LIES IN THE SLIPPAGE BETWEEN THE INGREDIENTS AND THE ACTS IN THE RECIPE.

ALL THE THINGS YOU CAN SUBSTANTIATE OR CODE FOR IS WHERE THE THE VITAL IMPERFECTION, THE WAY SHE ROLLS IT .

THE WAY SHE KNOWS EXACTLY TO THE SECOND WHEN TO TAKE IT OUT OF THE OVEN.

THOSE ARE ALL THINGS THAT ARE INSTINCTIVE THINGS THAT WE HAVE ACQUIRED OVER THE YEARS.

THE OTHER THING THAT'S VERY BEAUTIFUL IS THAT LITERALLY ONE OF THE THINGS I DISCOVERED IS THAT THE DIRT AND BACTERIA ON OUR HANDS ENTERS PROFITABLY INTO THE MATERIAL .

THE THINGS WE ARE MAKING.

THE BACTERIA OF BAKER'S DEAD FOR CENTURIES IS STILL PRESENT IN THE SOURDOUGH STARTER THEY LEAVE US.

SO ALL THOSE THINGS I LOOKED AT OUR DEEPLY HUMAN ACTIVITIES IN THE SENSE THAT WHAT WE SEARCH FOR IS NOT STRICT TECHNICAL PERFECTION, BUT THE MEANINGFUL SIGNS OF HUMAN IMPERFECTION.

THE VIBRATO IN OUR VOICE, THE INSERT IN THE INNER METER.

>> IN THIS ERA, ESPECIALLY IN SOCIAL MEDIA, WE ARE KIND OF REALLY INTO THE END PRODUCT.

THE RESULTS.

WHAT IS IT THAT YOU ARE SAYING IN THIS BOOK ABOUT THE VALUE OF PROCESS?

>> IT'S A GOOD QUESTION.

ONE OF THE THINGS I'VE LEARNED AND I HOPE I'M SAYING NOW IS THAT YOU DON'T HAVE TO BE A MASTER OF SOMETHING TO GET AN ENORMOUSLY SATISFYING FEELING OF MASTERY.

I GIVE THE EXAMPLE IN ONE PART OF THE BOOK THAT HUMMINGBIRDS AND ELEPHANTS HAVE EXACTLY, THIS IS TRUE, EXACTLY THE SAME NUMBER OF HEARTBEATS IN A LIFETIME.

THEY JUST EXPERIENCED THINGS IN DIFFERENT WAYS.

IN THE SAME WAY, I'M NOT A TERRIFIC MUSICIAN.

GOD KNOWS I'M NOT A GREAT DRAFTSMAN AND YOU WOULDN'T WANT TO PUT ME IN THE RING WITH ANYONE EXCEPT FOR ANOTHER MIDDLE-AGED WRITER.

BUT THE SENSE OF SATISFACTION THAT I'VE ACQUIRED THROUGH THOSE ACCOMPLISHMENTS, THE WAY THAT SIMPLY THE PROCESS OF THEM COMES TO SIT INSIDE YOUR BODY AND BECOME A KIND OF FOUNDATION FOR EVERYTHING ELSE YOU DO IN THE VOCATION THAT YOU PRACTICE .

IN WRITING , IN MY CASE, IS REALLY PROFOUND.

WE HAVE A SOCIETY THAT'S SO EMPHASIZES ACHIEVEMENT.

PASSING THE TEST.

HEADING INTO THE NEXT SCHOOL.

REALLY REALLY THINK ABOUT OUR OWN LIVES, IS THE FOUNDATION OF ACCOMPLISHMENT THAT I THINK MATTERS MOST TO US.

I'M A GOOD WRITER TODAY BECAUSE I WAS STRUGGLING TO FORM BEETLE CHORDS ON THE GUITAR I NEVER TOUCHED BEFORE THE AGE OF 12.

EVERY TIME WE GIVE OURSELVES THE CHALLENGE OF MASTERING SOMETHING THAT SEEMS IMPOSSIBLE TO US BEFORE, WE BECOME MORE ASSURED, MORE SERENE, MORE ACCOMPLISHED PEOPLE.

>> YOU ARE NOT THE AVERAGE BEAR, SO TO SPEAK , IN THAT YOU'VE HAD A LIFE WHERE YOU HAVE HAD CURIOSITY AS A LICENSE AND YOU'VE BEEN ABLE TO FEED THAT CURIOSITY THROUGH DOING STORIES ON A NUMBER OF THINGS.

IN THE PROCESS OF THIS BOOK, DID IT CHANGE YOUR APPRECIATION OF THE MASTERY THAT MAY BE ALL AROUND US THAT WE ARE NOT AWARE IT'S A GREAT QUESTION.

ONE MOMENT I HAD AS MY SON LUKE WAS STUDYING GUITAR AND WE WENT TO SOME NEW YORK COCKTAIL PARTY AND THERE WAS A BAND PLAYING IN THE BACK.

NO ONE WAS PAYING ATTENTION TO THEM.

LUKE LOOKED AT THIS POOR GUY AND SAID DAD, THAT GOD IS A BETTER GUITAR PLAYER THAN ANYONE I'VE EVER STUDIED WITH.

SO PART OF IT IS BECOMING AWARE THAT THERE IS SO MUCH MASTERY IN THE WORLD I TELL THE STORY IN THE BOOK.

ABOUT HOW THERE WAS THIS FAMOUS CHESS PLAYING AUTOMATON IN THE 18th CENTURY CALLED THE TURP WHICH WAS A MAGICIANS ILLUSION.

THEY HAD TO FIND CHESS PLAYERS TO SIT INSIDE THE CABINET AND MANIPULATE THE HANDS OF THE OTTOMAN FIGURE.

WHAT WAS SO COOL ABOUT IT WAS THAT THEY DIDN'T HAVE ONE GREAT CHEST PLAYER .

SOMEBODY WHO DID IT ALL THE TIME.

EVERY TIME HE WENT TO A NEW CITY, THE MAGICIANS WOULD GO TO A CHESS CAFE AS A IS THERE ANYONE WHO NEEDS A GIG AND DOESN'T MIND CLOSE WORKING CONDITIONS?

MASTERY IS VERY SMART FAR SPREAD OUT ONE MORE THING IT REMINDS US OF IS PEOPLE WE THINK OF AS THE ULTIMATE MASTERS, THE BEST IN ANY FIELD.

THOSE WILLIE MAYS PEOPLE.

THEY TEND TO BE PEOPLE WHO HAVE DISCOVERED SOME VITAL FORM OF IMPERFECTION.

THAT'S THE BEAUTIFUL THING ABOUT BLUES SINGING OR JIMI HENDRIX GUITAR.

IT'S A DEGREE OF DISTORTION, IMPERFECTION THAT THEY DISCOVER , THAT LIBERATES OUR OWN IMAGINATIONS.

SO THERE'S THIS WONDERFUL DIALOGUE BETWEEN TECHNICAL PERFECTION AND MEANINGFUL IMPERFECTION THAT I THINK IS THE REAL SIGN OF MASTERY.

>> HOW MUCH OF MASTERY IS TIME, REPETITION , EXPERIENCE?

WE'VE HEARD THAT IDEA THAT IT TAKES 10,000 HOURS TO BECOME A MASTER OR SOMETHING.

OR GOOD AT SOMETHING.

NOT ALL MASTERS OR NOT ALL PEOPLE THAT REACH EXCEPTIONAL SKILL AT SOMETHING HAVE NECESSARILY PUT IN THAT 10,000 HOURS IN THAT SKILL?

>> LOOK, IT'S A COMPLICATED DIALOGUE BETWEEN WHAT WE PROPERLY CALLED NATURAL TALENT THAT WE ALL KNOW WHAT THAT IS.

GRADE WHO COULD DRAW LIKE A WIZARD.

THAT GIRL HAS A DIFFERENT TALENT THAN I DO.

BUT AT THE SAME TIME, WE ALSO KNOW THAT ALMOST EVERYTHING IS SUSCEPTIBLE TO PERSEVERANCE AND EFFORT.

MILES DAVIS MAY BE THE GREATEST JAZZ TRUMPET PLAYER.

HE WASN'T THOUGHT OF AS A TERRIBLY TALENTED JAZZ PLAYER WHEN HE FIRST CAME UP.

BUT HIS MUSICAL IMAGINATION WAS SO EXACTING AND SO ORIGINAL THAT HE COULD GO ON TO FIND NEW WAYS OF PLAYING ALL THE TIME.

TALENT IS A REAL THING.

THE CASA WAS AN INSANELY TALENTED DRAFTSMAN.

A DRAFTSMAN OF GENIUS.

CÉZANNE WAS NOT.

CÉZANNE JUST HAD HIS GENIUS.

IF HE TOLD YOU WERE TO MAKE YOUR MARK, YOU AND I COULD DO IT.

WE COULDN'T SEE IT, BUT WE COULD DO IT.

IS THE DIALOGUE BETWEEN IMAGINATION AND TECHNICAL VIRTUOSITY THAT WE RECOGNIZE AS ART.

WITH THINK THAT THEY ARE?

>> NO.

IN MY EXPERIENCE, PERPETUAL DISSATISFACTION OF ACTUAL MASTERY.

I DON'T KNOW ANYONE WHO'S GOOD AT SOMETHING WHO THINKS THAT THEY ARE FINALLY VERY GOOD.

I WROTE ONCE ABOUT A GREAT WINEMAKER WHO IS ALWAYS DISSATISFIED WITH THE WINE HE MAKES.

WE ALL JUDGE OTHER PEOPLE BY THE SCALE OF THEIR ACCOMPLISHMENTS, BUT THEY JUDGE THEMSELVES AS WE JUDGE OURSELVES, BY THE ORIGINAL SCALE OF OUR AMBITIONS.

THE SPACE ALWAYS BETWEEN OUR AMBITIONS AND OUR ACCOMPLISHMENTS INTERNALLY IS ENORMOUS, NO MATTER HOW BIG THOSE ACCOMPLISHMENTS ARE.

I WOULD SAY THAT PERPETUAL UNHAPPINESS WITH THE SCALE OF EURO, SCHMITZ COMPARED TO YOUR ORIGINAL AMBITIONS IS A SURE SIGN OF MASTERY.

>> ADAM GOTTLIEB.

THE TITLE OF THE BOOK IS THE REAL WORK ON THE MYSTERY OF MASTERY.

THANK YOU FOR JOINING US.

>>> FINALLY, TOWNS AND CITIES AS CHERRY BLOSSOM SEASON GETS UNDERWAY.

THE BLOOMS ARE A HIGHLIGHT OF EVERY JAPANESE SWING TIME AND THEY DRAW IN MILLIONS OF TOURISTS.

THIS YEAR, THE FLOWERS BLOOMED 10 DAYS AHEAD OF SCHEDULE .

BEAUTIFUL, BUT WORRYING FOR METEOROLOGIST.

THEY SAY THE WARM TEMPERATURES PARTIALLY DRIVEN BY CLIMATE CHANGE ARE TO BLAME.

BUT FOR A FEW MONTHS, SITTERS CAN BASK IN JAPAN'S SIGNATURE SEASON.

THAT'S IT FOR OUR PROGRAM TONIGHT.

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