Latest / Earn Your Leisure / EYL #177 How Antoine Dixon Bellot Built a Media & Real Estate Empire in The U.K.

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EYL #177 How Antoine Dixon Bellot Built a Media & Real Estate Empire in The U.K. · Earn Your Leisure

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  Speaker 1: An illegal alien from Guatemala charged with raping a child
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  Speaker 1: Do what's right. Leave now. Under President Trump, America's laws,
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  Speaker 1: border and families will be protected.
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  Speaker 2: Sponsored by the United States Department of Homeland Security.
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  Speaker 3: I say, let's say, figuratively, right, a good day in
• 1:02
  Speaker 3: the office. Everybody is on form. They wake up one
• 1:04
  Speaker 3: day and they have a good day where they're motivated,
• 1:07
  Speaker 3: they're buzzy and they're on it. They're constructive, but not
• 1:10
  Speaker 3: many people can sustain that, and that's the difference. Yeah,
• 1:14
  Speaker 3: it's for me to do what I do is not
• 1:16
  Speaker 3: sure some people, it's really painful for them.
• 1:19
  Speaker 2: Dude, this is just wired into my head.
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  Speaker 3: So like I have to stop myself from working and
• 1:26
  Speaker 3: thinking and strategizing and take time away, you know, as
• 1:30
  Speaker 3: opposed to thinking, oh I need to do this, I
• 1:32
  Speaker 3: need to I need to be here, I need to
• 1:34
  Speaker 3: work out this. Still, I got to work on that.
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  Speaker 3: That's not like that for me. It's just all that water,
• 1:39
  Speaker 3: do you see what I mean? So I have an
• 1:40
  Speaker 3: advantage at the fact that I'm not working at trying
• 1:42
  Speaker 3: to be consistent. It's just absolutely natural. And I think
• 1:45
  Speaker 3: that's just the only difference. I'm not I'm made of
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  Speaker 3: flesh blood, I'm not Einstein. My IQ is not crazy.
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  Speaker 3: I'm a bit sharp. Yeah, I have great instincts, but
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  Speaker 3: I'm just like anybody else. But the consistency is the
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  Speaker 3: only difference that separates.
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  Speaker 4: My graduates from my school being forced.
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  Speaker 5: Back drop drop drop.
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  Speaker 6: All right, guys, welcome back, e y l UK edition.
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  Speaker 6: This is going to be a very very special, legendary episode.
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  Speaker 6: I got a feeling Anton Dixon, Bellot said, correctly. So
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  Speaker 6: I got introduced first of all, shout out to Ashley
• 2:37
  Speaker 6: who actually made the introduction on Instagram, and shout out
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  Speaker 6: to everybody in UK because that's been a lot of that.
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  Speaker 6: Like everybody that we've really been meeting, people that either
• 2:46
  Speaker 6: we just met or we didn't even know and they'd
• 2:49
  Speaker 6: like make an introduction. They've been very hospitable and very welcoming.
• 2:54
  Speaker 5: So thank you.
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  Speaker 7: Relationships, man, it's all about war the money for sure.
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  Speaker 6: So when she DM me, she was telling me she
• 2:59
  Speaker 6: was like, look, you got to interview this guy, like
• 3:01
  Speaker 6: he's like our Tyler Perry here in the UK. And
• 3:05
  Speaker 6: so once I did the research and I saw the
• 3:07
  Speaker 6: Forbes articles and it's.
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  Speaker 5: Very similar, very similar. So very interesting.
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  Speaker 6: Story really started started from the bottom eighteen years ago,
• 3:17
  Speaker 6: I think right eighteen years ago. So he started doing
• 3:20
  Speaker 6: music videos, very you know, a low budget production music video.
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  Speaker 6: Now he's scaled it to not only an eight figure
• 3:28
  Speaker 6: real estate portfolio, but media empire when he controls the
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  Speaker 6: whole supply chain. So the Tyler Perry Tyler Perry comparison
• 3:37
  Speaker 6: is actually very fitting.
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  Speaker 5: So we'll get into it. But he literally controls the
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  Speaker 5: whole thing. He owns it. So he actually just brought.
• 3:44
  Speaker 6: In a state for I believe four million pounds on
• 3:48
  Speaker 6: the countryside of England where it's going to be.
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  Speaker 5: We gets you.
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  Speaker 7: Content studio with lots some of that. We've seen a lake.
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  Speaker 7: Don't forget the lake.
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  Speaker 5: Lots, huge estate, fifty two acres.
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  Speaker 7: It's a lot.
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  Speaker 5: Yeah, it's a lot. So this is this is gonna
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  Speaker 5: be one of the ones. Man.
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  Speaker 7: So first and foremost, we forgot one business. We can't
• 4:09
  Speaker 7: forget the multimillion dollar lens production.
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  Speaker 5: Well I was gonna go through all of the business.
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  Speaker 5: That's that's major. That's all part of the supply chain.
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  Speaker 7: Yeah, yeah, value chain. They said you chalue changing like.
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  Speaker 5: That like that. Well, first and foremost, thank you for
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  Speaker 5: joining us. Appreciate it.
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  Speaker 2: Pleasure guys, thank you for having me hand. Trust me.
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  Speaker 7: I said, we're gonna need horns anytime legends walking, we
• 4:28
  Speaker 7: need horns playing. I should have some horns playing on Presidence.
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  Speaker 3: Is enough.
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  Speaker 6: Trumpets, So let's let's do this. I want to go
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  Speaker 6: through everything, but let's talk about your journey from starting
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  Speaker 6: doing music videos to progression, Like how did you actually
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  Speaker 6: get into even thinking about film production, filming, all of.
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  Speaker 5: That stuff, you know what.
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  Speaker 3: That that's a that's a part of my past. I
• 4:58
  Speaker 3: don't talk about too too much because is is kind
• 5:00
  Speaker 3: of so irrelevant now but was so relevant then.
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  Speaker 2: But back in the day, like back in the day,
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  Speaker 2: I was part of a grime you know, grime right, Yeah.
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  Speaker 5: That's like before drill music.
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  Speaker 3: Yeah, well before that's like just after like garage house
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  Speaker 3: and garage, you know. So I was part of a
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  Speaker 3: grime group where a guya and myself who now actually
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  Speaker 3: funny enough, has gone down the same route in music videos.
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  Speaker 3: We started the grime group and we made our own
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  Speaker 3: beats and we were the music producers. Some would spit
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  Speaker 3: in it as well with wrap. And then this this
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  Speaker 3: platform came about, which was called Channel You, which was
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  Speaker 3: the first television channel for that played unsigned like low
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  Speaker 3: budget music videos. So for the first time you had
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  Speaker 3: more than an MTV base, you know whatever else, So
• 5:52
  Speaker 3: that they obviously made the barrier to entry a lot
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  Speaker 3: lower to allow people like up myselves, like amateur filmmakers
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  Speaker 3: or aspiring arecor to amateur filmmakers to come in and
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  Speaker 3: try and basically try a thing to make a video
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  Speaker 3: get submitted and see if they can get a broadcast.
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  Speaker 3: So we just spoke about making our own video and
• 6:09
  Speaker 3: we made one from our own group, which was only
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  Speaker 3: supposed to be for us to make our own content.
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  Speaker 3: And I remember getting a phone call from one of
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  Speaker 3: the channel managers and saying she's like, hey, Antoine, quick question,
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  Speaker 3: how much did your music video costs?
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  Speaker 2: And who made it for you?
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  Speaker 3: Beca I've got a lot of people that are using
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  Speaker 3: your video as a reference that they want to have
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  Speaker 3: their video made.
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  Speaker 2: I was like, gosh, we made the video.
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  Speaker 3: And she was like, oh, okay, how much do you charge?
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  Speaker 3: Because she's thinking that we do this, we're just rappers,
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  Speaker 3: you know, And I'm like, I don't know. Off the
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  Speaker 3: top of my head, I'm like five bills, like five
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  Speaker 3: hundred pounds, and she's like okay, and then she put
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  Speaker 3: us in touch. And obviously at that time everything was
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  Speaker 3: for free. We're shooting in a camcorder, remember that the
• 6:56
  Speaker 3: old DV We're shooting in a camcorder. We're just shooting
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  Speaker 3: anywhere anyhow. This is like running gun dot com, right,
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  Speaker 3: So anyway, we got linked up with other artists.
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  Speaker 2: We're shooting.
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  Speaker 3: The budgets went from five hundred to one thousand to
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  Speaker 3: three thousand to five thousand, and the rest is basically history,
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  Speaker 3: you know. So it was it was an accident. It
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  Speaker 3: was an accident. It was because of music.
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  Speaker 7: So you were an artist that just you know, we're
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  Speaker 7: going to do it ourselves and ended up creating a
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  Speaker 7: business exactly, I think. And during that process one of
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  Speaker 7: the brilliant things I heard is that when you started
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  Speaker 7: making the videos, you didn't try to find the top people.
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  Speaker 5: In the space.
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  Speaker 7: You found college students higher yeah, yeah, which makes perfect
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  Speaker 7: sense because those are the people university here, but those
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  Speaker 7: are the people who actually are studying. Yeah, but they
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  Speaker 7: don't have any money, that's right, and so that they
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  Speaker 7: can hone their talents while getting paid at a load
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  Speaker 7: right for you, of course, but they can grow with
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  Speaker 7: you too. Absolutely, you like went into it with that
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  Speaker 7: vision like I you know what, I'm going that route
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  Speaker 7: Because you were studying film.
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  Speaker 3: It was circumstantial, so obviously I was like, how can
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  Speaker 3: I create this infrastructure? Because I remember at the time, I'm
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  Speaker 3: not really in the film industry, so I don't know people,
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  Speaker 3: you know, and even if you knocked at the doors
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  Speaker 3: in those days, there wasn't many of us around.
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  Speaker 2: The doors were mostly closed.
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  Speaker 3: You know, you'd have to send an email or pigeon
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  Speaker 3: or in those days like to try and get on set.
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  Speaker 3: And if you do, we're lucky enough to get on set,
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  Speaker 3: you're taking that rubbish, you know, like the trash right.
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  Speaker 3: So translation, so like you know, it was a way
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  Speaker 3: for me to kind of think off the cuff, you know,
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  Speaker 3: and I was like, cool, we're training to do this.
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  Speaker 3: People are half competent. I can give them a platform
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  Speaker 3: and experience. I get my own experience. And it was
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  Speaker 3: just a match made in heaven. So I was basically
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  Speaker 3: using university classmates as my film crew.
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  Speaker 5: You know.
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  Speaker 2: It just it worked.
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  Speaker 6: So what point do you scale from the music videos
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  Speaker 6: to like producing in the film world.
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  Speaker 3: Well, in terms of making movies, yeah, I've only just
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  Speaker 3: started making films, so music videos just grew from strength
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  Speaker 3: to strength. At the time, we did the odd TV commercial,
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  Speaker 3: but music videos was just my forte We were just
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  Speaker 3: known for making music videos. And you know, up until
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  Speaker 3: last year we we shoot the biggest artists in the country.
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  Speaker 7: So it went from the music videos, correct me if
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  Speaker 7: I'm wrong. After that it was okay rather than going
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  Speaker 7: on places and locations, let me find the studio. So
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  Speaker 7: at that point you're looking for places to rent or
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  Speaker 7: you're saying like, okay, you know what, this has causing
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  Speaker 7: me too much to go on location, get permits and
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  Speaker 7: all that. Let me find a space where we can
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  Speaker 7: actually shoot content.
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  Speaker 2: Well that fast forward in ten years.
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  Speaker 3: Yeah, so before that I was getting when managed to
• 9:36
  Speaker 3: buy my own camera, was well part of my own
• 9:39
  Speaker 3: camera because if you remember the Red One. If you
• 9:41
  Speaker 3: guys know the Red one camera was a revolutionary at
• 9:44
  Speaker 3: the time when it came out, it was like magic, right,
• 9:47
  Speaker 3: and it was the first time that we could shoot
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  Speaker 3: as close to thirty five mil film as possible. So
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  Speaker 3: I would now manage to buy the camera body, which
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  Speaker 3: I remember in pounds, was like seventeen thousand.
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  Speaker 2: Just the body.
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  Speaker 3: Then you add the rest of the modular equipment, so
• 10:02
  Speaker 3: we're talking about a tasty amount of money, you know,
• 10:05
  Speaker 3: to create your whole filming package.
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  Speaker 2: So I was able to buy a bit at time.
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  Speaker 3: So I was using profits from my music videos to
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  Speaker 3: buy asset after asset, modular after modular and assemble the kit.
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  Speaker 3: And the more kit I can buy, the less I
• 10:18
  Speaker 3: have to cross higher. To see what I mean, so
• 10:20
  Speaker 3: then eventually you retain your profit, so that once you
• 10:22
  Speaker 3: bought your equipment, your profit becomes profit and doesn't just
• 10:26
  Speaker 3: get reinvested into the assets.
• 10:28
  Speaker 6: Let's get into that because the supply chain. So all right,
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  Speaker 6: so you have you have East London Studios that's your studio.
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  Speaker 2: Yes, that was founded in twenty fourteen.
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  Speaker 5: Okay. Then you have China House that's the camera company.
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  Speaker 3: Cinney House House that's camera and lighting rental company.
• 10:45
  Speaker 5: And then Sinny Corps Optics to the.
• 10:51
  Speaker 3: Scope Optics, so that's the less manufacturing.
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  Speaker 5: Factoring business, right, and then Mastermind.
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  Speaker 2: Media that's the production company.
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  Speaker 5: The production company ADP Films.
• 11:02
  Speaker 3: Services, So AB Film Services is the company that that is.
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  Speaker 3: That's the limited company that Sydney House and East London
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  Speaker 3: Studios trade under.
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  Speaker 2: So Sydney House and the Eastern Studios of.
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  Speaker 3: The trading names, but that they're owned by the holding
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  Speaker 3: company of ad B Film Services.
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  Speaker 6: So let's go through each one, which like, can we
• 11:19
  Speaker 6: go through in a in a time order?
• 11:22
  Speaker 5: Which one started for Mastermind? Okay?
• 11:24
  Speaker 3: So it was it was making content and it was
• 11:27
  Speaker 3: seeing these lines we call them lines in a budget,
• 11:29
  Speaker 3: will call them lines right when you break down itemized costs.
• 11:32
  Speaker 3: So going through these lines, after a few years, I'm like, Okay,
• 11:35
  Speaker 3: I'm spending this much on camera, this much on lights,
• 11:38
  Speaker 3: this much on crew, this much on location, whether it
• 11:41
  Speaker 3: be exterior permits, whether it be interior locations or film studio.
• 11:46
  Speaker 3: So then you start to realize you're looking at your
• 11:48
  Speaker 3: numbers and you're breaking on your costs.
• 11:50
  Speaker 2: I'm like, okay, this year, I've spent.
• 11:52
  Speaker 3: Seventy eighty k grab thousand in camera, one hundred grand
• 11:56
  Speaker 3: in lighting, sixty thousand locations. And then you just start
• 12:00
  Speaker 3: thinking if I owned that, that and that every year
• 12:05
  Speaker 3: it becomes X. I mean, it's not rocket science. And
• 12:09
  Speaker 3: every producer at the time must see what I'm seeing
• 12:12
  Speaker 3: because we're all looking at our budgets retrospectively, thinking, look
• 12:16
  Speaker 3: at this money that's being spent. So for me, since
• 12:19
  Speaker 3: the two thousand and nine is when I bought ten,
• 12:23
  Speaker 3: is when I bought my red one. You know, automatically,
• 12:26
  Speaker 3: I'm now saving money on the higher. But then what
• 12:31
  Speaker 3: I didn't really expect. I did it so I could
• 12:32
  Speaker 3: just save more money and make more money. I'm getting
• 12:34
  Speaker 3: other filmmakers coming to me to hire my equipment. And
• 12:38
  Speaker 3: that's where you just like the accident of becoming a
• 12:40
  Speaker 3: filmmaker is now I'm accidentally becoming a facility provider because
• 12:45
  Speaker 3: I was just trying to buy kit for me so
• 12:47
  Speaker 3: I could retain profit.
• 12:48
  Speaker 7: So you had the asset, the camera was the assets
• 12:50
  Speaker 7: that you were trying to You took the profits for
• 12:52
  Speaker 7: the music video to keep upgrading the asset correct and
• 12:55
  Speaker 7: because of the counter you're produce them with the asset,
• 12:58
  Speaker 7: people said, can we rent from you?
• 13:00
  Speaker 2: Ye, which brings which brings in more money.
• 13:02
  Speaker 5: You got more money, right, So that leads to the
• 13:04
  Speaker 5: next company.
• 13:06
  Speaker 3: Which was Eastern and Studios Studios because I realized being
• 13:11
  Speaker 3: trying to push master my media forward, owning these facilities
• 13:15
  Speaker 3: would create good leverage, you know, and be very palatable
• 13:19
  Speaker 3: for record labels knowing that they could come and get
• 13:22
  Speaker 3: you know, what we call like a one stop shop,
• 13:25
  Speaker 3: if that makes sense, especially when budgets are tight, because
• 13:27
  Speaker 3: back then again budgets are you know, for an up
• 13:31
  Speaker 3: and coming artist, they'll give you five to ten and
• 13:33
  Speaker 3: if you're a known artist, it could be twenty.
• 13:35
  Speaker 2: So it's tight, super tight.
• 13:38
  Speaker 3: So I'm thinking, how can I still put in high
• 13:41
  Speaker 3: production value but not have to get torn apart by
• 13:45
  Speaker 3: the suppliers who are going to charge me crazy money
• 13:48
  Speaker 3: for equipment, you know. So it was a way. It
• 13:51
  Speaker 3: was kind of like a two prong attack. Just create
• 13:53
  Speaker 3: another business and increase the production value for master My Media.
• 13:58
  Speaker 6: And then okay, so then in the East Loning Studios,
• 14:01
  Speaker 6: and then what comes after day So.
• 14:03
  Speaker 3: After eas other studios came Syney House because it's Sney House.
• 14:07
  Speaker 3: Ye sitahouse, because again Eastern Studios is just a commercial
• 14:12
  Speaker 3: field location, a big stage warehouse exactly exactly, yeah, you know,
• 14:17
  Speaker 3: but I fully converted with rigs, pre light setups, you know,
• 14:21
  Speaker 3: the white cover, blackout studio, all your green rooms up
• 14:24
  Speaker 3: on a mesni. It was it was kicked out of
• 14:25
  Speaker 3: a film studio. But again, just like I analyzed as
• 14:28
  Speaker 3: a producer, I'm now a film studio owner. I'm seeing
• 14:32
  Speaker 3: all the productions in the country because we were a
• 14:34
  Speaker 3: household studio. So all the big production companies are coming
• 14:37
  Speaker 3: in and I'm seeing what lights they're bringing in, I'm
• 14:40
  Speaker 3: seeing what cameras they're bringing in. I know what their
• 14:42
  Speaker 3: spends are. So now I'm like, okay, I want to
• 14:46
  Speaker 3: own that because you have as when you get a budget,
• 14:50
  Speaker 3: you have to spend I'm going to give you just
• 14:52
  Speaker 3: indicative numbers. Yeah, you have to spend two thousand pounds
• 14:56
  Speaker 3: a day on camera, you have to spend three thousand
• 14:57
  Speaker 3: pounds a day on lights, and every day, every other day,
• 15:01
  Speaker 3: these production companies are coming in and they're getting it
• 15:04
  Speaker 3: from all the all the other commercial suppliers, and I'm like, nah,
• 15:10
  Speaker 3: you know what's happening here. So just like with the
• 15:13
  Speaker 3: production company, I'm like, if I own the rental house,
• 15:16
  Speaker 3: not only do you pay me for the production for
• 15:18
  Speaker 3: the film for studio, you now pay me for equipment.
• 15:21
  Speaker 5: Yeah.
• 15:21
  Speaker 2: Plus I realized that just certain.
• 15:23
  Speaker 3: Space wasn't going to make me millions, because you can
• 15:25
  Speaker 3: only charge a certain amount of money per day for
• 15:27
  Speaker 3: a film stage. But if you now have a camera
• 15:30
  Speaker 3: and light and list to add to the film studio,
• 15:33
  Speaker 3: now my costs, well, my expansion is triple.
• 15:36
  Speaker 2: It's a triple threat.
• 15:37
  Speaker 3: Then, and if somebody has a big, big job, or
• 15:40
  Speaker 3: they have a three or four day shoot, I'm making
• 15:42
  Speaker 3: not just three days studio, making three day studio, three
• 15:44
  Speaker 3: days camera, three days lights. Now the numbers are looking
• 15:47
  Speaker 3: a bit more interesting.
• 15:49
  Speaker 7: So the process of getting the studio itself was that
• 15:52
  Speaker 7: funded by the profits from the music videos and the
• 15:55
  Speaker 7: rentals together, how do you come up to.
• 15:57
  Speaker 3: That profit for music video? So by this time was flying.
• 16:00
  Speaker 3: I was doing really well in production wise, relatively speaking, Yeah,
• 16:04
  Speaker 3: not Hollywood levels, but relatively speaking, it was enough to
• 16:06
  Speaker 3: put a deposit down on a lease. I had a
• 16:09
  Speaker 3: couple of partners at the time, was a couple of us.
• 16:11
  Speaker 3: One was a quite well known dop Black dop, and
• 16:16
  Speaker 3: another guy was a guy that was kind of coming
• 16:19
  Speaker 3: out of his career, an older white guy coming out
• 16:21
  Speaker 3: of his career, lovely dude who had a rental house
• 16:26
  Speaker 3: and he was in filmmaking. So we collaborated on the
• 16:28
  Speaker 3: cost and ran the business, or I ran the business,
• 16:34
  Speaker 3: but you know, we came together on the studio. I
• 16:40
  Speaker 3: think the biggest conflict that we had retro expectively is
• 16:46
  Speaker 3: the fact that I saw the expansion and I wanted
• 16:49
  Speaker 3: to combine the rental house into the studio, but they
• 16:52
  Speaker 3: were quite focused on just the studio and not really
• 16:54
  Speaker 3: wanting to invest or see the vision for having a
• 16:58
  Speaker 3: rental house. And that's things become a bit conflicted, and
• 17:02
  Speaker 3: I subsequently brought them out one by one and remodeled,
• 17:07
  Speaker 3: restructured business, rebranded, Sinney House and then you know, in
• 17:12
  Speaker 3: that respect the rest is complete history.
• 17:13
  Speaker 7: Yeah, I mean we haven't talked about that yet. When
• 17:16
  Speaker 7: your partner's come together, somebody is brought out obviously, you know,
• 17:20
  Speaker 7: you talk positively about them.
• 17:21
  Speaker 5: How was that process though?
• 17:23
  Speaker 7: When you saw the vision but you know they lacked it.
• 17:26
  Speaker 5: It was.
• 17:28
  Speaker 3: Awkward for more of a better word, it was awkward
• 17:30
  Speaker 3: because when you're you know, your friends yea peers at
• 17:35
  Speaker 3: the time, and now your business partners, you know, so
• 17:38
  Speaker 3: it becomes very difficult too. When you feel passionately about
• 17:42
  Speaker 3: something and knowing that you really want to implement a
• 17:47
  Speaker 3: change and people are not aligned with you, it becomes
• 17:51
  Speaker 3: very very difficult because you want to try to preserve
• 17:55
  Speaker 3: the business relationship and the friendship. You know you should
• 18:00
  Speaker 3: do at least And that was that was the most
• 18:03
  Speaker 3: challenging thing.
• 18:05
  Speaker 2: That that that the.
• 18:07
  Speaker 3: Acquisition, the purchase acquisition of the partners wasn't entirely smooth,
• 18:13
  Speaker 3: but it was it was for the best.
• 18:14
  Speaker 2: I'm sure all agree. We all agreed now you know,
• 18:16
  Speaker 2: it's for the.
• 18:17
  Speaker 3: Best and and I'm not sure had we stayed as
• 18:20
  Speaker 3: partners that the business would have become what it is today.
• 18:24
  Speaker 6: Create creative differences, creative differences lins. So when did as
• 18:28
  Speaker 6: lens manufacturing business.
• 18:29
  Speaker 5: Coming to play?
• 18:30
  Speaker 3: That came in again, not so much an accident, but
• 18:35
  Speaker 3: more opportunistic. So I used to as a hobby rehouse
• 18:39
  Speaker 3: obviously because I'm in the film innistry, so I understand equipment.
• 18:42
  Speaker 3: I used to rehouse old stills lenses. So rehousing is
• 18:46
  Speaker 3: a term used to refurbish, well not quite, kind of
• 18:52
  Speaker 3: re manufacture. So imagine a stills A stills lens is
• 18:56
  Speaker 3: like you know, old vintage still lenses are old. They
• 18:59
  Speaker 3: have different you know, barrels, they just look completely different.
• 19:02
  Speaker 3: But the glass is the only thing that you keep
• 19:05
  Speaker 3: the actual optics right. So they strip it down completely
• 19:08
  Speaker 3: and rebuild a whole new lens. So you know, when
• 19:11
  Speaker 3: you see new film film lenses, now, that's what a
• 19:15
  Speaker 3: new lens looks like. But back in the day it
• 19:17
  Speaker 3: was it was just old and vintage, and it was
• 19:20
  Speaker 3: not compatible to put into new cameras.
• 19:22
  Speaker 2: It's a major, major process.
• 19:23
  Speaker 3: It's rebuilt from scratch almost, So I was rehousing. I
• 19:28
  Speaker 3: bought a set for myself again to add to my
• 19:30
  Speaker 3: value chain, to add to my production equipment base, and
• 19:34
  Speaker 3: had people saying to me and these lenses are sick.
• 19:37
  Speaker 2: What'd you get in froum? Can I buy some? And
• 19:39
  Speaker 2: at the time there's a two year waiting list.
• 19:40
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• 21:09
  Speaker 3: So and I used the best rehousing company in the
• 21:12
  Speaker 3: world at the time, notably the best rehousing company in
• 21:15
  Speaker 3: the world, who were based in Leicester over here in England,
• 21:19
  Speaker 3: and I ended up selling the set that I kept
• 21:22
  Speaker 3: for myself because I I doubled that. So I think
• 21:24
  Speaker 3: I purchased a set. Purchasing the actual lens glass and
• 21:28
  Speaker 3: remanufacturing cost me twenty five thousand. I resold it for
• 21:31
  Speaker 3: like forty seven forty eight fifty pounds, right, and I'm like, hey.
• 21:37
  Speaker 2: That's a lot of dough.
• 21:39
  Speaker 5: Okay.
• 21:40
  Speaker 3: So then I did a bit of research, realized what
• 21:44
  Speaker 3: people were shooting with, went spoke to some rental companies
• 21:47
  Speaker 3: and they said, you know, we all like this particular lens.
• 21:50
  Speaker 3: And I went and stockpiled at the time, five six
• 21:53
  Speaker 3: seven sets of lenses. So I went onto eBay, I
• 21:56
  Speaker 3: went onto private dealers. I went just found that scoured
• 21:59
  Speaker 3: the internet to get all this glass and hoard it
• 22:02
  Speaker 3: put in a back order because it was a two
• 22:04
  Speaker 3: year waiting list. So I ordered them one by one sequentially,
• 22:07
  Speaker 3: I pre sold every set of lenses, and I think
• 22:11
  Speaker 3: at the end, I think a few years down the line,
• 22:13
  Speaker 3: I think I turned over about a million pounds, right,
• 22:16
  Speaker 3: And this is just as a hobby. It's just for banter,
• 22:18
  Speaker 3: literally in the background.
• 22:20
  Speaker 2: And then I was like, oh okay, cool.
• 22:25
  Speaker 3: And I left it for a bit because the glass
• 22:27
  Speaker 3: became expired because vintage lens lenses, the glass runs out
• 22:30
  Speaker 3: because it's not made anymore.
• 22:32
  Speaker 2: And yeah, that was basically that.
• 22:34
  Speaker 3: And then when I revisited another lens that it was
• 22:37
  Speaker 3: more available, I sat down with the manufacturers, the rehousing specialists,
• 22:42
  Speaker 3: and said, guys, I think I want to do this
• 22:44
  Speaker 3: for real now, And they were like, if I can
• 22:47
  Speaker 3: do that as a hobby and make a million quid,
• 22:50
  Speaker 3: what happens if I do it seriously? So everybody was
• 22:54
  Speaker 3: all is they called a big meat in big round table,
• 22:56
  Speaker 3: all the corporates, all of the private equity guys. I
• 22:59
  Speaker 3: sat them down, I gave them my idea and said
• 23:02
  Speaker 3: I need you to be my exclusive manufacturer, and here
• 23:06
  Speaker 3: we are. And that that was the major turning point
• 23:08
  Speaker 3: for me, was that capital enabled me to make serious moves.
• 23:12
  Speaker 5: So they made an investment in no, no, no, no,
• 23:15
  Speaker 5: I know.
• 23:15
  Speaker 3: The investment was then giving me an exclusivity arrangement where
• 23:20
  Speaker 3: they can only manufacture these lenses for me and my company.
• 23:23
  Speaker 3: That was the deal there to X everybody out in
• 23:27
  Speaker 3: the world.
• 23:27
  Speaker 7: Wow, how long is the process of actually making a lens.
• 23:31
  Speaker 3: It can take about three weeks to make a set
• 23:34
  Speaker 3: of lenses, maybe a week to make one lens. There
• 23:36
  Speaker 3: have to strip it down that they have all these
• 23:38
  Speaker 3: elements that have to be custom made, built, back, measure
• 23:41
  Speaker 3: the focus, engrave the lenses.
• 23:44
  Speaker 2: It's a big process and it's very very costly.
• 23:48
  Speaker 6: So you got the whole thing, so you actually you
• 23:52
  Speaker 6: have the production studio. Then you actually have the camera company,
• 23:57
  Speaker 6: you have the lens company. This is all happening step
• 24:01
  Speaker 6: by step and you just realizing well before you know,
• 24:05
  Speaker 6: you created your own ecosystem. Yes, or self funding yes, correct.
• 24:08
  Speaker 5: So the idea is.
• 24:12
  Speaker 6: The all money and strategy where you just you take
• 24:14
  Speaker 6: profit and just reinvest it.
• 24:15
  Speaker 5: Correct. Did you ever take any outside funding?
• 24:18
  Speaker 7: No?
• 24:18
  Speaker 2: No, not at the time.
• 24:20
  Speaker 3: Like now, you finance rental equipment, I think with asset finance,
• 24:26
  Speaker 3: So you asset finance your order of your lenses, because
• 24:29
  Speaker 3: when you're spending one hundred and forty thousand on a
• 24:31
  Speaker 3: set of lenses, like for example, city House owns a
• 24:34
  Speaker 3: set of cook anamorphic lenses across one hundred and forty
• 24:36
  Speaker 3: k hounts, like you're not spending that out of cash
• 24:39
  Speaker 3: because it doesn't make sense. Like now where I've become
• 24:42
  Speaker 3: more financially literate, I understand about leverage.
• 24:45
  Speaker 5: We'll talk about that the asset financing.
• 24:48
  Speaker 3: So when you get to a certain point and in
• 24:50
  Speaker 3: your accounts are sustainable, you use finance companies to buy
• 24:54
  Speaker 3: equipment and then you pay it lack a mortgage, but
• 24:57
  Speaker 3: it's a lot shorter term.
• 24:59
  Speaker 2: It's like three to five years.
• 25:00
  Speaker 3: You need big, healthy accounts in order to justify the
• 25:04
  Speaker 3: spend and the recoupability.
• 25:06
  Speaker 2: It's a lot that's years later.
• 25:08
  Speaker 5: It's a lot to buy assets for your business.
• 25:10
  Speaker 2: Exactly.
• 25:11
  Speaker 7: The interust rates higher because of the termine so short or.
• 25:15
  Speaker 2: Not the interest rates exactly.
• 25:17
  Speaker 3: The payments are expensive because you're consolidating your repayment, your
• 25:21
  Speaker 3: capital repayment. So with a mortgage, for example, you have
• 25:25
  Speaker 3: let's say even let's give an a lack for like example,
• 25:28
  Speaker 3: one hundred and forty pounds apartment to one hundred and
• 25:32
  Speaker 3: forty thousand pounds set of lenses, or your apartment would
• 25:34
  Speaker 3: be over a twenty five or thirty year mortgage stam
• 25:37
  Speaker 3: whereas your lenses would be over four to five years.
• 25:39
  Speaker 3: So you consolidate your repayment, which makes your payments monthly
• 25:44
  Speaker 3: so much more expensive, which means that your your viability
• 25:48
  Speaker 3: financially proof has to be a lot higher to be
• 25:51
  Speaker 3: able to prove affordability. So it's quite complicated. It's not straightforward.
• 25:56
  Speaker 5: Yeah, hundred and forty thousand.
• 25:58
  Speaker 7: So what type of clients rented at least like big
• 26:01
  Speaker 7: movie houses, Like who's the client profile and that that's
• 26:05
  Speaker 7: taking that type of investment for.
• 26:08
  Speaker 3: For fort finance.
• 26:10
  Speaker 5: Well for those type of lenses, right, you said.
• 26:13
  Speaker 3: Our clients would be any production companies that are that
• 26:16
  Speaker 3: are shooting serious productions. What Ozark was was a client
• 26:23
  Speaker 3: or the production team from Ozark bought a set of
• 26:26
  Speaker 3: my Sinny Scribe lenses.
• 26:27
  Speaker 2: So that's not through Senny House. They actually bought a set.
• 26:29
  Speaker 3: They liked the look of of that particular lens and
• 26:32
  Speaker 3: the rebuild quality of that particular brand, which was my brand,
• 26:36
  Speaker 3: and I got contacted by the d P. It said, look,
• 26:39
  Speaker 3: we've got season three starting in like six weeks. I
• 26:44
  Speaker 3: need just to fast track me a set. And I'm like, hey,
• 26:46
  Speaker 3: I watched that show.
• 26:49
  Speaker 5: Let's make it happen already. Yeah.
• 26:53
  Speaker 6: So at one point, all right, so we this is
• 26:56
  Speaker 6: all amazing, by the way, well what point do you so,
• 26:59
  Speaker 6: another player is the real estate point. You've actually become
• 27:02
  Speaker 6: a very you know, healthy real estate owner in England.
• 27:05
  Speaker 6: So where is this as far as you're doing all
• 27:09
  Speaker 6: this and you're getting all these businesses, At what point
• 27:12
  Speaker 6: do you say, Okay, now it's not actually just a
• 27:14
  Speaker 6: business place a real estate places.
• 27:15
  Speaker 3: Well sure, well, funny enough, I was quite inspired. I've
• 27:21
  Speaker 3: not told this story right. I was quite inspired by
• 27:24
  Speaker 3: real estate as a almost like a fallback. Obviously we
• 27:27
  Speaker 3: all have passive income, we all have appreciating assets, of course,
• 27:31
  Speaker 3: but City Scope for me was almost too good to
• 27:35
  Speaker 3: be true. I'm like, I've never made so much money
• 27:37
  Speaker 3: so easily in my whole legal you know.
• 27:41
  Speaker 2: So I'm like, this is crazy.
• 27:43
  Speaker 3: But because I understand that we're rehousing vintage glass. Like
• 27:46
  Speaker 3: I said, finger glass will run out, finger class runs out,
• 27:50
  Speaker 3: have no product. So I'm sitting there thinking, right, I've
• 27:54
  Speaker 3: got about five to seven years to maybe turn over
• 27:56
  Speaker 3: ten million or something whatever.
• 27:58
  Speaker 2: Right, cool, But what happened when it stops?
• 28:01
  Speaker 3: So I'm like, Okay, everything else is running and businesses
• 28:04
  Speaker 3: are doing well, but I'm just thinking of an exit.
• 28:08
  Speaker 3: So every single profit that was made from Sinior Scope,
• 28:11
  Speaker 3: and I mean I didn't even buy a toothbrush, bro Like,
• 28:14
  Speaker 3: every single piece of profit from that particular business purchased
• 28:19
  Speaker 3: real estate.
• 28:20
  Speaker 5: It was.
• 28:20
  Speaker 3: That was the absolute plan because I wanted to compound
• 28:23
  Speaker 3: the profits. So obviously, as you know about appreciation capital appreciation,
• 28:28
  Speaker 3: I'm like, if I'm going to put in five million
• 28:31
  Speaker 3: of my own money in ten years on two percent,
• 28:33
  Speaker 3: that's going to be X to see what I mean.
• 28:35
  Speaker 3: So I'm sitting there thinking, so one day, senior scope
• 28:38
  Speaker 3: is going to stop because I'm going to run out
• 28:39
  Speaker 3: of glass. I need to be good, I mean good good.
• 28:43
  Speaker 3: So that was basically the reason why I entered the
• 28:47
  Speaker 3: property market so aggressively.
• 28:48
  Speaker 2: Because it was aggressive.
• 28:50
  Speaker 3: I went from a three hundred thousand pound portfolio to
• 28:54
  Speaker 3: fifteen million in.
• 28:58
  Speaker 2: Four and a half years.
• 29:00
  Speaker 5: You know, what type of properties were you looking at?
• 29:02
  Speaker 2: Initially just what I could afford.
• 29:05
  Speaker 3: So it was just like one bedroom apartments or like
• 29:09
  Speaker 3: a normal small, three bedroom terrace house, just you know,
• 29:12
  Speaker 3: family properties. It was just entry level, you know, because
• 29:15
  Speaker 3: that's all I could afford at the time. And then
• 29:18
  Speaker 3: I started understanding that the the advantages of buying blocks
• 29:24
  Speaker 3: of flats, you know, and from a maintenance standpoint, from
• 29:27
  Speaker 3: a just being practical, rather than having properties dotted all
• 29:32
  Speaker 3: around the country. I've got a block of twelve and
• 29:34
  Speaker 3: a block of ten. Now it makes the workflow and
• 29:38
  Speaker 3: the infrastructure a lot more simple to maintain.
• 29:41
  Speaker 2: So then I started buying blocks of flats.
• 29:42
  Speaker 5: So blocks.
• 29:43
  Speaker 6: For anybody in America doesn't know a flat is an apartment,
• 29:46
  Speaker 6: and so so you're buying like the whole block, correct,
• 29:49
  Speaker 6: And are you looking at areas like are you looking
• 29:52
  Speaker 6: at areas that's about to get gentified? Areas in the hood,
• 29:55
  Speaker 6: Like what's your strategy where it's like, all right, this
• 29:57
  Speaker 6: is a place where I want to invest in.
• 29:59
  Speaker 3: It was high yielding areas. So I have different strategies.
• 30:03
  Speaker 3: So for example, if I'm buying an already made block,
• 30:06
  Speaker 3: I'm going to buy it probably out of London, not
• 30:08
  Speaker 3: too far. We're talking like forty five minutes to an
• 30:10
  Speaker 3: hour out of London, because that the yields are higher
• 30:12
  Speaker 3: in the suburbs. And yeah, so the appreciation is less,
• 30:17
  Speaker 3: but the yield is higher, right, that's the rental return,
• 30:19
  Speaker 3: whereas in London you have a lower yield and a
• 30:22
  Speaker 3: higher appreciation in value.
• 30:24
  Speaker 2: So you have to work it out like this.
• 30:26
  Speaker 5: You know.
• 30:26
  Speaker 3: One of the latest things I've done, I've just done
• 30:28
  Speaker 3: a Victorian a four story Victorian house conversion into a
• 30:31
  Speaker 3: block of apartments in London in Greenwich.
• 30:33
  Speaker 2: Actually, but I've done that to build.
• 30:36
  Speaker 3: I would never try to buy it because the value
• 30:38
  Speaker 3: has been taken already.
• 30:39
  Speaker 2: I am.
• 30:40
  Speaker 3: If I purchase already made block in like a conversion block,
• 30:44
  Speaker 3: I am the exit for the developer with.
• 30:46
  Speaker 2: Me, so I will do that myself.
• 30:48
  Speaker 3: So I was buying houses with planning permission, converting them
• 30:52
  Speaker 3: into apartments, remortgaging them. All the money comes back. We
• 30:55
  Speaker 3: go again, We go again, we go again.
• 30:58
  Speaker 7: Did you take that same approach that you with obviously
• 31:00
  Speaker 7: the production team where it was like all right, I
• 31:03
  Speaker 7: see the cameras, I know how much it costs. Aren't
• 31:05
  Speaker 7: that and slip it into your real estate portfolio was like, well,
• 31:09
  Speaker 7: this is how much it costs for construction. I need
• 31:11
  Speaker 7: to become a construction team.
• 31:12
  Speaker 5: Is that?
• 31:12
  Speaker 7: Did you take that approach to accidentally you did a
• 31:18
  Speaker 7: lot of accidents.
• 31:20
  Speaker 3: Have an official construction team. I've got about five guys,
• 31:24
  Speaker 3: five multi traders. So multi traders means guys that can
• 31:27
  Speaker 3: do plumbing, carpentry, electrics, plastering. Yeah, so I've got five
• 31:34
  Speaker 3: guys on the books for my property company, ADB Investment.
• 31:37
  Speaker 3: Because obviously, when you do day work and you plan
• 31:40
  Speaker 3: it properly, you're saving. Couldn't you can say forty percent
• 31:43
  Speaker 3: if you was to do price work. So price work
• 31:45
  Speaker 3: is builders come in scratch their head and they tell
• 31:48
  Speaker 3: your price for what the job is going to be.
• 31:52
  Speaker 3: But believe me, there's lots of markup in that profit
• 31:56
  Speaker 3: markup profit.
• 31:56
  Speaker 2: Yeah, so they could be thirty forty fifty.
• 31:59
  Speaker 3: But if I'm control in the contractors or the sabby subcontractors,
• 32:04
  Speaker 3: then all that profit goes back to me because I'm
• 32:06
  Speaker 3: only paying the day rate. But I have to know
• 32:08
  Speaker 3: what I'm doing, so I had to become very savvy,
• 32:10
  Speaker 3: very quickly, so I could direct these builders to get
• 32:12
  Speaker 3: them to do the work that needed to be done
• 32:15
  Speaker 3: with me.
• 32:15
  Speaker 5: Yeah.
• 32:16
  Speaker 6: So yeah, So when you talk about mortgaging, that's kind
• 32:21
  Speaker 6: of like we call on the stage refinancing. Correct, So
• 32:24
  Speaker 6: you you buy, so it's very similar like you buy
• 32:27
  Speaker 6: a home, you're buying it through the mortgage yep.
• 32:30
  Speaker 3: Yep, sometimes or sometimes you buy cash sometimes.
• 32:32
  Speaker 6: Yeah, all right, So you get a home mortgage, any
• 32:35
  Speaker 6: special table mortgage, or you just do traditional.
• 32:37
  Speaker 3: Mortge, do traditional mortgages, which is a residential mortgage, or
• 32:40
  Speaker 3: a buyer to let mortgage, apply to work, buy to let.
• 32:44
  Speaker 3: So if you're buying it to rent out, you have
• 32:46
  Speaker 3: to declare that, which means you pay a higher interest
• 32:48
  Speaker 3: rate and you also have to pay a higher deposit
• 32:50
  Speaker 3: like investment.
• 32:50
  Speaker 2: It's an investment precisely.
• 32:52
  Speaker 3: So over here investment properties start a twenty five percent
• 32:56
  Speaker 3: deposit down down payment and a higher interest rate.
• 33:01
  Speaker 5: Yeah, what's the interest rate?
• 33:03
  Speaker 2: It varies.
• 33:04
  Speaker 3: It can vary from two percent to three and a
• 33:08
  Speaker 3: half percent if you go through traditional mortgages that's without
• 33:11
  Speaker 3: bridging and other stuff, which is another ball game. But
• 33:14
  Speaker 3: in terms of that, you're looking around two to three
• 33:16
  Speaker 3: and a half percent for an investment property.
• 33:18
  Speaker 7: Is it the same fifteen thirty year in terms of
• 33:22
  Speaker 7: length of.
• 33:22
  Speaker 3: The morget Yeah, yeah, yeah, you can ask for whatever
• 33:25
  Speaker 3: term you want up to thirty years, depending on your
• 33:27
  Speaker 3: age basically, But again, it doesn't really make a difference
• 33:31
  Speaker 3: on an interest only mortgage because you're only going to
• 33:34
  Speaker 3: pay the interest anyway, which means you'd have to have
• 33:37
  Speaker 3: another exit when you expire your mortgage, whereas of a
• 33:40
  Speaker 3: repayment mortgage capital repayment, you are bringing the debt down
• 33:43
  Speaker 3: so at the end of that term you will own
• 33:45
  Speaker 3: it outright if you don't refinance.
• 33:47
  Speaker 6: So your strategies fine blocks of flat in suburban areas
• 33:53
  Speaker 6: outside the city, purchase it, do some rehabbing, and then refinance.
• 34:01
  Speaker 6: What's the property has appreciated because once you do the
• 34:04
  Speaker 6: rehabs and it's going to go up with value, refinance,
• 34:07
  Speaker 6: take that money out, and then rinse and repeat and
• 34:09
  Speaker 6: then buy some more real estate.
• 34:10
  Speaker 3: That's one strategy. There's around four, but that's one strategy.
• 34:14
  Speaker 3: Another strategy is renewing leases. So when you buy an
• 34:17
  Speaker 3: apartment block with low lease, the lease that the property
• 34:21
  Speaker 3: is really really devalued because you have to have over here,
• 34:26
  Speaker 3: I think it's above seventy something years, seventy two, I
• 34:31
  Speaker 3: know seventy odd years needs to be a lease on
• 34:34
  Speaker 3: the apartment in order for it to be morkegable. If
• 34:37
  Speaker 3: it's under that amount of time a certain number, you
• 34:40
  Speaker 3: have to buy it in cash, which means you is devalued.
• 34:43
  Speaker 3: So what I would do is I'll go and buy
• 34:44
  Speaker 3: a flat in cash, go and speak to the freeholder,
• 34:49
  Speaker 3: put an extended lease on it. A standard lease here
• 34:52
  Speaker 3: is ninety nine years or be one two five, but
• 34:55
  Speaker 3: ninety nine years is standard for ninet nine year lease. Yeah,
• 34:59
  Speaker 3: that's if you buy lease hold property, not a freehold
• 35:01
  Speaker 3: property years.
• 35:03
  Speaker 5: So explain that what's a leasehole versus so.
• 35:06
  Speaker 3: A leasehold is basically you have a license to own
• 35:09
  Speaker 3: that house for a certain amount of time.
• 35:11
  Speaker 2: So every apartment will be a leasehold.
• 35:13
  Speaker 3: You cannot buy a freehold unless you own the freehold
• 35:16
  Speaker 3: of the block of the building.
• 35:18
  Speaker 6: Okay, So free freehold is when you own it free
• 35:21
  Speaker 6: and clear.
• 35:22
  Speaker 3: Well, you own the land. You own the land and
• 35:26
  Speaker 3: the entire dwelling. You don't just own that area that
• 35:30
  Speaker 3: the apartment with me, you can't buy a freehold if
• 35:33
  Speaker 3: you if you are buying an apartment, unless you have
• 35:36
  Speaker 3: a share of freehold, which is I don't see the
• 35:39
  Speaker 3: point because you can't do what you want.
• 35:41
  Speaker 5: Cop that's what I was thinking that.
• 35:44
  Speaker 6: Yes, a collective of people, Yes, yes, so okay, so
• 35:47
  Speaker 6: it's not worth much because you can't just buy a flat.
• 35:49
  Speaker 5: You have to buy the whole entire land, building everything.
• 35:52
  Speaker 5: Who me? You mean just in general?
• 35:56
  Speaker 3: If it's you can buy a leasehold flat, people don't
• 35:59
  Speaker 3: sell the freehold because, for example, the reason why is
• 36:02
  Speaker 3: that if you've got a block of say thirty apartments,
• 36:05
  Speaker 3: everybody's purchased an apartment, which you mean erness what's up?
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• 38:29
  Speaker 3: It's that you only set off that area every so
• 38:33
  Speaker 3: when you have an apartment block, you have what's called
• 38:35
  Speaker 3: a title, right, so everybody has their own title for
• 38:39
  Speaker 3: each apartment, which means you buy that title. So you
• 38:41
  Speaker 3: buy that apartment block and that just means that that's
• 38:44
  Speaker 3: your property. You have to pay service charge to the freeholder.
• 38:47
  Speaker 3: So who's going to clean the communal areas? Who's going
• 38:49
  Speaker 3: to so out the rubbish area outside and all these
• 38:53
  Speaker 3: things maintenance? So the freeholder takes care of that, because
• 38:56
  Speaker 3: a person that owns an apartment can't take care of
• 39:00
  Speaker 3: all of the areas that service that block, which is
• 39:03
  Speaker 3: the reason why you only have a leasehold.
• 39:05
  Speaker 5: It sounds like collapse pretty much. Ninety nine years.
• 39:09
  Speaker 2: Ninety nine years.
• 39:10
  Speaker 3: So if a property is under seventy years, you can't
• 39:13
  Speaker 3: get a mortgage on it at all. You have to
• 39:16
  Speaker 3: buy it in cash, or it might be sixty seven years,
• 39:19
  Speaker 3: like I'm not too sure, but you have to buy
• 39:20
  Speaker 3: it in cash, or you have to get renew the lease.
• 39:24
  Speaker 3: Renewing the lease could cost you twenty five thousand pounds
• 39:27
  Speaker 3: to renew the lease back up to ninety nine years.
• 39:29
  Speaker 2: Then you can get a mortgage on it.
• 39:30
  Speaker 3: But then the value increases crazy, right, So I will
• 39:34
  Speaker 3: buy an apartment with a low lease. I'll go on
• 39:36
  Speaker 3: an auction. It says low lease apartment. So if some
• 39:39
  Speaker 3: things worth for it. I give an example right. I
• 39:42
  Speaker 3: bought a flat. This is my first low lease purchase
• 39:45
  Speaker 3: a few years ago, No quite a few years ago.
• 39:48
  Speaker 3: So the value of it was one hundred and forty thousand.
• 39:50
  Speaker 3: It's a one bedroom flat in Kent, one hundred and
• 39:53
  Speaker 3: forty thousand. I purchased it for sixty seven thousand on
• 39:57
  Speaker 3: an auction because it was rundown, so that brings the
• 39:59
  Speaker 3: value down. Already run down, I mean it was like distressed. Yeah,
• 40:03
  Speaker 3: and the lease was like fifty years. So I've spent
• 40:07
  Speaker 3: ten pounds on a renovation. I have spent twenty two
• 40:11
  Speaker 3: thousand on a ninety nine year lease extension. So now
• 40:15
  Speaker 3: I'm in for like eighty or eighty five thousand or so.
• 40:19
  Speaker 3: And then I re mortgaged a seventy five percent loan
• 40:22
  Speaker 3: to value on one hundred and forty thousand, right, So
• 40:26
  Speaker 3: then I got back every single penny got paid on top,
• 40:32
  Speaker 3: still had twenty five percent equity in the property, and
• 40:35
  Speaker 3: now I have a cash flow and asset.
• 40:36
  Speaker 2: Basically, it's a free flat and I'm paid to take it.
• 40:39
  Speaker 7: So when you you see the plate when you extended
• 40:42
  Speaker 7: the lease, obviously you say it was low lease.
• 40:43
  Speaker 5: It was fifty years.
• 40:44
  Speaker 7: Are you extending it just so it gets to the
• 40:46
  Speaker 7: ninety nine Like I'm going to extend it for forty
• 40:48
  Speaker 7: nine years, so you.
• 40:50
  Speaker 3: Have your your slitst it lets you know what the
• 40:52
  Speaker 3: cost will be. But I think I believe the closer
• 40:55
  Speaker 3: it is to ninety nine years, the cheaper it is, basically,
• 40:58
  Speaker 3: but you need to get above that threshold so you
• 41:00
  Speaker 3: can mortgage it. So I could not get a mortgage
• 41:02
  Speaker 3: until I was above that threshold. Right, And you speak
• 41:05
  Speaker 3: to before you purchase. I advise people speak to your
• 41:08
  Speaker 3: free speak to the freeholder first, work out your numbers.
• 41:10
  Speaker 3: Make sure you can get through to the freeholder, because
• 41:12
  Speaker 3: if you buy a property and you can't get through
• 41:14
  Speaker 3: to the freeholder, how.
• 41:15
  Speaker 2: Can you increase the lease?
• 41:17
  Speaker 3: Then you have to go to court and there's a
• 41:18
  Speaker 3: mandatory process that gets your lease extended automatically, but that
• 41:22
  Speaker 3: takes some time. So for anyone out there that's trying
• 41:24
  Speaker 3: to copy that particular strategy that I explained, make sure
• 41:28
  Speaker 3: you speak to your freeholder and work and make sure
• 41:30
  Speaker 3: they're contactable to negotiate your lease before purchase.
• 41:34
  Speaker 2: Then you got your exit quicker a whole.
• 41:36
  Speaker 5: Lot of game. What's the other one?
• 41:38
  Speaker 3: As you said, just buying down distressed properties, like for example,
• 41:42
  Speaker 3: the four million pound country estate I bought is it man?
• 41:46
  Speaker 2: That was like black Friday like, but.
• 41:50
  Speaker 5: I saw the acres.
• 41:51
  Speaker 6: I don't know exactly where it is, but I know obviously,
• 41:53
  Speaker 6: you know, the UK real estate is expensive, so I'm
• 41:56
  Speaker 6: like four million that seemed like it's kind of it
• 41:58
  Speaker 6: could be kind of cheap.
• 41:59
  Speaker 3: It was that the main mansion was very distressed, very outdated,
• 42:04
  Speaker 3: and it's currently undergoing a two million pound renovation and extension.
• 42:08
  Speaker 3: I'm adding an east and west wing to it. I'm
• 42:11
  Speaker 3: adding rooftop terraces, so when you come out the bedrooms
• 42:13
  Speaker 3: the French stores go out onto rooftop terraces. The main
• 42:16
  Speaker 3: swim pool building is now being connected to the main
• 42:18
  Speaker 3: house and refurbing all the fourteen outbuildings, adding a second
• 42:23
  Speaker 3: private road, adding serious infrastructure, you know, and I'll probably
• 42:27
  Speaker 3: getting eight million pound valuation once I'm finished, and so
• 42:30
  Speaker 3: that that's going to be all done within a year.
• 42:32
  Speaker 2: In a year, I'm nine months in The.
• 42:34
  Speaker 6: Play with that is to have that as kind of
• 42:37
  Speaker 6: like your headquarters for content.
• 42:39
  Speaker 3: Correct, it will be a hospitality venue, an event space
• 42:44
  Speaker 3: yet events hospitality galas you know it will be be
• 42:50
  Speaker 3: an HQ for me, but also because of the vast
• 42:53
  Speaker 3: space it will be.
• 42:54
  Speaker 2: I want to do it, you know, be like a
• 42:55
  Speaker 2: filming village.
• 42:56
  Speaker 3: So on some of the fields and a lot of
• 42:58
  Speaker 3: the acres at the back, I want to be building
• 43:00
  Speaker 3: some big stages so you can actually do like East
• 43:03
  Speaker 3: London Studios times twenty, you know, all the big massive stages.
• 43:06
  Speaker 2: You've got backlot for days.
• 43:08
  Speaker 3: You know, you can shoot saving private Ryan to you know,
• 43:12
  Speaker 3: Game of fronts, you know, with the fields.
• 43:14
  Speaker 7: So on the two acres, we're talking about like lots
• 43:16
  Speaker 7: similar like we said with Tyler Perry where he has
• 43:18
  Speaker 7: the studios and there's a bunch of lots and MA
• 43:20
  Speaker 7: can shoot shows on it. But not only can you
• 43:22
  Speaker 7: shoot your own shows, but production companies to come in
• 43:24
  Speaker 7: and right the space.
• 43:25
  Speaker 3: This would be a commercial It would be a commercial
• 43:27
  Speaker 3: location for sure.
• 43:28
  Speaker 7: So like companies like Viacom could say we want to
• 43:32
  Speaker 7: shoot the show.
• 43:32
  Speaker 3: On lat number twelve, we want to be there for
• 43:34
  Speaker 3: two years or whatever, you know, or you have like
• 43:38
  Speaker 3: a period drama TV, period drama.
• 43:41
  Speaker 2: That wants that it's a Georgian mansion.
• 43:42
  Speaker 3: So it's very like Palacey, you know, and they might
• 43:46
  Speaker 3: say right, we want to shoot a season of I
• 43:48
  Speaker 3: don't know, Bridgeton or something which you know for the
• 43:51
  Speaker 3: next twelve months.
• 43:52
  Speaker 2: Cool take that then, you know, So it will be that.
• 43:56
  Speaker 3: But obviously there's there's a lot of red type in
• 43:59
  Speaker 3: these areas. So it's a stage by stage process. For now,
• 44:02
  Speaker 3: it's renovate the property, the main property, because that's what
• 44:05
  Speaker 3: I do as a developer. I will get probably every
• 44:08
  Speaker 3: penny back, yeah, and it will be an in and
• 44:10
  Speaker 3: out for me and then then then I'll put the
• 44:13
  Speaker 3: rest of the money into making the rest of the
• 44:15
  Speaker 3: infrastructure around the lines.
• 44:17
  Speaker 2: But we're shooting there already, so things happen.
• 44:19
  Speaker 6: You say you get every penny out on a refile, absolutely,
• 44:23
  Speaker 6: what do you call the refile again?
• 44:24
  Speaker 2: Remortgage?
• 44:25
  Speaker 7: Remortgage that same thing, exactly the same thing when you
• 44:27
  Speaker 7: said that obviously, course before by the time you finished, right, event,
• 44:30
  Speaker 7: it's going to be an eight million dollars evaluation. Is
• 44:33
  Speaker 7: that with the lots already built or no, no, no no,
• 44:35
  Speaker 7: But when the lots get built, Ye, that's not a thing.
• 44:37
  Speaker 7: We're talking maybe thirty four ye.
• 44:38
  Speaker 3: Yeah, we're just talking about what's there.
• 44:41
  Speaker 7: Yeah, right now, what's what's what's that, like, what's the
• 44:43
  Speaker 7: cost to build an actual lot like we see them
• 44:46
  Speaker 7: We travel to La a bunch of times and we
• 44:48
  Speaker 7: see the size of massive amount of production that goes
• 44:51
  Speaker 7: into just one lot. How much would it like on average,
• 44:55
  Speaker 7: you think that that's going to cause to probably put
• 44:57
  Speaker 7: like eight lots.
• 44:59
  Speaker 3: It's it's miss millions. It's telephone numbers for sure. Yeah, it's.
• 45:06
  Speaker 5: Like that, you know as a fact.
• 45:10
  Speaker 6: So all right, now you have this vision, what's the
• 45:15
  Speaker 6: plan actually implc I'm assuming it's going.
• 45:18
  Speaker 5: Like a lot of staff.
• 45:19
  Speaker 6: You gotta have like security, you gotta have like this
• 45:22
  Speaker 6: a whole operation.
• 45:24
  Speaker 5: So you have that plan in place yet.
• 45:26
  Speaker 3: Already semi semi so as I said this in stages
• 45:30
  Speaker 3: because right now there's a huge mortgage on this estate
• 45:34
  Speaker 3: and the maintenance costs, I mean, little things you don't
• 45:37
  Speaker 3: think about because it's so green, it's in the country.
• 45:39
  Speaker 3: My gardening costs, man, are like for gardeners. Yeah, it's
• 45:43
  Speaker 3: just it's unprecedented. It thousands and thousands of pounds a
• 45:46
  Speaker 3: month just for my gardeners. And there's no value in that.
• 45:49
  Speaker 3: I'm just keeping the place from overgrowing, you know. My
• 45:53
  Speaker 3: tree surgeon cutting down trees branches, bro.
• 45:55
  Speaker 2: It's just mad.
• 45:58
  Speaker 3: That's right on.
• 45:59
  Speaker 2: The money has gone.
• 46:00
  Speaker 3: It's like it's like, get this place up and running quick,
• 46:02
  Speaker 3: get that money back, get some primary projects in there.
• 46:06
  Speaker 3: Then while that's happening, I can be somewhere else in
• 46:09
  Speaker 3: some other acres, building the lots, you know, and that
• 46:11
  Speaker 3: stuff can be running over there, so it doesn't interfere.
• 46:14
  Speaker 7: You said, you said those things are right offs because
• 46:17
  Speaker 7: obviously it's not your primary residence.
• 46:19
  Speaker 5: No, it's a studio. So it's just a studio. But
• 46:21
  Speaker 5: I mean he has to mention part of it.
• 46:22
  Speaker 7: So all these things, that gardening, they're going to be
• 46:25
  Speaker 7: right offs on from the property.
• 46:27
  Speaker 3: Yeah, of course. But when I say right off, there's
• 46:29
  Speaker 3: two right off. There's tax right off. But I mean
• 46:31
  Speaker 3: right off as in the money is not an investment.
• 46:34
  Speaker 3: It's not recoupable. It's what I mean as a running cost.
• 46:37
  Speaker 3: But of course that will also be written off in
• 46:39
  Speaker 3: that sense.
• 46:41
  Speaker 2: Yeah, exactly.
• 46:43
  Speaker 5: So what made you pick that? How far is the
• 46:45
  Speaker 5: town from like here.
• 46:48
  Speaker 3: From that area it's about an hour and twenty minutes,
• 46:52
  Speaker 3: an hour and twenty five minutes.
• 46:53
  Speaker 2: It's not crazy.
• 46:54
  Speaker 5: What made you?
• 46:56
  Speaker 6: You just see something online where it's like, oh, that's
• 46:58
  Speaker 6: a cheap property.
• 46:59
  Speaker 5: Let me just get it.
• 47:00
  Speaker 3: Yeah, because I'm always looking for where I can add
• 47:02
  Speaker 3: value and and and and recoup, you know, to re
• 47:06
  Speaker 3: exit the money. And that was an opportunity. But at
• 47:08
  Speaker 3: the same time, I had my eye on an expansion.
• 47:11
  Speaker 3: I mean, I'm like, Okay, I'm doing well, but how
• 47:13
  Speaker 3: do I do better in terms of the film industry.
• 47:16
  Speaker 3: And this is an opportunity, you know, for me to
• 47:19
  Speaker 3: go into also my next venture, which is actually finally
• 47:23
  Speaker 3: making feature films, you know, finally.
• 47:24
  Speaker 2: So I had my eyes.
• 47:27
  Speaker 3: Slightly from a property hat on and also a film
• 47:30
  Speaker 3: industry and they just married perfectly for this particular acquisition.
• 47:33
  Speaker 5: So you're going into a movie industry.
• 47:38
  Speaker 6: How has it been, Like, have you made relationships with
• 47:42
  Speaker 6: like people in the music in the movie business here
• 47:46
  Speaker 6: in London?
• 47:47
  Speaker 5: Is it like old boys club? Like?
• 47:50
  Speaker 6: How has that been as far as you're moving in
• 47:52
  Speaker 6: from the music side to the movies.
• 47:54
  Speaker 5: Have you been welcomed? Like how's your transition going?
• 47:57
  Speaker 2: I think.
• 48:00
  Speaker 3: With regards to the higher end of the film industry period,
• 48:05
  Speaker 3: and that when I say higher end, it's only we're
• 48:06
  Speaker 3: only really talking about commercials and movies, right, It's definitely
• 48:10
  Speaker 3: old old boys club.
• 48:11
  Speaker 2: It's controlled by a particular type, right.
• 48:21
  Speaker 5: Correct.
• 48:22
  Speaker 3: And you know, I'm not looking to be accepted, which
• 48:27
  Speaker 3: is the reason why I'm just doing me. I'm creating
• 48:29
  Speaker 3: my own opportunities because I'd be old and gray still
• 48:32
  Speaker 3: making tea if I was trying to get into that
• 48:35
  Speaker 3: side of things looking for an opportunity, you know.
• 48:39
  Speaker 2: So it's tough.
• 48:42
  Speaker 3: It's tough, and that's why you know, the movie that
• 48:45
  Speaker 3: my first movie that I'm creating now is done funded
• 48:47
  Speaker 3: by you know, myself and a partner of mine. So
• 48:50
  Speaker 3: we're doing this ourselves. We're not looking for funding. That's
• 48:54
  Speaker 3: always quite difficult, you know.
• 48:56
  Speaker 7: I guess on the other end of it would be
• 48:58
  Speaker 7: obviously you're trailblazing. So are you seeing especially young young
• 49:03
  Speaker 7: people of color? Are they following in your footsteps? Are
• 49:07
  Speaker 7: you mentoring them? Do you see them now becoming the
• 49:10
  Speaker 7: place for becoming the place where they can actually develop
• 49:14
  Speaker 7: their ideas and develop the production for some of the
• 49:16
  Speaker 7: shows that they have.
• 49:17
  Speaker 3: Sure? Well, I mean I'd like to hope that they're
• 49:22
  Speaker 3: using me and my example to give them some faith
• 49:25
  Speaker 3: that the doors that they're knocking on the aren't open
• 49:27
  Speaker 3: and they're still away in. You know, a lot of
• 49:30
  Speaker 3: people have made a lot of contact with me, especially
• 49:31
  Speaker 3: with a lot of my recent publications that have gone
• 49:35
  Speaker 3: on internationally. A lot of people are contacting me, if
• 49:38
  Speaker 3: you know, young black males to be particularly to be
• 49:42
  Speaker 3: as an example, and they're like, hey, man, like, I've
• 49:45
  Speaker 3: received some messages like, dude, I was about to move
• 49:49
  Speaker 3: into some some really uncanny activities, you know, because I
• 50:00
  Speaker 3: like that, you know, because they're like, this is not
• 50:03
  Speaker 3: working for me. And then they're like, but I've seen
• 50:05
  Speaker 3: what you're doing, and I'm like, oh, like, you look
• 50:07
  Speaker 3: like me. So I'm a stick at this and that
• 50:11
  Speaker 3: just gives me so much joy, man Like, the amount
• 50:13
  Speaker 3: of messages and people are cheering me on and likewise,
• 50:18
  Speaker 3: I'm just answering questions, man Like. I spend most of
• 50:21
  Speaker 3: the time in my DMS, and that's it's It's almost
• 50:25
  Speaker 3: painstaking because I can't get no work done because I'm
• 50:26
  Speaker 3: constantly messaging people. But I want to do it because
• 50:29
  Speaker 3: I feel I've put myself out here. I need so
• 50:31
  Speaker 3: now if I'm going to be a beacon, I need
• 50:34
  Speaker 3: to I need to keep it going. So I'm always
• 50:35
  Speaker 3: asking people about what they're doing and giving them advice,
• 50:38
  Speaker 3: and people are asking me every type of question you
• 50:40
  Speaker 3: could imagine, you know, and I'm doing my best to
• 50:42
  Speaker 3: answer and be encouraging.
• 50:43
  Speaker 8: You know.
• 50:45
  Speaker 3: I don't want to feel like I'm I'm not accessible,
• 50:49
  Speaker 3: do you see what I mean? There has to be
• 50:50
  Speaker 3: a reason how that happens, within reason. But I'm trying
• 50:53
  Speaker 3: to give advice and mentor within reason.
• 50:57
  Speaker 2: At some stage I'll do.
• 50:58
  Speaker 3: A mentor and program that needs to be coordinated properly,
• 51:01
  Speaker 3: because there is a lot of people that reach out
• 51:04
  Speaker 3: and it's overwhelming. So I'm in the process of constructing
• 51:07
  Speaker 3: some type of mental and program that might probably kick
• 51:09
  Speaker 3: off at the end of the year. It needs to
• 51:11
  Speaker 3: be a proper program. But for now, man, people hit
• 51:15
  Speaker 3: me up with my dms. I'm always there to give advice,
• 51:18
  Speaker 3: to give opportunities if I can. Obviously, bearing in mind,
• 51:21
  Speaker 3: our industry in the film is quite skilled sector, so
• 51:24
  Speaker 3: you have to actually know what you're doing unless you
• 51:26
  Speaker 3: want to come and be a runner, and not everybody
• 51:28
  Speaker 3: wants to do that, you know. I still think it's
• 51:30
  Speaker 3: a good idea to do it, but some people, you know,
• 51:32
  Speaker 3: egos pride, they're not on it, so not as many
• 51:35
  Speaker 3: people are coming through my doors as I would have hoped,
• 51:39
  Speaker 3: you know.
• 51:41
  Speaker 2: So it's one of those things.
• 51:42
  Speaker 6: So all right, you learned a lot on the fly,
• 51:46
  Speaker 6: I'm assuming as far as you know on the music side,
• 51:51
  Speaker 6: videos and then you know, having the cameras and then
• 51:55
  Speaker 6: the real estate.
• 51:57
  Speaker 5: Is this all self taught or did you have a
• 51:59
  Speaker 5: mentor how did you learn?
• 52:00
  Speaker 2: I didn't have a mental so you just figured it.
• 52:02
  Speaker 5: Out as you as you go. I figured out, like
• 52:03
  Speaker 5: this is a good idea. Let me just dive in
• 52:05
  Speaker 5: to learn as much as I pass a.
• 52:07
  Speaker 2: Lot of it as instincts.
• 52:09
  Speaker 3: I would say, a lot of people ask me and
• 52:13
  Speaker 3: why you like, how did you become this person? How
• 52:16
  Speaker 3: did you achieve so much? Your one human one guy,
• 52:19
  Speaker 3: a black guy. I just called it out in a
• 52:21
  Speaker 3: country that isn't designed for us to elevate. That's the facts.
• 52:25
  Speaker 3: Let's just call a spade a spade, right, But what
• 52:30
  Speaker 3: I think separates me is consistency. Everybody has a good day.
• 52:35
  Speaker 3: I say, let's say figuratively, right, a good day in
• 52:37
  Speaker 3: the office. Everybody is on form. They wake up one
• 52:40
  Speaker 3: day and they have a good day where they're motivated,
• 52:42
  Speaker 3: they're buzzy, and they're on it. They're constructive, but not
• 52:45
  Speaker 3: many people can sustain that, and that's the difference. Yeah,
• 52:49
  Speaker 3: it's for me to do what I do is not
• 52:51
  Speaker 3: sure some people, it's really painful for them.
• 52:54
  Speaker 2: Dude, this is just wired into my head.
• 52:57
  Speaker 3: So like I have to stop myself from working and
• 53:01
  Speaker 3: thinking and strategizing and take time away, you know, as
• 53:05
  Speaker 3: opposed to thinking, oh I need to do this, I
• 53:07
  Speaker 3: need to I need to be here, I need to
• 53:09
  Speaker 3: work out this. Still, I got to work on that.
• 53:11
  Speaker 3: That's not like that for me. It's just that water,
• 53:14
  Speaker 3: do you see what I mean? So I have an
• 53:15
  Speaker 3: advantage at the fact that I'm not working at trying
• 53:17
  Speaker 3: to be consistent. It's just absolutely natural. And I think
• 53:20
  Speaker 3: that's just the only difference. I'm not I made a
• 53:23
  Speaker 3: flesh blood. I'm not Einstein. My IQ is not crazy.
• 53:26
  Speaker 3: I'm a bit sharp. Yeah, I have great instincts, but
• 53:31
  Speaker 3: I'm just like anybody else. But the consistency is the
• 53:34
  Speaker 3: only difference that separates me most people.
• 53:37
  Speaker 6: People ask me all the time, like what's the what's
• 53:40
  Speaker 6: the number one thing I could do? And I say,
• 53:41
  Speaker 6: for us, originality in consistency, originality in consistency, that's the
• 53:46
  Speaker 6: two biggest pillars that I always say all the time, like,
• 53:50
  Speaker 6: you have to be originally you have to be creative,
• 53:52
  Speaker 6: but you have to be consistent. In Consistency is the
• 53:54
  Speaker 6: probably the most underrated trait in business. People don't understand
• 53:58
  Speaker 6: how difficult it is to consistent, like just to do
• 54:01
  Speaker 6: one thing every single day for five years.
• 54:04
  Speaker 5: It's not easy. It's not easy. You said that.
• 54:08
  Speaker 7: Obviously you're in the country that is not meant to
• 54:11
  Speaker 7: have black males elevated or black people, black people period
• 54:15
  Speaker 7: like in general. Right, So I'm wondering when you're making
• 54:19
  Speaker 7: films and you're making who is the audience? Right, are
• 54:23
  Speaker 7: we specifically looking for black men and women or are
• 54:26
  Speaker 7: we trying to get an international feel to it? Because
• 54:29
  Speaker 7: there's got to be a balance between, you know, making
• 54:32
  Speaker 7: it as a worldwide piece and trying to have authentic London,
• 54:37
  Speaker 7: England feel to it.
• 54:38
  Speaker 5: Right, So how do you do that?
• 54:39
  Speaker 3: I can answer that question quite simply. I'm not trying
• 54:42
  Speaker 3: to make black films. I'm trying to make good films.
• 54:45
  Speaker 5: Right.
• 54:46
  Speaker 3: However, Well, I will champion and I'd say this straight
• 54:49
  Speaker 3: on camera. I will make sure that we have black
• 54:54
  Speaker 3: cost representation, black crew representation, and I don't close the
• 54:59
  Speaker 3: doors on certain people that didn't know what open.
• 55:03
  Speaker 2: Yeah, and that's.
• 55:04
  Speaker 3: That's the difference, you know, That's what I would do
• 55:06
  Speaker 3: because and definitely international films for sure. I'm not trying
• 55:09
  Speaker 3: to pigeon hole or make something London centric at all.
• 55:12
  Speaker 3: I want an international movies moving forward that are good movies.
• 55:16
  Speaker 3: But I'm going to make sure that the doors that
• 55:18
  Speaker 3: are closed on our people. And there's a lot of them,
• 55:20
  Speaker 3: and I've been one of those guys. I was just
• 55:22
  Speaker 3: I was just hard enough to kick through the door.
• 55:24
  Speaker 3: A lot of people aren't built that way, and they
• 55:26
  Speaker 3: just they just become depressed, or they lower their self esteem,
• 55:30
  Speaker 3: or they keep us doing these little baby projects and
• 55:33
  Speaker 3: keep us busy, you know, like worker bees, which is
• 55:37
  Speaker 3: not not it's not cool. So I'm just trying to
• 55:40
  Speaker 3: make sure that I can have that through my platform.
• 55:42
  Speaker 3: I can say, right, okay, let me give this black
• 55:44
  Speaker 3: female lead the cast because because she's the best person
• 55:48
  Speaker 3: for the job. Let me give this black gaffer or
• 55:51
  Speaker 3: this black art director. Like That's something that we will
• 55:54
  Speaker 3: do moving forward to just help be another avenue for
• 55:58
  Speaker 3: these people to have their platform, for them to shine,
• 56:01
  Speaker 3: get paid, continue their career evolve.
• 56:04
  Speaker 7: I mean there's certain shows that we watched growing up.
• 56:08
  Speaker 7: I mean they're global, So I'm wondering, like what were
• 56:11
  Speaker 7: those types of shows or maybe movies that inspired you coming? Uh?
• 56:16
  Speaker 3: You know, I like all types of films, you know,
• 56:18
  Speaker 3: like I'm not I'm not really into like romantic comedies,
• 56:22
  Speaker 3: like like action films. If you talk about what I
• 56:24
  Speaker 3: watched growing up, it's not really relevant to this. But
• 56:26
  Speaker 3: remember those old showering movies where the dubbing the voice
• 56:29
  Speaker 3: was crazy.
• 56:31
  Speaker 2: Yeah, Like man, I.
• 56:32
  Speaker 3: Just love that. But that's what we're talking when I was
• 56:34
  Speaker 3: a kid, you know, and obviously with all the old
• 56:37
  Speaker 3: Hollywood films that my eighties baby.
• 56:39
  Speaker 2: So I think his perf is your birthday, right?
• 56:43
  Speaker 3: Yeah?
• 56:44
  Speaker 2: I was on twenty seconds too. Yeah yeah man, okay.
• 56:53
  Speaker 7: Happy free, happy pree birthday.
• 56:56
  Speaker 2: Yeah man, it's the prices couch.
• 57:01
  Speaker 6: So so all right, how do you see like what's
• 57:04
  Speaker 6: your tenure? Player, Like, how do you see yourself in
• 57:07
  Speaker 6: five ten years? Like what would you like to accomplish
• 57:10
  Speaker 6: and how would you like to scale up?
• 57:14
  Speaker 2: Good question? Good question.
• 57:17
  Speaker 3: I would just say more man, more like that's just
• 57:24
  Speaker 3: been the mindset since the first property, the first company
• 57:28
  Speaker 3: you know more, but healthy growth and just being inclusive
• 57:32
  Speaker 3: and making sure that I understand that. I feel like
• 57:36
  Speaker 3: I have a responsibility now to help everybody, you know,
• 57:40
  Speaker 3: come up and help help people avoid mistakes that I
• 57:45
  Speaker 3: had to make because remember I didn't have a mentor,
• 57:46
  Speaker 3: so I made a lot of.
• 57:47
  Speaker 2: Mistakes my life.
• 57:48
  Speaker 3: It's not all been smooth, like yeah, I'm at the
• 57:51
  Speaker 3: top of a mountain smiling and waving, But it weren't
• 57:55
  Speaker 3: just like that. There was this right and that's something
• 57:58
  Speaker 3: that I don't talk about and one one day I
• 58:01
  Speaker 3: will probably go into more detail about what that was.
• 58:04
  Speaker 2: But it's been up and down, man. So it's like,
• 58:07
  Speaker 2: I want.
• 58:07
  Speaker 3: To be a person and advocate for people that are
• 58:12
  Speaker 3: struggling to achieve their goals, be a platform that people
• 58:17
  Speaker 3: can learn from, and be inclusive. In terms of the
• 58:20
  Speaker 3: film industry, I'd like to help a lot more effinnent
• 58:25
  Speaker 3: minorities in not having to go through a lot of
• 58:29
  Speaker 3: the things I went through. You know, I had to
• 58:31
  Speaker 3: do it myself, and we shouldn't have to be in
• 58:34
  Speaker 3: an industry where the only way for you to get
• 58:37
  Speaker 3: an opportunity is for you to do it yourself, like
• 58:39
  Speaker 3: you should be in an industry that is a bit
• 58:40
  Speaker 3: more of a fair playing field where you can get
• 58:42
  Speaker 3: an opportunity because you're great, not because you fit in
• 58:46
  Speaker 3: or you look right to understand.
• 58:48
  Speaker 2: So I want to try to change that.
• 58:50
  Speaker 3: In terms of property, man, I've got a goal, you know,
• 58:54
  Speaker 3: I want to get to one hundred million portfolio.
• 58:56
  Speaker 2: That's my number in my head.
• 58:57
  Speaker 6: So with the real estate, going back to real estate
• 59:00
  Speaker 6: is a scaling model to get bigger like buildings.
• 59:03
  Speaker 3: Next absolutely, yeah, I'm I complete on a deal in
• 59:07
  Speaker 3: April for a ground zero project. So from complete scratch
• 59:12
  Speaker 3: knocking down an old warehouse, I'm building a set of
• 59:16
  Speaker 3: luxury apartments.
• 59:17
  Speaker 2: So it will probably it would just be more more
• 59:19
  Speaker 2: of that.
• 59:20
  Speaker 5: You know where you're gonna do that?
• 59:21
  Speaker 2: Essex as well, but a bit closer to London.
• 59:24
  Speaker 6: Okay, closer to London and help how many apartments twenty twenty?
• 59:28
  Speaker 5: Yeah? Okay, we're you gonna name the building? Probly? What
• 59:30
  Speaker 5: are you gonna name the building?
• 59:31
  Speaker 2: Probably after one of my daughters?
• 59:32
  Speaker 5: Okay, we'll talk.
• 59:34
  Speaker 6: Yeah, that's another another whatever you know DJ Envy the
• 59:38
  Speaker 6: breakfast club.
• 59:39
  Speaker 3: Yeah, not personally, but yeah, because yea, So he's in
• 59:42
  Speaker 3: real estate heavy and his partner Caesar, So they developed
• 59:46
  Speaker 3: like a big project and that he named he named
• 59:49
  Speaker 3: it that.
• 59:49
  Speaker 2: Wow, it's amazing, man, that's some stafts.
• 59:52
  Speaker 5: Yeah.
• 59:52
  Speaker 6: So on the on the developmental side for real estate,
• 59:56
  Speaker 6: what's the process for that out here? Is it like
• 59:59
  Speaker 6: a little bit harder or is it kind of similar
• 1:00:03
  Speaker 6: to how well you've had only know how it is
• 1:00:04
  Speaker 6: in the States, But like, yeah, what's the what's the
• 1:00:06
  Speaker 6: process that actually developed apartment building from scratch?
• 1:00:11
  Speaker 3: What the good thing is regarding regarding qualifying for property?
• 1:00:20
  Speaker 3: The qualification has no skin tone, right, that's the good news.
• 1:00:23
  Speaker 3: Your accounts or your accounts, that's what anybody cares about.
• 1:00:25
  Speaker 2: What's your P and L is saying? What's your balance sheet's saying?
• 1:00:27
  Speaker 3: And that's basically that, you know, in terms of being
• 1:00:31
  Speaker 3: real estate, anybody can do real estate, but unfortunately you
• 1:00:34
  Speaker 3: kind of need capital if you want to be doing development,
• 1:00:37
  Speaker 3: and you will not get finance unless you have an
• 1:00:40
  Speaker 3: element of money anyway, or you have businesses where your
• 1:00:43
  Speaker 3: accounts can cash flow. What's called stress testing, you know,
• 1:00:46
  Speaker 3: to make sure that if no revenue is generating that property,
• 1:00:49
  Speaker 3: can you maintain it?
• 1:00:51
  Speaker 2: Can you maintain the service?
• 1:00:53
  Speaker 3: The debt level so it is not the sort of
• 1:00:56
  Speaker 3: thing you can do from stage one, you know. But
• 1:00:59
  Speaker 3: anybody that's just getting into the game, you know, twenty
• 1:01:03
  Speaker 3: thirty forty grand, you can start small and flip. You
• 1:01:07
  Speaker 3: won't be able to remortgage refinance on that type of
• 1:01:10
  Speaker 3: deal and get your money back because there's not enough
• 1:01:12
  Speaker 3: money in it to get back. But you can still
• 1:01:14
  Speaker 3: do flips. Make a ten or twelve or fifteen people.
• 1:01:17
  Speaker 3: You could do that.
• 1:01:18
  Speaker 6: You know, what are some good areas to that you
• 1:01:21
  Speaker 6: can invest in.
• 1:01:23
  Speaker 5: The greater London area? And I know London is probably saturated.
• 1:01:26
  Speaker 3: Is I think any area is a good area because
• 1:01:29
  Speaker 3: it's what you pay for the property. Right If I
• 1:01:32
  Speaker 3: if I've got a twenty million pounds three story property
• 1:01:35
  Speaker 3: in Hyde Park, but I can buy it for seventeen
• 1:01:39
  Speaker 3: million and it's going to cost me a million to refurb,
• 1:01:42
  Speaker 3: then I'm gonna buy it, refurb it, flip it. I
• 1:01:45
  Speaker 3: can't remortgage that because I'm not what I can, but
• 1:01:47
  Speaker 3: I'm not going to get my money back. I'll just
• 1:01:49
  Speaker 3: flip that and make a two mil you know. So
• 1:01:52
  Speaker 3: that's how I would do that. What I would say
• 1:01:56
  Speaker 3: is in terms of areas to be more technical areas
• 1:02:00
  Speaker 3: that are on the up in terms of the capital
• 1:02:05
  Speaker 3: growth potential. Most of the areas in London are done already.
• 1:02:10
  Speaker 3: Edmonton is in North London. Is I've got property there
• 1:02:14
  Speaker 3: that's a very very good location. Because if you've got
• 1:02:17
  Speaker 3: an area that's really really cheap, but the area is
• 1:02:20
  Speaker 3: right next to it it's a lot more expensive, then
• 1:02:22
  Speaker 3: you have a thing in propit called the ripple effect
• 1:02:24
  Speaker 3: and it's just a matter of years. And this is
• 1:02:27
  Speaker 3: without the regeneration process as well. Regeneration potential. When I
• 1:02:31
  Speaker 3: say that, I mean where the local borough council say
• 1:02:34
  Speaker 3: we're going to put in fifty million regeneration into this area.
• 1:02:37
  Speaker 3: Take that to one side, because that's another way you
• 1:02:39
  Speaker 3: can find out what areas have regeneration. Good area to buy,
• 1:02:43
  Speaker 3: but just from the ripple effect to loane like Tottenham,
• 1:02:45
  Speaker 3: for example, used to be pretty run down, you know,
• 1:02:49
  Speaker 3: it was known like Brixton, but now Tottenham is kind
• 1:02:52
  Speaker 3: of being gentrified as well.
• 1:02:54
  Speaker 2: They're building apartments.
• 1:02:55
  Speaker 3: Everywhere that they can fit space, and the prices are gone.
• 1:02:58
  Speaker 3: For example, a three bedroom house in Tottenham ten years
• 1:03:04
  Speaker 3: ago would have cost you maybe two hundred grand two
• 1:03:09
  Speaker 3: hundred thousand pounds two fifty maybe ten years ago, right,
• 1:03:13
  Speaker 3: maybe three hundred that push. Now you're looking at six
• 1:03:16
  Speaker 3: hundred and six fifty. That's crazy return, you know, and
• 1:03:20
  Speaker 3: Edmonton is probably five years away from that. So I'm
• 1:03:23
  Speaker 3: buying more in that area because it's the ripple. You
• 1:03:26
  Speaker 3: had the hybrid is in ten, then you had Tottenham
• 1:03:29
  Speaker 3: that was the ripple, and then next is Edmonton with me.
• 1:03:33
  Speaker 3: Then after that it's end Field and it goes out.
• 1:03:35
  Speaker 3: But there's not many areas left. But I would say
• 1:03:37
  Speaker 3: what you should do again a bit of advice to people.
• 1:03:40
  Speaker 3: There's a website called right Move that is our national website.
• 1:03:43
  Speaker 3: For a property. You want to see a property value,
• 1:03:45
  Speaker 3: go to right Move, Great More, right Move Yeah, and
• 1:03:47
  Speaker 3: then you go onto that and it tells you all
• 1:03:50
  Speaker 3: the properties that are for sale in the country. It's
• 1:03:52
  Speaker 3: all it has to be on our website and typing bracket,
• 1:03:56
  Speaker 3: say for example three hundred thousand, three bedroom house in
• 1:04:01
  Speaker 3: and then put your parameter as London. See what's for
• 1:04:03
  Speaker 3: self look at those areas. If it's only a couple
• 1:04:05
  Speaker 3: of properties, that means that you know, that's your barrier
• 1:04:08
  Speaker 3: to entry for that price. So you want to get
• 1:04:10
  Speaker 3: your the property for us as low to that number
• 1:04:12
  Speaker 3: as possible. So in two, three, four, five years, that
• 1:04:15
  Speaker 3: three hundred ground property is going to be worth three fifty.
• 1:04:18
  Speaker 3: Sell the property, make your fifty thousand profit, get your
• 1:04:22
  Speaker 3: of a deposit back. Now you're in the game. It's
• 1:04:25
  Speaker 3: really it's not that hard. Obviously there's levels to this,
• 1:04:28
  Speaker 3: but it's not that hard. But even the entry level,
• 1:04:31
  Speaker 3: it's not difficult.
• 1:04:32
  Speaker 7: Yes, So I mean that's extensive in the real estate
• 1:04:35
  Speaker 7: side for a goal. I want to talk about the
• 1:04:38
  Speaker 7: production side, like what's the goal because obviously films is
• 1:04:42
  Speaker 7: something that you're doing now, but as you make bigger films,
• 1:04:44
  Speaker 7: the budgets get bigger. Absolutely, so you know, I want
• 1:04:47
  Speaker 7: to talk about how we're going to finance that, but
• 1:04:49
  Speaker 7: also maybe from getting shows that are put on TV,
• 1:04:52
  Speaker 7: sitcoms and licensing deals and syndication, like all these things
• 1:04:57
  Speaker 7: in the plans for you.
• 1:04:58
  Speaker 2: Absolutely.
• 1:04:58
  Speaker 5: So.
• 1:04:58
  Speaker 3: I'm currently making my first movie at the moment, which
• 1:05:02
  Speaker 3: is a psychological thriller called Forgive Me.
• 1:05:04
  Speaker 5: Father, Give Me Father, Give Me Father. Psychological thriller.
• 1:05:07
  Speaker 3: Yeah, it's kind of like I would say, it's a
• 1:05:09
  Speaker 3: psychological thriller slash slash slash movie. So like so like
• 1:05:16
  Speaker 3: I would.
• 1:05:16
  Speaker 2: Say it's like Saw Meat seven.
• 1:05:19
  Speaker 3: That's a film twist, right, that's a psychological right.
• 1:05:24
  Speaker 5: Yeah.
• 1:05:24
  Speaker 3: Yeah, so obviously like not trying to so it's like
• 1:05:29
  Speaker 3: dark trying.
• 1:05:30
  Speaker 2: To set the bar.
• 1:05:31
  Speaker 5: Yeah, it's like a dark.
• 1:05:36
  Speaker 2: Super dark.
• 1:05:36
  Speaker 5: Yeah.
• 1:05:37
  Speaker 3: So that's currently in production as we speak.
• 1:05:39
  Speaker 2: We're on set.
• 1:05:41
  Speaker 3: We're in week three of a four week schedule and
• 1:05:44
  Speaker 3: we go to post next month or probably the end
• 1:05:48
  Speaker 3: of beginning of April. And that's my first film, you know,
• 1:05:52
  Speaker 3: and part of that movie has been shot at my
• 1:05:57
  Speaker 3: new my New Country location, you know, so that was
• 1:06:00
  Speaker 3: that's quite special because I've christened that location as for
• 1:06:04
  Speaker 3: the first movie, one of many that will be shot
• 1:06:07
  Speaker 3: in that in that area.
• 1:06:08
  Speaker 2: The location. My movie is the first one.
• 1:06:11
  Speaker 5: Bro.
• 1:06:12
  Speaker 3: So like that, that's that's quite special in a sentimental level,
• 1:06:16
  Speaker 3: you know, that's quite special.
• 1:06:17
  Speaker 6: So as far as the production, are you looking for,
• 1:06:21
  Speaker 6: like what's the process?
• 1:06:22
  Speaker 5: Somebody write a script, correct, then they bring it to you.
• 1:06:26
  Speaker 3: Yeah, I'm I would purchased the script.
• 1:06:29
  Speaker 5: You buy the script, buy the script.
• 1:06:30
  Speaker 2: So we can own the I P.
• 1:06:31
  Speaker 5: You own the I P. Absolutely, you have to own
• 1:06:34
  Speaker 5: I P. For me.
• 1:06:35
  Speaker 2: For my MODEA, I didn't do with ownership.
• 1:06:44
  Speaker 6: So you buy it and then you hire a director correct,
• 1:06:49
  Speaker 6: and then of course the actors or whatever.
• 1:06:51
  Speaker 3: You just put the vision, so I'll exec produce slash
• 1:06:55
  Speaker 3: produce the movie.
• 1:06:56
  Speaker 5: So I overseived the situation absolutely.
• 1:06:58
  Speaker 6: You're not like hands only directing it. You don't tell,
• 1:07:01
  Speaker 6: you don't tell direct, You let the director do his thing.
• 1:07:03
  Speaker 5: Of course, you just kind of give him something. Yeah.
• 1:07:05
  Speaker 3: Yeah, But but what I would do from kind of overseeing
• 1:07:07
  Speaker 3: I is look at that budget, make sure it's realistic.
• 1:07:10
  Speaker 3: So I use my film experience. Is this realistic? What
• 1:07:12
  Speaker 3: can I bring to the table, What value can I add?
• 1:07:15
  Speaker 3: What lines can I bring in? And just make sure
• 1:07:18
  Speaker 3: everybody is happy from from afar and know that our
• 1:07:20
  Speaker 3: exit is in place?
• 1:07:22
  Speaker 2: You know, so just just what executive producers they really.
• 1:07:26
  Speaker 5: You have it? This is dope. We definitely got to
• 1:07:28
  Speaker 5: do something there.
• 1:07:29
  Speaker 7: Yeah, sure, I know, two guys, if you ever need.
• 1:07:36
  Speaker 6: That helps, this is this is a good one man.
• 1:07:40
  Speaker 5: So what would you say? Parting words like what would
• 1:07:43
  Speaker 5: you what would you say to the to the.
• 1:07:44
  Speaker 6: Young boy that's in East London or Brixton that has
• 1:07:48
  Speaker 6: an idea, has a vision, but you still trying to
• 1:07:51
  Speaker 6: put it together.
• 1:07:52
  Speaker 5: Hasn't really figured it out yet, Like.
• 1:07:53
  Speaker 6: What what would your advice be be to them based
• 1:07:57
  Speaker 6: on the stuff that the ups and downs, trials and
• 1:07:59
  Speaker 6: should that you want to.
• 1:08:01
  Speaker 3: I would say keep experimenting because just because you don't
• 1:08:06
  Speaker 3: know what you want to do isn't a bad thing
• 1:08:08
  Speaker 3: because sometimes when you know what you don't want to do,
• 1:08:12
  Speaker 3: that's also progress you with me, So you can be
• 1:08:15
  Speaker 3: doing something and thinking, now, this wasn't for me, that
• 1:08:17
  Speaker 3: was terrible.
• 1:08:18
  Speaker 2: I don't know what I want to do.
• 1:08:19
  Speaker 3: Well, okay, you don't know what you want to do,
• 1:08:21
  Speaker 3: but you now you know you don't want to do that,
• 1:08:23
  Speaker 3: so you're closer to finding what you do want to do.
• 1:08:25
  Speaker 3: So just staying with it and having faith and knowing
• 1:08:28
  Speaker 3: that you know, if you put out good energy nine
• 1:08:31
  Speaker 3: times out of ten, yeah, good things will happen. Just
• 1:08:34
  Speaker 3: be humble, be hard working, and have integrity, you know,
• 1:08:37
  Speaker 3: because losing yourself is something that can happen very easily
• 1:08:39
  Speaker 3: when you're chasing money or you know, or your dreams.
• 1:08:42
  Speaker 3: And just staying true to yourself and believing in yourself
• 1:08:45
  Speaker 3: because people will not always open the door for you,
• 1:08:49
  Speaker 3: So it doesn't mean that you have no value.
• 1:08:52
  Speaker 2: Yeah, so believe in yourself. That's where the value comes from.
• 1:08:55
  Speaker 6: Let me ask you this too before we leave. We
• 1:08:56
  Speaker 6: see a lot of UK actors Black UK actors. Of
• 1:08:59
  Speaker 6: course it is the probably the most famous one, but
• 1:09:01
  Speaker 6: there's a lot of them that have going to America
• 1:09:05
  Speaker 6: become like really big stars in America in Hollywood. Do
• 1:09:09
  Speaker 6: you have your eyes set on Hollywood at all? Like
• 1:09:12
  Speaker 6: do you ever see yourself actually going to America and
• 1:09:16
  Speaker 6: being in the Hollywood world?
• 1:09:18
  Speaker 3: Not particularly because it's different for actors. I'm behind the screen.
• 1:09:22
  Speaker 3: I'm providing huge facilities, so a lot of America movies
• 1:09:26
  Speaker 3: are shot here. So as far as I'm concerned, I'm
• 1:09:29
  Speaker 3: wenting for Hollywood to come to me.
• 1:09:31
  Speaker 7: Like I like that, I'm not going to do it.
• 1:09:34
  Speaker 5: I like check your neighbor and Tyler as well.
• 1:09:38
  Speaker 6: I link would you would you ever be? I know
• 1:09:43
  Speaker 6: you said you you your models own everything. But are
• 1:09:46
  Speaker 6: you open to partnerships?
• 1:09:47
  Speaker 3: Absolutely if the if the value add is there, if
• 1:09:50
  Speaker 3: the partner adds value that I can't add, and it's
• 1:09:54
  Speaker 3: it's a match made in heaven for sure, you know.
• 1:09:56
  Speaker 2: So the right collaboration of course.
• 1:09:58
  Speaker 7: So we can see like media takes London, media takes London.
• 1:10:02
  Speaker 5: Maybe this is this is a good one man.
• 1:10:07
  Speaker 6: I appreciate it. What would it will be your last words?
• 1:10:10
  Speaker 6: How can the people follow you against social media? Website,
• 1:10:14
  Speaker 6: any new prot you talk about the movie, any other
• 1:10:16
  Speaker 6: new projects that you have, anything that you want to
• 1:10:18
  Speaker 6: make the people aware of.
• 1:10:19
  Speaker 3: Listen man, Like as I said, we're open to all
• 1:10:21
  Speaker 3: all the companies that open to all. You can find
• 1:10:23
  Speaker 3: Sydney House and Studios, master by Media Socials, we're there.
• 1:10:28
  Speaker 3: We'll link up with that. People can follow me on Instagram. Really,
• 1:10:31
  Speaker 3: that's that's the best Instagram. Antoine Dixon Ballot, No, no, no,
• 1:10:35
  Speaker 3: haypphen so Antoine Dixon Ballot. Just that's all one word
• 1:10:38
  Speaker 3: or one word no happen.
• 1:10:40
  Speaker 6: And and people if they want to like actually writ
• 1:10:42
  Speaker 6: the facility.
• 1:10:43
  Speaker 5: All the information is like on the website.
• 1:10:44
  Speaker 2: Absolutely the website, everything's there.
• 1:10:46
  Speaker 3: We've got Syne hyphen House dot com for the rental company.
• 1:10:50
  Speaker 3: We've got East London Studios or one word dot com
• 1:10:54
  Speaker 3: uh for the film studio, and Sydney Scope Optics for
• 1:10:58
  Speaker 3: the lens manufacturing company.
• 1:11:01
  Speaker 7: Troy housekeeping it them. Yeah, this won't be the last
• 1:11:03
  Speaker 7: time we see each other. Sure, I want to thank
• 1:11:06
  Speaker 7: you again, I want to thank you. I'll take London
• 1:11:08
  Speaker 7: family for the hospitality, Take London. It's been an amazing
• 1:11:12
  Speaker 7: time here in London. So shout to y'all. Shout all
• 1:11:14
  Speaker 7: the UK earn, Shout to all the earners world. Why
• 1:11:16
  Speaker 7: we really appreciate y'all. Every time we go somewhere, it
• 1:11:19
  Speaker 7: feels like home. So that's I know that has a
• 1:11:21
  Speaker 7: lot to do with y'all. So shout to y'all. Shout
• 1:11:23
  Speaker 7: everybody disappointed them, Shout out to the team. We got
• 1:11:25
  Speaker 7: the team here in London with us, Mike obviously, and
• 1:11:29
  Speaker 7: Jamal Yogi's here with us and b he's here behind
• 1:11:32
  Speaker 7: the scenes shooting content for us. So shout to everybody
• 1:11:34
  Speaker 7: that made this a special one. And shout out to
• 1:11:36
  Speaker 7: my boys birthday yesterday.
• 1:11:37
  Speaker 5: Man, we went up again. This has been a legendary.
• 1:11:40
  Speaker 5: I don't think I've been out this much London.
• 1:11:43
  Speaker 6: London is definitely a party town once you can. Thank
• 1:11:46
  Speaker 6: you to Ashley actually making this about that and super Throw.
• 1:11:49
  Speaker 6: I'm glad we got a chance to shoot content while
• 1:11:51
  Speaker 6: we were out here because I think it's important for
• 1:11:55
  Speaker 6: voices from all.
• 1:11:56
  Speaker 5: Over the world to be heard.
• 1:11:57
  Speaker 6: Because it's like we have a strong following in the UK,
• 1:12:00
  Speaker 6: but we just don't want to just have American based
• 1:12:02
  Speaker 6: content that they have to just listen to. We want
• 1:12:05
  Speaker 6: to have you know, UK based content as well, in
• 1:12:07
  Speaker 6: the same way we go to Nigeria or Jamaica.
• 1:12:10
  Speaker 5: Or different parts of the world.
• 1:12:11
  Speaker 6: So that's why every time we travel we always try
• 1:12:13
  Speaker 6: to you know, connect and just you know, the power
• 1:12:14
  Speaker 6: relationships is extremely important. I feel like we just have
• 1:12:17
  Speaker 6: to do more course continental collaboration and you know, we
• 1:12:21
  Speaker 6: have a lot more similarities than we have differences. But like,
• 1:12:24
  Speaker 6: you know, hopefully this would be an education for people
• 1:12:26
  Speaker 6: in America as well that might not be fully educated
• 1:12:30
  Speaker 6: or fully you know, aware of what's going on in
• 1:12:32
  Speaker 6: the UK.
• 1:12:33
  Speaker 5: But everybody is like.
• 1:12:39
  Speaker 6: Yeah, they think everybody drink your tea and crumpets and
• 1:12:42
  Speaker 6: you know, it's just it's just comes from a lack
• 1:12:44
  Speaker 6: of education.
• 1:12:45
  Speaker 5: Like no.
• 1:12:45
  Speaker 6: So so now hopefully you know they can start to
• 1:12:47
  Speaker 6: see like, okay, yeah, just like me, just a little
• 1:12:50
  Speaker 6: different accent.
• 1:12:51
  Speaker 5: Yeah, they's a cute instead of line.
• 1:12:55
  Speaker 8: No.
• 1:12:56
  Speaker 6: But I appreciate it, brother man. Anything that we can
• 1:12:58
  Speaker 6: do to help, you know further, you.
• 1:12:59
  Speaker 3: Know, guys, it's been an absolute pleasure, man, thank you
• 1:13:02
  Speaker 3: super on our love what you guys are doing. It's
• 1:13:05
  Speaker 3: super amazing as well. Thanks and your platform is crazy.
• 1:13:08
  Speaker 3: So so happy to be here.
• 1:13:10
  Speaker 6: Thank you brother, Appreciate you all right, ladies and gentlemen,
• 1:13:13
  Speaker 6: that is a rap.
• 1:13:14
  Speaker 5: We will see you next week. Peace.
• 1:13:16
  Speaker 4: Peace, my graduates from my school being forced bad drop bag,
• 1:13:24
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