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How Zach King Creates Viral Magic Videos · Gimbal Podcast

• 0:00
  What are the most important ingredients in a Zach King video?
• 0:03
  That's an actual idea.
• 0:04
  Yeah, we're trying to go to space.
• 0:06
  How big's your team?
• 0:06
  Who's on your team?
• 0:07
  I just got off a nerf battle to come do this interview.
• 0:11
  And then I spent three months being a janitor for a Steven Spielberg movie.
• 0:15
  Do you have a safety team?
• 0:17
  A safety team?
• 0:18
  Yeah.
• 0:19
  Yeah.
• 0:20
  Yeah, we have safety.
• 0:21
  Yeah.
• 0:23
  My guest today is Emil Rapoport, the senior creative director and producer for Zach King,
• 0:30
  who, by the way, has four of the top 10 most viewed TikToks of all time.
• 0:36
  In this episode, we learn about how ambitious ideas are fleshed out logistically.
• 0:41
  And we even hear about the company culture inside the Zach King team,
• 0:45
  which after hearing this conversation, you're going to want to be a part of.
• 0:48
  It sounds incredible.
• 0:49
  All right.
• 0:50
  This is my conversation with Emil.
• 0:52
  Emil, you are the senior creative producer and director for Zach King's team.
• 0:58
  Tell me how you first got connected with Zach and how long ago as well.
• 1:02
  I guess I'm going to go back a little bit further here.
• 1:05
  I came to LA to be an actor and that was back in 2019.
• 1:09
  And that was right before everything shut down.
• 1:12
  So when it did, I kind of went back home.
• 1:15
  I like took random jobs, babysitting and stuff and saved up money.
• 1:19
  and I read some books on acting in the industry and stuff.
• 1:22
  And one of them was talking about how the person
• 1:25
  got most of their connections
• 1:27
  through doing work that was not acting,
• 1:31
  like PAing or just cleaning up after people
• 1:34
  or being an extra set of hands.
• 1:35
  So I came to LA with this kind of refreshed mindset
• 1:37
  that was like, okay, I just wanna help out the people
• 1:40
  who are already doing really big things.
• 1:42
  And that led to being a PA for Zach King.
• 1:47
  and I didn't really expect anything of that.
• 1:49
  That was just one of those random jobs
• 1:52
  that I had along the way.
• 1:53
  Like I was doing that
• 1:54
  and I was peeing for a Netflix documentary
• 1:57
  and I was peeing for another thing.
• 1:58
  And then I spent three months of my life
• 2:01
  being a janitor for a Steven Spielberg movie.
• 2:05
  But I loved it in a way
• 2:07
  because I was doing the big,
• 2:09
  I was with the big dogs
• 2:10
  and I was like seeing how a real movie is made.
• 2:13
  And-
• 2:13
  Wait, sorry, clarification.
• 2:15
  janitor as in like as as a role in the movie or like as an actual janitor?
• 2:19
  I wish.
• 2:20
  No, I was
• 2:21
  literally cleaning the bathrooms for 12 hour days every day for three months.
• 2:28
  And it wasn't even
• 2:29
  Spielberg's bathroom.
• 2:29
  I just he had his own separate cleaning crew that was more elite.
• 2:33
  I was at the bottom of the ladder for the janitors.
• 2:37
  It just got to a point where eventually I was like
• 2:38
  needing more work.
• 2:40
  And I became friends with the crew on Zach's team.
• 2:43
  I was like hanging out with
• 2:45
  them outside of work.
• 2:46
  Even one of the guys that Zach works with a bunch, his name is Nate Norell.
• 2:50
  He was kind of the big right-hand man for Zach for a few years.
• 2:54
  And Nate was like, why don't you
• 2:54
  just come work for us?
• 2:56
  And kind of on a whim, he like told me that there was a way that I could
• 3:01
  get a job there.
• 3:02
  And then he convinced everybody at King Studio to hire me.
• 3:06
  And like a week later,
• 3:07
  I was getting an interview and then I joined them.
• 3:10
  What was that role?
• 3:12
  The first role you got?
• 3:13
  It was a producer.
• 3:15
  I mean, I hate to admit to it, but it was a lot of kind of faking it to make it.
• 3:20
  I was definitely tooting my own horn a little more than I should have.
• 3:24
  And I've made a lot of mistakes as a producer, but I've also been really quick to try and learn and fix those mistakes and not repeat them.
• 3:32
  How did you get in contact with Zach's team?
• 3:34
  Or like, what was that first point of connection?
• 3:37
  Because I don't think YT Jobs existed at that time or anything like that.
• 3:41
  One of my friends saw an Instagram story posted by one of Zach's producers at the time.
• 3:47
  And they had gone to college together.
• 3:48
  And so she just screenshotted that story, sent it to me, and was like, hey, why don't you reach out to this person?
• 3:53
  She looks like she needs help this weekend.
• 3:55
  And so I DMed her, and she was like, great, you're in.
• 3:58
  And then when I was on that set, I was getting everyone's number.
• 4:00
  I was like, please, are you guys shooting something next week?
• 4:03
  I can do it.
• 4:04
  I can help.
• 4:04
  You know, I'm cheap.
• 4:08
  Hey, it worked out.
• 4:09
  Yeah, it was a little bit of luck, but I also think it was like putting myself out there as much as possible.
• 4:15
  Can you please tell me what your usual tasks look like from Monday to Friday?
• 4:19
  Yeah, so on Monday, the whole team gets together.
• 4:22
  A lot of our remote people who are in the LA area and just everyone else all converge in the same building.
• 4:30
  Normally, we're working out of like two buildings and there's a lot of people remote.
• 4:32
  So through the rest of the week, it's a pretty empty house.
• 4:35
  But on Mondays, we all converge and we meet up in the morning to just kind of talk about what is on everyone's plates.
• 4:43
  And I think a huge part of it, too, is to just have this personable relationship with the team.
• 4:46
  Everyone updates, you know, what did you do this weekend?
• 4:49
  And then it kind of divides into more specific meetings.
• 4:52
  We'll have our creative meetings on Monday, which is invite open to everyone.
• 4:57
  But it's usually at least the producers.
• 4:59
  And then we kind of from there are deciding on, OK, some of these projects seemed really fun.
• 5:04
  Some of these ideas seemed really cool.
• 5:05
  They'll kind of divvy up between the producers or the YouTube team or whoever is going to tackle it.
• 5:11
  They start to like develop the idea, write it out more, think about the production logistics of it.
• 5:16
  But yeah, so essentially my job is that I will just be the front runner for whatever brands come in and lead that project front to finish.
• 5:25
  Is Monday kind of like the beginning of the cycle every single week?
• 5:29
  Like, are you expected to bring a bunch of ideas to the table on Monday and then you follow through until like, is it kind of like a Saturday Night Live set up where everything takes place in the span of seven days?
• 5:40
  Yeah, yeah, yeah.
• 5:41
  That's actually a comparison that's thrown around a lot.
• 5:43
  It is like Saturday Night Live.
• 5:44
  We try to stay pretty topical, too.
• 5:47
  Like we want to bring in like what trends are happening, what is happening in the zeitgeist of the Internet and figure out a magical Zach King angle to that.
• 5:55
  What's the what's the quota look like?
• 5:57
  Are you trying to push forward one TikTok per week, one YouTube video per week?
• 6:01
  The rough like average is around two to three get shot a week.
• 6:05
  And that means also two to three get posted a week.
• 6:07
  It can vary.
• 6:09
  Sometimes there's days where like a trend is happening and we can just go and grab a few props really quick and shoot something that works right there.
• 6:18
  And then we might have four or five videos that week.
• 6:20
  So a life cycle of like a video is about it's just a week.
• 6:23
  You like have the idea, shoot it, post it one week.
• 6:26
  Yeah, it's typical.
• 6:28
  The post-production is a whole nother thing, though.
• 6:30
  So like we might have a video shot this week that could take a month and a half in post-production.
• 6:37
  Just really depends on like, are we going really heavy on CG?
• 6:40
  Or is it a quick masking, jump cut kind of situation that we've done a million times?
• 6:45
  Maybe that will come out the next day or next week or something that the post-production
• 6:49
  could vary hugely.
• 6:50
  And then with brands, it's usually tied to a pre-made calendar schedule.
• 6:57
  So the creative for a brand might take a week.
• 7:00
  Maybe it takes three days.
• 7:01
  How closely does the ideation team work with the post-production team?
• 7:06
  Because a lot of your videos are just like, it's a combination of real life things and editing.
• 7:13
  Yeah, no, a lot has to be pre-planned.
• 7:16
  And the beauty of the workflow here is that the people who are pitching the ideas are also the people who take them through production.
• 7:24
  Typically, if not, they're probably on some other part of the pipeline of a video.
• 7:29
  So you typically have a lot of involvement from everyone who's pitching ideas to the actual making of that video.
• 7:35
  For example, we might have a VFX artist make an idea and pitch it in our meeting.
• 7:40
  And everyone's super stoked about that.
• 7:42
  And Zach's like, whoa, look at the response that got.
• 7:45
  We got to make this one.
• 7:46
  A producer might jump in and be like, yeah, I loved it.
• 7:48
  I want to do the front end.
• 7:49
  And then they'll work alongside as we do with the VFX artists and everyone else.
• 7:55
  It does have a lot of practical and visual effects.
• 7:57
  So everyone does have to be really like on the same page.
• 8:00
  What are the most important ingredients in a Zach King video when you're having those ideas?
• 8:05
  Like what needs to be present for it to be like, oh yeah, this is it.
• 8:09
  Once you get past the whole, oh, everyone's excited about this idea, creative meeting adjourned.
• 8:15
  and then you go into the more production logistic meetings with Zach,
• 8:18
  then we're talking about, okay, well, Zach can't turn into an airplane.
• 8:21
  A jet pack is cool.
• 8:22
  Are there some other things that we can do?
• 8:24
  Maybe he can turn into it.
• 8:25
  You know, I'm just talking about some ridiculous idea here,
• 8:27
  but like Zach King videos move with the flow of the team
• 8:32
  and the who's on the team.
• 8:34
  And you'll start to see kind of trends towards certain types of videos
• 8:38
  as certain teammates join the team and bring forth their passions.
• 8:43
  For example, I was really into action movies as a kid,
• 8:46
  and I always wanted to be a part of action movies.
• 8:48
  A lot of the videos I've done at King Studio
• 8:51
  have some form of some action thing happening.
• 8:55
  Maybe we figure out a way to make guns family-friendly
• 8:58
  by turning them into a gun that wraps people for Christmas.
• 9:03
  Or recently, Zach and I just did,
• 9:05
  with the YouTube video he just posted,
• 9:08
  we just trained to be stuntmen
• 9:10
  so that we could make our own action movie trailer.
• 9:12
  And like there's just kind of a feeling of certain videos will come out that are like attributed with the certain passions of the team.
• 9:20
  The gun wrapping people into like wrapping paper, right?
• 9:24
  Is that something you know you can do going into it or you like it's just like a wild idea and you figure it out later?
• 9:30
  It usually starts as just the wild idea.
• 9:33
  In those creative meetings, it's like paramount that we go in with the mentality of what we call blue sky, which is that there is no producer hat on.
• 9:42
  There's no that's impossible or that's been done or any of those kinds of mentalities.
• 9:47
  So when we are thinking of something like, oh, a gun, how do we get a gun in here?
• 9:50
  Well, it can't kill people because that wouldn't be that king.
• 9:53
  Maybe it's Christmas and it wraps his presents and then people start stealing his presents.
• 9:56
  So he starts wrapping the people with the gun.
• 9:59
  And now we have an action scene where a gun wraps people.
• 10:01
  And we're not thinking, are we going to build a gun that shoots a web of wrapping paper at someone?
• 10:06
  Or is it going to be post-production thing?
• 10:07
  And then you start to like figure it out afterwards.
• 10:10
  It's funny because you're a producer.
• 10:12
  And I remember from film school, I took a producer's class.
• 10:14
  And one of the things that the producer needs to make sure that the team knows is it's like, okay, if you're writing a script, like be very mindful of how you're writing it.
• 10:23
  Because you may not have the budget to film in space or something crazy like that.
• 10:28
  Yeah, no, we definitely start with the anything is possible, make anything.
• 10:34
  And then when we're going to the production logistic meeting, we're like, OK, go into space.
• 10:39
  Let's put a pin in that idea for now.
• 10:42
  Or is there some alternate version where he's on wires and the story works that way?
• 10:46
  You know, we'll try to figure it out.
• 10:47
  And then if it's like, well, this would be so sick if we went to space.
• 10:50
  We won't like trash it.
• 10:52
  We'll just put it in a list of ideas that we want to do one day and then move on from there to what was the next.
• 10:58
  the most fun idea with something else we want to work on do you have like a carpentry team that's
• 11:02
  like building sets for you and that's all taking place on like a 48-hour turnaround so that you
• 11:07
  can film on wednesday and thursday as well yeah really we we do have a carpentry team we have a
• 11:13
  super phenomenally talented head of our art department is this guy named noah coots who
• 11:19
  came from a background of like building furniture and signs and woodworking and stuff and then he
• 11:24
  kind of got absorbed into the King Studio world.
• 11:26
  He's like built almost every prop you've seen
• 11:29
  and set piece and everything is really under his direction.
• 11:32
  He's just he's a crazy madman,
• 11:34
  but he's able to just build anything.
• 11:37
  How are you mindful of budgets when coming up with these
• 11:39
  crazy zany ideas?
• 11:41
  There's around a range that we're trying to stick to.
• 11:44
  And if we think in
• 11:45
  these kind of prep days, like producers looked at the budget and how we're pulling it off,
• 11:49
  and we see that it's going to cost more than what our typical range is,
• 11:53
  we'll have like another meeting with Zach or just a quick ping with Zach that's like,
• 11:56
  is this still a cool enough idea?
• 11:58
  And then it becomes that kind of like debate on,
• 12:01
  well, it's kind of cool that he's, you know, inside of a lamp.
• 12:05
  But if it's going to cost us a ton,
• 12:07
  we either have to figure out a different way to bring it back down to our range
• 12:10
  or determine like, is this a banger idea that the internet has to see?
• 12:15
  And then if that's the case too, like, is there a brand we can reach out to
• 12:19
  and be like, hey, you guys, lamps.com.
• 12:22
  We're doing a video with a lamp.
• 12:24
  Do you want to be a part of this?
• 12:26
  Is there a correlation between videos that on Monday,
• 12:30
  everyone's really excited about,
• 12:32
  those videos being really, really strong performers?
• 12:35
  Like, do you kind of know, or is it a bit of a surprise?
• 12:38
  There's always an element of surprise, I think,
• 12:40
  especially when certain videos launch
• 12:43
  like into the stratosphere.
• 12:44
  Then we're like, whoa, that was crazy.
• 12:46
  especially if it's a video that we like took an afternoon to make on a whim whereas another one
• 12:52
  might have taken two weeks uh because we thought it was the best thing ever and then it doesn't
• 12:58
  how do you like plan the video is it like do you draw pictures storyboarding or is it like
• 13:03
  written out or the way we do it is that everyone will make what's called a t-sheet i believe it's
• 13:09
  pulled from pixar the way they pitch ideas we'll have one side of the page has the text write-up
• 13:15
  of the story.
• 13:16
  The other side of the page has images, can be screenshots of a reference to a
• 13:21
  trend.
• 13:22
  It can be an AI image.
• 13:23
  It can be a Google image, whatever it is, but something that represents
• 13:26
  it and helps pitch the story.
• 13:27
  And then there's a title and little name at the top.
• 13:30
  And so that's
• 13:30
  the format that everyone will pitch their idea in.
• 13:33
  It doesn't leave a lot of room.
• 13:34
  You can't
• 13:34
  write a novel in there.
• 13:36
  So everything's pretty top line, top level.
• 13:40
  Again, a lot of the videos
• 13:41
  are also up to like 45 seconds to around that range.
• 13:45
  A lot happens in those 45 seconds though.
• 13:47
  I know, yeah.
• 13:49
  And you'll see some, like a classic ending
• 13:50
  for like a T-sheet at the bottom says,
• 13:53
  and it loops in all caps or something like that.
• 13:56
  And then we just have to figure that out
• 13:58
  along the way if it gets chosen.
• 14:00
  Can we change direction a little bit
• 14:01
  and talk about like how big's your team?
• 14:03
  Who's on your team?
• 14:04
  What like departments are there?
• 14:05
  The team right now sits at around 15 to 17 full-time people.
• 14:11
  And then we have a bunch of freelancers that are just in rotation with us.
• 14:15
  Those are like PAs, camera teams, everyone in the production side to also freelancers on like sound effects and VFX and all those things as well.
• 14:24
  And then we have the YouTube department, which is its own producer director who's running that.
• 14:29
  and then there are editors kind of for these departments as well and kind of a shared vfx
• 14:35
  team that mixes between all kinds of videos and all the departments well so how man i'm gonna
• 14:41
  forget somebody and then someone's we have bts bts is a really important side of things too
• 14:46
  if we think that like the behind the scenes of a video is going to be a banger it usually ends up
• 14:50
  being that the stitch of the final product with the behind the scenes just thrown onto short form
• 14:57
  a lot of times outperforms the original video, which is really fun.
• 15:00
  Yeah, revealing the magic, right?
• 15:01
  Right.
• 15:03
  And so people really enjoy that.
• 15:04
  So we just are always capturing behind the scenes.
• 15:07
  And then that guy also runs the behind the scenes channels for Zach.
• 15:11
  That's the YouTube and the other platforms as well.
• 15:14
  Oh, and then we have this guy who somehow he became an intern this year,
• 15:19
  and then he turned his intern job into like an in-house coordinator, AD, everything guy.
• 15:24
  He's just this young kid who's super tenacious and passionate, and he kind of created a role out of thin air.
• 15:30
  But he's great, and it's super helpful.
• 15:32
  A lot of the roles that are freelanced are just pretty much everyone on set, other than Zach, the producer slash director, and the BTS.
• 15:42
  And then the art, depending on the project.
• 15:44
  If you're coming up with the ideas on Monday, Tuesday, and you're filming it, how do you get those people fast enough?
• 15:52
  yeah i mean we typically try to have our shoot days on thursday friday we'll not usually shoot
• 15:57
  on a wednesday and then a lot of the people are just on rotation and people come through the
• 16:02
  studio and you know there'll be days where like oh shoot all five of the camera people that i
• 16:07
  normally reach out to are unavailable we have to go with someone who's like a friend of a friend
• 16:12
  of a friend or something but we found that when there's people who are super talented and vibe
• 16:18
  with the team, it's really great to just keep bringing them on.
• 16:20
  And like, they also enjoy having
• 16:22
  the regular work.
• 16:24
  Okay, so that you're in LA is full of them.
• 16:26
  LA is full.
• 16:27
  Sorry, sorry, don't
• 16:27
  interrupt you.
• 16:28
  LA is full of them.
• 16:30
  I hear that's a problem in other cities, but it's really not here.
• 16:34
  Do you find that people from traditional media are who you hire more?
• 16:38
  Do you find that people
• 16:38
  with social media experience are people that you lean towards more?
• 16:42
  Yeah, it's it's typically
• 16:44
  younger people because of that social media experience that are getting hired we do
• 16:49
  occasionally work with when again when the sets are bigger and we need more specific
• 16:53
  roles um that are just more like film people then you'll see we're getting professionals that are
• 17:00
  from hollywood like there's a great safety team a safety team yeah yeah yeah we have safety
• 17:07
  I feel like I have to say yes to that one.
• 17:13
  Yeah, if we're doing really crazy stunts, we do have stunt coordinators on.
• 17:18
  Tell me some of the celebrities that you've worked with because it's quite a long list.
• 17:22
  Some of the fun ones at the beginning that were cool was like I was on set with Tom Brady.
• 17:28
  I wasn't running that project, but it was just like crazy when the first big celebrity that I got to be on set with as a King Studio employee was Tom Brady.
• 17:36
  And I was like, well, we're starting here, guys.
• 17:39
  I guess it's not starting there for Zach.
• 17:40
  But for me, I was like, whoa.
• 17:41
  And then when I started to direct more of the projects, I got to work with the Jonas Brothers, who were super cool guys.
• 17:49
  And then Ed Sheeran, which is a super cool thing.
• 17:52
  We worked with a bunch of K-pop stars, which is also really interesting.
• 17:56
  We flew to Korea.
• 17:57
  And we had Taehyung, who was one.
• 17:59
  Somi was another.
• 18:00
  And that was super cool.
• 18:01
  And it was also interesting because once we posted that content, it like unleashed this whole wave of different fans that came over to the content and like swarmed the comment section and stuff.
• 18:11
  And that was just fun because it was like we tapped into a different pop culture.
• 18:15
  Recently, the other month, I was directing a project with Jesse Eisenberg.
• 18:19
  And as a guy who came from an acting background, that was like huge for me.
• 18:24
  Just massive respect for him.
• 18:26
  Randall Park, who is awesome.
• 18:28
  He played Kim Jong-un in the interview.
• 18:31
  In the interview.
• 18:32
  It was a classic.
• 18:34
  I got to work with him on like, not a short film, but something that was scripted that I wrote that like we brought him on.
• 18:41
  And I just, I, sometimes I had just bad imposter syndrome where I'm like, Randall Park is reading my script, memorizing my lines and, and I'm directing Randall Park and Jesse Eisenberg.
• 18:51
  And that's when it really hits is the actors that, uh, that really throw me for a loop.
• 18:56
  How did those begin?
• 18:57
  Is it, is it just somebody reaches out?
• 18:59
  Is it like an agent gets reached out to the celebrity like Zach?
• 19:03
  Yeah, yeah, yeah.
• 19:03
  Frequently the celebrity likes Zach.
• 19:05
  That's like a big factor.
• 19:07
  I didn't direct the projects, but we had Terry Crews in a short film with us.
• 19:10
  And Terry just like was a huge fan of Zach's content.
• 19:13
  I've looked through, I've spent way too much time looking through celebrities and seeing if they follow Zach.
• 19:20
  And I've compiled a large list of like a ton of celebrities.
• 19:25
  and then pulled from that on ones that follow him
• 19:27
  and see if we'll reach out and be like,
• 19:29
  hey, can we do something?
• 19:30
  And sometimes they're like, yeah, next year.
• 19:33
  And we're like, all right, cool.
• 19:35
  I'll hit you up in a year.
• 19:36
  Schedule that email for 2026.
• 19:39
  But it is a fun thing.
• 19:40
  And it's the same with brands too.
• 19:42
  And when certain people, again,
• 19:43
  with the passion that drives a project here,
• 19:45
  when someone's like, I really love Marvel
• 19:48
  and I would love to do something with Marvel,
• 19:50
  for example, that'll really push our team to be like,
• 19:52
  okay guys we got this great idea for marvel let's go pitch it to them let's see if we can
• 19:57
  make something happen sometimes it's brand deals like the jesse eisenberg thing was because it was
• 20:01
  for his movie that he's in promoting that and then a lot of times it is just reaching out and
• 20:08
  emailing a manager and being like hey where we love what this guy's doing i would love to do a
• 20:14
  collab of some sort a lot of time our collabs are super low lift despite it being a really intense
• 20:19
  project.
• 20:20
  We had the Jonas Brothers for like 20 minutes, I think.
• 20:23
  And I think Tom Brady was like
• 20:25
  15 minutes, whereas like Randall Park wanted to hang with us and he kicked it with us for like
• 20:29
  six hours, which is awesome.
• 20:31
  But you know, I think part of it is that we're such a low lift
• 20:35
  for these celebrities and the content is really fun and family friendly.
• 20:38
  This might be sensitive information, so feel free to like pass on it.
• 20:41
  But do you have to pay
• 20:43
  celebrities to be a part of the team?
• 20:44
  Or like if you get Jonas Brothers for 20 minutes, are they
• 20:46
  there for the exposure that being in a Zach King video gives you?
• 20:51
  Yeah, typically the latter.
• 20:53
  It's
• 20:53
  usually also organized by managers or people who have something to do with whatever press
• 20:59
  team they're on.
• 21:00
  So they're like promoting something already and then... Yeah.
• 21:03
  Jonas
• 21:04
  Brothers, it was kind of around the time that they were releasing a new album.
• 21:07
  And I think
• 21:08
  with Zach King especially, we don't do a lot of direct to consumer kind of content.
• 21:13
  It's more
• 21:14
  brand awareness things so we're never like saying go use code zach king on something or go click on
• 21:20
  the link here it's always just like what is an organic cool video that's featuring the celebrity
• 21:25
  and now there's just more awareness around them and it's the same for for brands we would for
• 21:30
  brands we would say like this is um this is not a click a call to action kind of video that probably
• 21:37
  makes it a lot easier to commit to and get excited about you don't have to sell anything to anybody
• 21:42
  so yeah yeah yeah no yeah the celebrities who are fans of zach it's just like such a fun time
• 21:47
  because everyone's enjoying that process nothing feels out of reach it's maybe just next year
• 21:54
  responses or something like that yeah yeah it's it's more of a mentality than than in actuality
• 22:00
  sometimes things are out of reach the space thing has been a tough thing we're trying to figure out
• 22:04
  the space trip a real space trip that's an actual idea yeah we're trying to go to space but uh
• 22:10
  Dude Perfect did it.
• 22:11
  So it's not off the table.
• 22:13
  It's possible.
• 22:14
  And now that the Dude Perfect, Katy Perry,
• 22:17
  Zach is the next natural person on that list to go to space.
• 22:23
  2026.
• 22:24
  Yeah, that's next year.
• 22:26
  Big year.
• 22:28
  Man, thank you so much for joining the show,
• 22:31
  for sharing your knowledge, your insights.
• 22:33
  You've definitely convinced us that your team
• 22:36
  is probably one of the most fun places to work in the entire world.
• 22:39
  I can see why you've been there for so long.
• 22:41
  I just got off a nerf battle to come do this interview.
• 22:44
  Stop.
• 22:45
  I kid you not.
• 22:46
  We just had a nerf battle in the house,
• 22:49
  and I was getting sweaty,
• 22:50
  and I had to calm myself down before this
• 22:53
  because I didn't want to look like I was a mess.
• 22:55
  But it is the funnest studio to work at.
• 22:58
  I'm pretty convinced.
• 22:59
  All right, that's the end of the show.
• 23:00
  Thank you so much for watching and listening.
• 23:02
  Please consider subscribing if you're new here
• 23:04
  or leave a review if you're listening on audio platforms.
• 23:07
  If you want to check out another episode
• 23:08
  similar to this one, I recommend my conversation with Preston White, the creative director from
• 23:14
  Ryan Trahan.
• 23:15
  You can check that out in the description or if you're watching on YouTube
• 23:18
  by clicking right here.
• 23:19
  Okay, see you in the next one.