 Felly mae'n rydyn ni'n gwrs yw'r ffordd gan wych, gyda ni'n gwneud y ffordd eich llifau... ..mwyaf gwneud ybach chi. Felly mae'n gweithio i chi ogdiau,'r llifau tynnu iawn. Ym maen nhw'n gwrs ei wneud yn ôl, rydyn ni'n gyrs am fedr o'n wneud o'r morhywg. silly mewn hanes ym mhwyme, ydych chi'n gweithio i chi fod y cwm sphere, mae'n wneud yn hwnnw roi gyflymu i chi, mae'n gwneud yn olygu'r rydyn ni. ac mae'n ddylch chi'n gwybod i'r wneud i'r tyn. A mae'n cael eu hyn yn rhan o'r gwybod, rwy'n gweld i'n rhan o'r gweithio'n radd, rwy'n gweld i'n rhan o'r gweithio. Rwy'n gweld i'r radd yn ddod o'r gweithio, ac rwy'n gweld i'n ddweud yn ddod o'r cwysgau. A wneud yn fwy ffordd, sy'n gweithio'n gweithio. A rwy'n gweithio'n gweithio'n gweithio'n gweithio, Ac rydyn ni'n meddwl, yn unig, yn ychydig, yn fwyaf, ac rydyn ni'n meddwl, boi'n meddwl yn meddwl ar ar-fynol. Ond ydych yn fwyaf o'r amser, felly rwy'n meddwl ei wneud i'r ysgrifennu a'r hynny, i ffyrdd i'r cyfoedd wedi cael ei wneud. Rydyn ni'n meddwl i'r cyflawn i'r ffyrddod ar ôl eitem eu oed. Dwi'n meddwl, dwi'n meddwl, i'r ceisio. Mae'n meddwl i'r cyfrifiad, i'r cyfrifiad. I've got no fear. Look, I can do all this stuff. Wow, this is crazy. For me that's the intermediate level. Now, the sign of an advanced guy or an expert is when you just tone that down and it just becomes chilled. So if you're watching an approach and the guy's confident but at the same time he's not hyper excited, he's not cracking loads of jokes, he's not laughing himself. That's the sign for me, that's the sign of an expert. And that's kind of like I feel the process that that's what happened with me. I went through a period of where I was getting really excited. I was going into a set and just because it felt so good because I could suddenly do this now. But what you've really got to understand is that you need the next level from that is about toning it down. It's about finding that perfect balance between attraction and comfort. Because too much attraction or only attraction and you become the clown. So she has a great time. She's laughing. Wow, this is fantastic, but she's thinking like, wow, if I go on a date with this guy is this going to be like, is this how it's going to be for the whole date? She's definitely feeling stuff. She's laughing. She's enjoying it. But when she thinks about it, she'll go away and she'll just be like, wow, that was crazy. But that's fine. Let's leave it at that. Do I really want to see this guy again? I don't know. And the other extreme is only comfort. Now, if you approach a girl and you don't do any attraction and you just go straight into report, you become Mr Nice Guy and she'll happily stand there, be polite with you, have a nice chat with you, but she's not going to feel anything. She's going to go away and she's going to think, oh, that was a nice chat. Nice guy. And then five minutes later, she's forgotten you. So both of these two extremes don't work, in my opinion. What you need is to find a balance between the two. So your jokes, they need to be more subtle. You're teasing. It needs to be subtle. I mean, my style is sarcastic. That's kind of, it's like the English style of humour. That would be the sort of jokes that I would make. And they're the same jokes that I would make when I'm with my friends. And that's how you need to talk to these girls. You need to go up to a girl that you've never met before and you need to talk to her like she's your best friend. And immediately when you can do that and you just assume familiarity with them, it makes them so comfortable. It really does. And it's about not censoring yourself. It's just about talking off the top of your head, not planning what you're going to say, taking the piss out of her, you know? Just being playful. But doing it in a way where you're not trying to do it, if that makes sense. You can't go out of your way to be this way. It's got to come from a place of strength inside you. So it's not something that you can just get immediately. In order to do these things, you need to be really, really in the moment. And this is going back to what Tom was talking about earlier about flow state. You've really got to be in the moment to be able to tease a girl to spot in that moment where there's a point where you think, right, okay, I can call her out on this. She's just made a mistake in what she was saying. Bang, going to tease her. And something that I've noticed I do in my sets and I didn't realise this at first, but it's something actually that Tom pointed out to me is I continuously alternate. I flip between comfort and attraction all the way through the set. So it kind of keeps the girl on her toes. So one minute she's thinking, oh, this is, you know, this is a nice guy. Okay, I'm enjoying this. And then suddenly bang, tease her. And she's like, oh, is he hitting on me? Is he teasing me? And then back to comfort and then back to attraction. But it's something that it comes with experience. It's taken me what I've been doing this for two and a half years now. And probably I reckon as Tom was saying, it was when we got back from Oslo last year, that was when things really started to click for me. And I found myself just feeling like I'm on all the time. I can be just completely relaxed, no anxiety. I can tease the girl. I can make her comfortable with me. And that's what it's all about really. Okay, can we play the video, please? Excuse me. Sorry, can I tell you something really quickly? Yes. Okay, I just literally walked past you and I thought you looked really nice. And I wanted to come over and say hello. Oh, sorry, I'm afraid I'm not here far from time. Okay, don't need to apologise. I'll tell you what I noticed was you looked, I actually thought you were Spanish, because you got a nice tan. Yes, I'm originally from Spain. Originally from Spain? And then you lived in France? Yes. And you're on holiday? No, we're in internship. Internship? Yes. Okay, so you're working in an office? Yes. Fair enough? I do prospecting and photo-opening.