Latest / Tigs Bits Podcast / Tim Michael Schmidt

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Tim Michael Schmidt · Tigs Bits Podcast

• 0:00
  Welcome to Tigs Bits. This week we have a great
• 0:02
  conversation with an award-winning actor, producer,
• 0:06
  artist, and overall super cool dude, Mr. Tim Michael Schmidt.
• 0:11
  He has a new movie that's coming out called Bloodthirst and we
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  learn a ton about how movies are made, Tim's career, how he got
• 0:20
  started in show business. Look, Tim is super wise and he
• 0:25
  shares a lot of good things in this episode, so I know you guys
• 0:28
  are gonna thoroughly enjoy it. Speaking of, if you're enjoying
• 0:32
  the show, help us out. Like subscribe, share wherever
• 0:36
  it is that you're watching or listen to this.
• 0:38
  And thanks again to Boil Boss Gator Millworks and by you
• 0:42
  47.com for sponsoring this episode.
• 0:45
  Go check those guys out. Christmas is coming.
• 0:49
  I know it's a little early to be talking about that, but it will
• 0:51
  be here before before you know it.
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  So with all of that said, let's get into it.
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  Before we get into our interview with Tim, I wanted to share a
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  clip of Bloodthirst. It looks fantastic.
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  Hey girl, what are you doing out here?
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  Another day in paradise. Two maybe 3 victims, I think.
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  Dismembered. Drained with blood. 40.
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  Pills 200. Last week it was 40 for 100.
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  I think we are looking at 2 Killers.
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  Oh man, doesn't that look good? I can't wait to watch it.
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  And you know, we're going to be talking a lot more about that
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  movie on on TIGS bits moving forward, so I can't wait.
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  Look, the full link to the trailer will be in the
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  description of the show below if you're watching it on YouTube or
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  wherever you're listening to this podcast.
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  But with all of that said, Tim, thank you so much for coming on,
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  man. It is my pleasure.
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  Thanks for having. Me, I was going to say.
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  I know in in our. Fraternity group?
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  Because if anybody out there doesn't know Blasey and our
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  fraternity brothers and Schmidt was also a fraternity brother of
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  ours, he's a little older than me.
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  What are you? Are you a few years ahead of
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  Blasey as well? No, no.
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  Lacy's ahead of you. Well, we're all relative.
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  We're all insulting here. We're all we're all in the we're
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  all in the same group. It's a year or two.
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  We're splitting hairs here. But so, but, so yes, these three
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  gentlemen know each other very well.
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  Everybody, they know each other very well.
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  I've met Tim here a couple of Times Now and and he we we've
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  become fast friends. So this is going to be a wild
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  ride. This is going to be a fun
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  conversation. Let's just start right there.
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  How did you guys meet? 94.
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  Fall pledge class. I'm thinking Schmidt was 96.
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  Is that right? That's correct.
• 3:00
  Good job. Yeah, that's right.
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  Then we got 97. All right.
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  Sitting right over there. I'm 898. 98 OK Yeah, that.
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  That's right. That's right.
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  OK Yeah. So we were all in the same
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  fraternity at Troy. And so I was there first and
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  then they all came along and. That's why I joined in.
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  The party. We stayed a long time, so I got
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  to hang out with these guys for quite a while.
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  So we, we, we, yeah. Chad was on me, doctor.
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  The doctor plan, you know, a lot of a lot of people go to school
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  for seven years. Yeah, they're they're, yeah,
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  they're called brain surgeons. Right, exactly.
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  Or or Bert or POKEY. We we we had a fraternity.
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  We had we had a lot of doctors in our in our fraternity.
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  We did. We had a lot of doctors, only a
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  couple that actually became doctors.
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  But yeah, we had a lot of doctors.
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  Only a couple, only a couple MD's, but so Tiggs I I went to
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  high school my last year in high school my my father retired from
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  Marine Corps and I went to Charles Henderson, which is in
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  Troy. And my older brother and my
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  father went to work at for the administration at the university
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  and my older brother was already there and he was in the
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  fraternity and so it was only fitting for me to go to school
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  there and then I'll see the safe fraternity.
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  And I'm glad I did because I obviously I got to meet these
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  guys and and I am not a doctor. But I have played one on TV.
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  Nice places for stealing my. Sure, sure.
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  What? I'm.
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  Here for Let's talk about a movie that you have coming out.
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  It's called Bloodthirst and it we finished filming it gosh oh
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  man, a few months ago and it's it's you know, I I have done
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  many projects thus far. And I've got to say, by far I'm
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  the most proud of this one, both personally and then as a group.
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  It's a fantastic. I don't know if you're a fan of
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  horror movies. I I've become a big fan of them.
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  And and and not necessarily this you know so I've done the campy
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  ones. No offense to any of the writers
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  or directors in my past films but but this one is has got a
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  great plot great storyline the my my fellow cast members are
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  fantastic. I I couldn't be more proud of of
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  the work I put into it. And not that I don't put a lot
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  of work into all the roles, but this one specifically just.
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  I don't know. I can't explain to you.
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  It's kind of like when a baseball hitter has got a great
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  four for four night and then the next day he's over 4.
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  It's not necessarily the field, it's not necessarily the team.
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  It's just. Sometimes you're just a better
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  version of you than than, than than yesterday.
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  So this one I'm so proud of. It's it's a, it's a it's a
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  horror flick, a horror drama. It's it's it's about a a woman
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  who becomes a vampire unwillingly.
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  I don't know if there's anybody who comes one willingly, but.
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  But, but and they and and the loneliness of being a woman
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  vampire and then a detective. Who is me?
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  Detective Walker? Who?
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  Whose wife was murdered a year prior to the the events in the
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  film and he since has become a an addict with an alcoholic
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  pills and what a what a what A and then let the let the
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  hilarity ensue between the vampire and the drug addicted
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  detective so. Wow, man, that that sounds like
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  a crazy combination. Yeah, you got a peeled up
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  detective and a vampire. He's a lot longer and what he
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  seems actually real. Yeah.
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  You know you might have seen a Scorsese film just like it.
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  I don't know but but but yeah but, but, but, but our
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  commonality is that we both are hunting a serial killer.
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  So I will save the plot line. But but again she's fantastic in
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  it. Everybody, everybody's in.
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  It is great. The story's great.
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  The direction with Chris Hilton at the helm there, it was
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  fantastic and I think there was just a.
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  A good synergy. I have actually filled with
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  these guys before. The same I filled with this
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  director before and the same camera crew and the the whole
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  crew as a matter of fact the cinematographers and there is
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  something to be said with with working with the same folks over
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  and over again. I think you see a lot.
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  I think you see a lot of success with.
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  Tarantino, Scorsese, Adam Sandler, you know a lot of a lot
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  of very successful people. Keep the same crew and cast and
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  and and more that I have done that.
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  I've done three projects with this crew and cast, excuse me
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  crew before and some of the cast.
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  But there is there's a lot of synergies and a lot of
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  experience. That really, that really adds on
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  into a, into into a great, into. Just just more of a exponential
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  product when you're done with it.
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  Was did you guys film most of this filming in the Atlanta area
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  or was there any location shoots anywhere outside of Atlanta?
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  This one was actually filmed, yes, just just north of, mostly
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  north of Atlanta, probably on 4 locations.
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  And the the film I just finished we were up in the mountains and
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  that's the great thing about Atlanta is is really you've got,
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  you've got metropolitan, you've got suburbs you got mountains
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  you got mountains you got Atlantic Coast you got gulf.
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  Yeah really you can and and you have all the now you have all
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  the you have all the all the logistics you have all the all
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  the lighting companies all the yeah, everybody.
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  So it's really just a fluid, fluid operation and it's just.
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  Makes life really easy for for you to film.
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  I bet and you know you think about a wooded area at which
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  Atlanta has plenty of wooden areas.
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  A wooden area could be Virginia, Cambodia, anywhere you want it
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  to be same as you know they do they do a lot in New Orleans and
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  if you get a Bayou or a river scene it could be any river
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  anywhere and turned it into that if the right angle and.
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  Like you said, logistics, once you have the the personnel there
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  in the teams, because I know the little bit of background stuff I
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  did New Orleans, I went down to the the, you know, the base camp
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  and it's this sprawling. I mean just the biggest
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  warehouses you've ever seen full of all these kind of stuff, the
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  light trucks, the the just every aspect and you're like that's
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  what it takes, but. Having it in the city, you don't
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  have to go very far. Yeah, well you know it's funny.
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  We've got you know there's a Trilith just opened there you
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  know Thousand Acre Studio indoor and outdoor.
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  You got you got Tyler Perry Studio, which is old Fort
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  Gordon. You've got you've got one just
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  opened this past weekend where the old Ford factories.
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  Excuse me, not Ford factories, but the oh, the car plants up
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  there used to be and that's. Got Spielberg and and all and
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  Lucas and all them involved with this, So I mean, but I was.
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  Crazy, man. I wasn't going on there, huh?
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  Oh I'll tell you what and and all during the strike.
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  So, which is good for me, but but but what's interesting is I
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  with all that said, I filmed in studios and I so prefer being on
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  location, you know? Oh.
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  Yeah, I bet. It's it's just it's it's it's
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  more authentic, if you will. Right.
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  Yeah, I know When we did us, we did some scenes for NCIS, New
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  Orleans. And some were at actual little
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  bars and restaurants there. But then there, the main scene
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  of the bar someone owns in the show is on set and it's they
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  have the, you know, it looks inside, looks just like it,
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  except the walls are thin. And then outside the windows,
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  they have big tarps up with the Bourbon Street painted on it and
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  I'm like. Yeah, just.
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  Go out there and do this, but it's.
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  It's so funny. I did.
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  I did, you know the Oval with Tyler Perry and his?
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  You know, first of all, how, how successful are you when you buy
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  a Fort, you know. I didn't know they were for
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  sale, but I guess if you're Tyler Perry, you could get one.
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  And and it's it's he probably runs it as tight as one too his
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  old security force and it's it's just in South Atlanta and he he
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  doesn't you know he literally there's every every every
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  building became a a studio you know stage and.
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  This one building, though, he calls the green building, he's
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  got everything in it. I'm telling you, you, you go
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  down one hallway, you're in a hospital.
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  The next hallway is you're, you're in, you're in the Oval
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  Office. And then you have a because he,
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  because of the Oval success, he has a a mock.
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  A mock vice president. I can't remember the name of it.
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  The vice president's home. The interior has got all that
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  looks just like, I mean you literally think and I spent a
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  lot of time in DC you think you're in.
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  Those buildings it's it's it's quite it's quite amazing.
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  But I will say for him though he does such a fantastic job of
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  hiring so many people in the in the South Atlanta area, it's
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  quite a quite a quite a quite a social wonderful asset wonderful
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  thing he is to to to Atlanta and I think to the country as far as
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  getting people busy is concerned.
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  But I'll tell you what, it's tough because there's so many
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  damn people on set. Oh yeah, but but anyway, it's
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  it's it's quite amazing. But again, I I still go back to
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  the authenticity of of on location filming.
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  It's still my favorite. Oh, it's got to be, Yeah.
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  And somebody like Tyler Perry, who's who's like you said a
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  great ambassador for the area and gives back to the area and
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  keeps it at home and all that, so awesome.
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  And I mean, it's funny. You just get the Madea movies.
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  That's some of my favorite. That's some of the newest
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  funniest. Stuff that's been made in the
• 12:51
  last 20 years is Madea Christmas.
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  If you hadn't seen Madea Christmas, you got to watch.
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  I think, I think the most beautiful thing about him, and
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  if you take I think is is excuse me, not Lucas.
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  Oh, who's the Terminator? Cameron.
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  Cameron, James Cameron, James Cameron Cameron, Tyler Perry.
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  Steve Harvey, all before they hit it big, all lived in their
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  cars. You know, they were, they were
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  they were struggling artists with a vision.
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  And I think like a lot of artists, you know, shoot, take
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  a, take a take, take, take the Renaissance, you know the Van
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  Goghs and and the world, most of them were, you know, popular
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  when they were alive. And and the start, the starving,
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  the starving artist term, I think really holds water.
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  There's think of how many, how much brilliance is out there
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  that we'll never see. Oh yeah, in all forms of art,
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  you're exactly right. I mean, I talked to entertainers
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  and musicians all the time. Same thing living there.
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  Are you going to Are you going to try to get a whim of that and
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  go sleep? Start sleeping in your car?
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  Brother I have, I have. I've slept in a lot of cars in
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  my life. So mine.
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  Some I knew. Some I didn't know.
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  I just I just got out of one there.
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  You go coming in the. Only way to multi billion dollar
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  entertainment industry there Schmidty.
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  Well, well, we need to make sure, like Tig said, this
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  podcast won't make it out before the debut of the movie, but we
• 14:24
  need to let everybody know where to find it and where to find you
• 14:26
  on social media. I know we're going to talk for
• 14:28
  longer, but we need to make sure we get.
• 14:30
  Get that in there. It's going to be on either
• 14:32
  Amazon or Netflix I believe Amazon on the 31st and the way
• 14:38
  that works is, is every every streaming system buys these
• 14:42
  films and then they release them and then after a certain amount
• 14:45
  of time the contracts flip over to the nut that another
• 14:48
  streaming system who buys it for a lesser price.
• 14:50
  But so Amazon's got it, I believe 1st and then and then
• 14:54
  we'll go from there. But and then my my social media
• 14:57
  is you, IMDb, which is the Internet.
• 15:00
  Movie Database. You can find me as Tim Michael
• 15:02
  Schmidt and Schmidt and you can see my filmography there and and
• 15:10
  probably more than I want you to know about me on there.
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  Oh, they're going to know a hell of a lot more by the time we're
• 15:16
  said and done with this. That's awesome.
• 15:19
  I have all the links to all of this in the in the show notes
• 15:24
  and everywhere I'll have links and and as you're watching or
• 15:27
  listen to this you can go and and check it out.
• 15:30
  But that's fantastic. It's going to be on on on Amazon
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  or Netflix either way. Boom.
• 15:36
  Everybody can. Wait, and I still want to know
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  what? When she wrote her phone number,
• 15:41
  what was that she wrote her phone number on in that scene?
• 15:43
  Dude, that was a giant piece of paper.
• 15:45
  So, yeah, so, so funny enough, I'm glad.
• 15:48
  It was the guest book. It's amazing you asked that
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  question because I it's funny because that that's good, great
• 15:53
  eye great great great great recognition there place because.
• 15:57
  It was that. And then once you see the movie
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  it'll make more sense. That table is kind of like my
• 16:01
  I'm a homicide detective. So that's my that's Walker's
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  desk where he's got all these gruesome pictures of seat of you
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  know, of of crime scenes and they're sitting there and and I
• 16:12
  think, I think part of it is the lack the the lack of her
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  sensitivity to what she's looking at.
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  I I kind of treat her like, oh hey, you probably don't want to
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  be looking at all this. This is.
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  She's a vampire. So she's.
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  I mean, she's. Okay.
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  She's she's she's unfazed and. She's getting hungry.
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  But I will. I will say there's it's kind of
• 16:35
  like anything else. There's also mistakes.
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  Mistakes if you will. That that are that the the
• 16:43
  director might like better what you do it but they're not really
• 16:46
  how it was scripted and some things just kind of float by but
• 16:50
  the audience won't know any better.
• 16:52
  So but they slot. They slot for you playing that
• 16:54
  out. Blasy.
• 16:56
  Blasy's the guy, points out. Hey, wait a minute, that last
• 16:59
  thing, That truck was white. Now it's blue.
• 17:02
  Hey, hey, Tim. How come?
• 17:03
  How come you're? How come you looked ugly in that
• 17:05
  one? I just thought it was kind of a
• 17:08
  real pimp. Bold move.
• 17:09
  I was like, man, that's a really big sheet of paper.
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  She just. She really.
• 17:12
  Wanted to have that. It's almost like cardboard as it
• 17:14
  folded over, you know? That particular, that particular
• 17:17
  scene place he was probably to the date, my hardest one.
• 17:21
  I'm glad you brought that up, because that was that was that
• 17:24
  that entire scene where we're sitting there?
• 17:27
  We did in one take. And I don't know how much people
• 17:31
  know about filming, but usually each, each, each time a camera
• 17:35
  cuts, that's a different scene that the actors have cut and
• 17:39
  started again, cut and started again.
• 17:41
  So it's the memorization and the lines and then and then and then
• 17:47
  your character. Have a chance to kind of reboot
• 17:51
  after each cut and then and then and then and then and then film
• 17:55
  but that particular 1:00 we we we went and gosh it's a you know
• 17:59
  it's a 5 minute 5 minute film time of of just straight 11
• 18:04
  scene one shot and it's you know you know it's it's it's not the
• 18:11
  easiest and it was intimidating it was intimidating but the five
• 18:14
  minutes to stay on and on point in anything a song a
• 18:20
  presentation I mean anything but let alone now you've got.
• 18:24
  Especially with that intensity, if the subject matter and like
• 18:27
  you know, like all that, that was drama that was coming back
• 18:30
  and forth and that energy that was flowing like it.
• 18:32
  Was so pivotal? Yeah.
• 18:34
  It was so. Pivotal, pivotal and and.
• 18:38
  The director really challenged us.
• 18:40
  We we did it the 1st way. We did it first several times.
• 18:44
  Again, I don't know people don't know this either, but each
• 18:46
  camera shot that you do is a different tank.
• 18:48
  So 11130 second to one minute shot in a film can take, you
• 18:55
  know, 1520 tanks at each different angle, different
• 18:59
  camera angle each time. So when people, when people see
• 19:02
  a film, there's probably 300 hours of a film that the editor
• 19:07
  has to cut down to an hour and a half.
• 19:09
  So people don't really, people kind of think that it's all
• 19:11
  just, you know, point of view. Easy, it's it's not that way.
• 19:16
  Each time the camera cuts somewhere else to a different
• 19:19
  point of view, that's a whole different scene that was filmed.
• 19:23
  But we and we did it that way the first several times.
• 19:27
  Which you know is half a day probably or 1/4 of a day And
• 19:31
  then and then the then the director challenged us and says
• 19:34
  hey can you guys do that can can we get you to do it, you know
• 19:39
  all once take and and shot. Well, I tell you what, we were
• 19:43
  both like, hell yeah, let's do it, you know?
• 19:46
  But. That's awesome, man.
• 19:48
  I was. Sweating.
• 19:48
  I was sweating big time though, so did y'all.
• 19:51
  Did y'all film this movie in sequence, like as as it went, or
• 19:57
  is it scattered all over the place as far as how you filmed
• 20:00
  it? Yeah, yeah, that always.
• 20:03
  That always intrigues me whenever I hear a behind the
• 20:06
  scenes in a movie or or something.
• 20:08
  The way that they filmed it, the way that it was processed, you
• 20:11
  know? You know, Tigs, that's a great
• 20:13
  question. And people, again, you know,
• 20:16
  nobody knows this stuff until you do it.
• 20:17
  But you know, no. As a matter of fact, when I
• 20:21
  first got on set, the very first scene we were going to do was
• 20:24
  one of my most emotional scenes. And I'm I'm staring at a picture
• 20:28
  of my my my my dead wife and and and I'm I'm drinking and you
• 20:35
  know I'm shooting this bottle of Jack Daniels that I think I
• 20:38
  pulled out of the back of my car.
• 20:44
  I'm. Kidding.
• 20:44
  That you were living in. I'm kidding.
• 20:47
  But car RV, but the but, but and I said to him, I said, I said
• 20:54
  Chris, I said come on man. I said you're talking to give me
• 20:56
  some time to warm up and and kind of ease into this character
• 20:59
  a bit and he's like well shit. He's like, yeah, you know, kind
• 21:02
  of, yeah. He's like, well, yeah, OK.
• 21:06
  And he had kind of go through his mind of what sequences he
• 21:09
  could do to kind of do one scene 1st And then he's like, you know
• 21:13
  what he's he's like, you know what?
• 21:15
  You could, you could do it. Do it.
• 21:17
  And I was like, yes, Sir. I was like, yes, Sir.
• 21:20
  So but but that is tricky though because you know you're you're
• 21:25
  you're you know by no means am I a a method actor or I don't
• 21:30
  think really anybody truly is to what they determine the method
• 21:33
  actor to be. But but you do you are Tim when
• 21:37
  you're driving there to set and then and then and then and then
• 21:42
  at some point you do have to become Detective Walker and and
• 21:46
  and that's and that's a dark place to go to you know an
• 21:50
  alcoholic pill at an addict whose wife dot was murdered a
• 21:53
  year before who's who's tracking a serial killer is a is a dark
• 21:57
  place to to to to jump into and everybody if you know me I'm not
• 22:01
  I'm not a I'm not that kind of person So it takes me it takes
• 22:06
  it takes me some time to get into that but.
• 22:09
  How do you do that? How do you?
• 22:10
  Get yourself to get into Detective Walker and to to have
• 22:15
  those emotions, to feel that, to run through all that.
• 22:19
  I mean, what's the process to do that?
• 22:21
  I think it takes a lot of it takes experience, I think in
• 22:24
  life and I think I think it and acting as well.
• 22:28
  I think that you, for me personally, what I do is I just,
• 22:32
  I take all the difficult times in my life and I I put those
• 22:37
  into my heart. I bring them out of my heart and
• 22:39
  into my conscience. And because the this person I'm
• 22:44
  portraying is living with the darkest part of their heart and
• 22:48
  their current conscience, so I draw from that.
• 22:52
  I draw from that. And then I I, you know, I think
• 22:56
  that's why you see a lot of older actors who are very good
• 23:01
  because they've had a lot of they've had enough life
• 23:03
  experience to know what what what trouble feels like and to
• 23:06
  what to what pain feels like and to what sadness feels like but
• 23:10
  what determination also feels like.
• 23:12
  So you got you got to you got to honor.
• 23:15
  You got to honor a lot of things you have to honor.
• 23:18
  For me, I honor the. I honor the badge.
• 23:21
  You know, I'm a detective, so I I'm going to honor the police
• 23:23
  force and all the hard work they do for, for, for tracking down
• 23:28
  and finding and trying to find perpetrators of crimes in this
• 23:31
  world. I'm also going to, I'm also
• 23:34
  going to portray the troubled individuals in this world who
• 23:37
  have addictions to to to pills to alcohol to whatever case may
• 23:41
  be and and show what, what kind of weight that does bear on a
• 23:45
  soul no matter what you do in life.
• 23:48
  And then I'm going to I'm going to you know portray those that
• 23:51
  have lost a loved one and and also show a kind of darkness
• 23:55
  that brings to to to to to the forefront.
• 23:58
  And then also I'm going to I'm going to bring to I'm going to
• 24:00
  bring to the forefront all those that know vampires.
• 24:04
  Yeah, you. Have vampires, dude.
• 24:06
  That's a That's a tough one, right?
• 24:08
  Hey, there's a whole bunch of vampire.
• 24:12
  That was a lot of people. That's my best norm.
• 24:14
  That's my best, Norm MacDonald. You hung it off.
• 24:18
  You hung it there for a few seconds.
• 24:20
  Hey, but seriously though, there's a you think about niche
• 24:23
  genres like that. You know, we always talk about
• 24:25
  wrestling on here. Because I love wrestling and
• 24:27
  most so I think JJ Arts called wrestling.
• 24:30
  Right. Exactly.
• 24:31
  So you know you know so but with that like there's a whole
• 24:35
  underground world of Internet vampire community that I'm sure
• 24:40
  can't wait to get a dose of this that you tap into 110th of their
• 24:44
  you know couple of million man army they got you're already
• 24:48
  doing brother brother. I'll tell you what man, I the
• 24:50
  films that I have, I have made one of them.
• 24:55
  Happy Birthday for instance. Look, it's got, it's got, it's
• 24:59
  got into genre, right? It's got its place, it's got a
• 25:02
  budget. You know, it's it's it's a micro
• 25:04
  budget. It's a micro budget sag film.
• 25:08
  But boy, I tell you what people sure have their damn opinions on
• 25:11
  online. I'll tell you.
• 25:14
  Oh yeah. Oh yeah.
• 25:15
  Sure they do. Oh, yeah, I tell you.
• 25:18
  Well, that's. You can find anything now, like
• 25:20
  if you have any inkling to watch any kind of, you know, you name
• 25:23
  a. You name a scenario, there's a
• 25:25
  movie or TV show about it. There you go.
• 25:28
  My favorite thing though, is these audience critics who spend
• 25:36
  an hour and 2 pages of review and say how much they they hated
• 25:41
  it, but yet they spend probably 5 hours typing down.
• 25:46
  Right. Whenever, so whatever.
• 25:51
  It is so worried about me. Whenever a new clip drops on the
• 25:54
  fraternity text thread, I know the boys.
• 25:58
  I mean, it's a it's a full day's job.
• 26:00
  The I mean, it's all good and love, but it's everybody's, you
• 26:04
  know? Back and forth, and I mean it.
• 26:06
  It's great. Well, well, I'll tell you.
• 26:07
  I'll tell you what you know. I can only imagine how I think,
• 26:11
  I think, I think, I think with today's social media, what was
• 26:13
  say, social media and everything is, is that look, I mean if you
• 26:16
  choose to put yourself out there for for for audience and if you
• 26:20
  choose to do that and and whatever it is, if it's the
• 26:24
  social media, if it's if it's acting, if it's whatever it is
• 26:27
  you choose to do that, then then then there's a format for people
• 26:31
  to tell you their opinions and they're they're hey, this isn't
• 26:35
  this isn't Russia, this isn't Russia, is it.
• 26:37
  No, it's not Russia. I hope not.
• 26:39
  That was much heavy change that. Was my playthrough, but good job
• 26:46
  Jr. but, but that was but that but you know when you do that,
• 26:52
  you know, you welcome it. Like, look, look, I would love
• 26:56
  for everybody to say, hey, that was fantastic, good job, good
• 26:59
  job, you know. But you know, I really don't
• 27:03
  give a shit. No, you're trying to get the
• 27:05
  job. Because I've even had them say
• 27:07
  that about me on podcast before. Yeah, it was great.
• 27:10
  Podcast every Jr. wouldn't shut up the whole time, talk over
• 27:12
  everybody or whatever. But I'm like.
• 27:15
  I don't care as long as you listen to the podcast.
• 27:16
  I appreciate you. I'm sorry.
• 27:18
  I'll try to buy books. Thank you for listening.
• 27:20
  You did. You don't.
• 27:20
  Like it? Start your own podcast talking
• 27:22
  about you. You know what I mean?
• 27:26
  Nobody, nobody says like, look, if you go buy, if you go, if you
• 27:29
  go buy a meal at the fast food restaurant and you say no, that
• 27:34
  sucked. I hated it.
• 27:35
  Well, you still bought it, so I don't care if you eat it, you
• 27:39
  come back. Well, shut up.
• 27:42
  And the next guy's and the next guy.
• 27:43
  Our girl's going to say I'm a pretty good burger.
• 27:46
  So by simple, simple point and all that I guess would be this
• 27:50
  is artists. And I do believe that anything a
• 27:53
  human creates is art. In its own way.
• 27:56
  It is if it's the reason I am an artist is I my I want my art to
• 28:04
  to spark an emotion. And whatever that emotion is,
• 28:09
  it's fine. If it's anger, if it's if it's,
• 28:11
  if it's applause. If it's sadness, I I don't care.
• 28:15
  As long as it does spark an emotion, then I've done my job.
• 28:17
  I I'll tell you what, man, Speaking of art, I've seen we
• 28:21
  follow each other on social media now and and I've been
• 28:25
  seeing some of the art that you've done in some of that
• 28:27
  charcoal work and stuff and man, wow.
• 28:31
  Blown away, dude. Blown away.
• 28:33
  Oh, thank you. I I tell you what I'm glad you.
• 28:35
  I'm glad you mentioned that, because my I appreciate that
• 28:38
  very much. And my my purpose, my art is
• 28:42
  hey, I enjoy creating anything but but 90% of what I create is
• 28:48
  made out of repurposed materials.
• 28:51
  So so I, I, I, I, I it's not an environmentalist thing per SE.
• 28:57
  Although that's just a nice fringe benefit but it's more of
• 29:01
  we live in a world where where people throw away and throw away
• 29:05
  and throw away and and rebuy and that's capitalism for you.
• 29:08
  But that's OK. But we we, we.
• 29:12
  I think what I hope to do is is is that the the emotionally
• 29:15
  intelligent can extrapolate from my art that just because one
• 29:19
  person doesn't value something does not mean it's it's it's
• 29:23
  it's trashable. You know it's got value to
• 29:25
  somebody and it can it seemed seen through a different
• 29:28
  perspective it's got tremendous value and here I am I take, I
• 29:33
  take things that people throw away and I turn it into you know
• 29:36
  couple $1000 art that somebody else views as as as as worthy of
• 29:42
  that and and then what hang it in their house.
• 29:44
  So again, I, you know, social media and everything because
• 29:48
  you're done with somebody. For instance, you're done with a
• 29:50
  relationship. You want to divorce or you want
• 29:52
  to not be friends with somebody anymore, or you're the tough guy
• 29:55
  in school and you want to bully somebody.
• 29:57
  Well, you know what? Just because that person or or
• 29:59
  that relationship is not valuable to you does not mean
• 30:02
  that that person or that you know the relationship is not
• 30:05
  valuable to somebody else. And that, that and that, that
• 30:09
  perspective needs to be changed hopefully.
• 30:12
  And that's again, I I I know that that seems funny like well,
• 30:15
  shit, Tim, you know, it's just art.
• 30:17
  How do you do that? Well, by by doing something.
• 30:21
  Period. Just doing something moving the
• 30:24
  need. For cool.
• 30:26
  That's what it is. Just like I was telling them
• 30:28
  earlier, I found this chair on the side of the road right here.
• 30:31
  It's just oh like 2 days ago it was around the corner and I was
• 30:37
  like, wait, hold on, that's perfect for my studio because I
• 30:40
  need a good chair. And dude, it lifts up and goes
• 30:43
  down. I mean, it does every I just
• 30:45
  broke the hand all the way. Well, this still works.
• 30:49
  Look, there I go. Hold on, I think, I think Ricky
• 30:52
  and the boys, it still works. I think Ricky and the boys had a
• 30:57
  had a had a orgy on that chair. If if anybody reference to the
• 31:04
  other guys and the Prius. It was funny.
• 31:07
  There was a Prius sitting there. I don't know, maybe it did come
• 31:10
  out of the Prius. Weird glitter on the arm that's
• 31:14
  not yeah. Some of that called me too so
• 31:20
  but you know take thanks for bringing that up though you know
• 31:22
  because that that that is again I I applaud anybody that creates
• 31:26
  in this world and and I just I man you know I just wish
• 31:31
  everybody else would too because so many people have so many
• 31:33
  wonderful ideas in their minds. And and you know I grew up in a
• 31:37
  family with my father was a is a is a retired Colonel in the
• 31:41
  Marine Corps and I have two brothers and you know art was
• 31:46
  not you know it was kind of a you know at least we played
• 31:49
  sports we fought we wrestled you know we we.
• 31:52
  And I think, I think authenticity to oneself I think
• 31:58
  it no matter how you grew up or or or or what your environment
• 32:02
  was like. It does take some time to find
• 32:04
  that to find that within yourself and and to find what
• 32:07
  makes you happy and and kind of like this podcast for you guys
• 32:12
  something drew you to this something something just said
• 32:15
  that hey this this I want to do this no matter what the outcome
• 32:18
  is or what the critics say. And good for you.
• 32:22
  I think that I wish everybody would take that little feeling
• 32:26
  they have in their body you know in their mind say oh you know
• 32:30
  because because I tell you on my deathbed.
• 32:32
  The last thing I ever want to say is what if?
• 32:36
  What if? What if I didn't do that?
• 32:39
  You always have to push yourself.
• 32:41
  A little bit more. Get yourself out of your comfort
• 32:44
  zone. You know, whatever that comfort
• 32:46
  zone is, whatever it is that you're doing, you know, And
• 32:49
  that's kind of how this whole deal started with with Chad and
• 32:52
  I've just, hey, I'm going to, I'm doing this and then I did
• 32:56
  it. And everything that I read,
• 32:58
  listened to all of that leading up into starting this whole show
• 33:03
  was, you know, the 1st. Just do it.
• 33:06
  Just put it out and just put it out.
• 33:08
  Finally brought in a A pro Jr. We brought in a pro podcaster to
• 33:13
  come join us and like, oh, he's just a pro dude.
• 33:18
  He's just a pro. That was a back to school
• 33:20
  reference. He he really cares about what?
• 33:24
  I don't know. Not to be confused with summer
• 33:27
  school, Another great school, movie, summer school.
• 33:29
  Fantastic movie, summer school. I've been trying to find it.
• 33:33
  I wanted to show that to my son. This, uh, this past summer.
• 33:36
  I will say this though. The the the funny.
• 33:38
  The funny thing is I am an 80s movie fanatic.
• 33:41
  I I could tell you every, every line from every 80s movie, but
• 33:44
  I'll tell you what. When you watch some of these
• 33:46
  movies as an adult, some of it's bothersome summer school.
• 33:52
  By the way. Mark Harm Mark Mark Harmon
• 33:56
  almost has this relationship with what what, what later, what
• 34:00
  later. Senior in high school.
• 34:03
  It's awful. Really.
• 34:05
  A junior and I haven't watched this.
• 34:08
  I haven't watched this movie in 15 years.
• 34:11
  It may be 20, but I remember. Tim, I always.
• 34:14
  Found that little line. Most of those movies are that
• 34:18
  way. Like, that's a good point
• 34:19
  because you go back and you're like, Oh my God, how?
• 34:23
  And look at, look at. Cartoons too.
• 34:25
  Well, look at Oh yeah, that's a whole different story.
• 34:27
  But I'll tell you what. Dirty Dancing, for instance.
• 34:29
  You know, Dirty Dancing. Johnny.
• 34:31
  Johnny, Johnny. Like 30 years old begging.
• 34:33
  You know there's. 16 year old. He's hot, so no one cares, you
• 34:39
  know, he's begging 60 year old women and 16 year old girls, you
• 34:43
  know, but and not. And not knocking, but not
• 34:46
  knocking a penny. Not knocking a penny.
• 34:48
  By the way, Julia Roberts can oral whatever she wants, but she
• 34:53
  won't kiss on the lips, though she will not kiss on the.
• 34:57
  Lips. Nothing in the face.
• 34:58
  Nothing in the face. You know, I mentioned this.
• 35:00
  I mentioned this somewhere. I don't know if it's you guys,
• 35:02
  but we were talking about something similar to this, how
• 35:05
  inappropriate things were not too long ago as it seems.
• 35:09
  And there there was. I was.
• 35:10
  I had YouTube on just some random 80s videos the other day
• 35:14
  while we were at the house and George Harrison video came on
• 35:18
  and the song is called. She's 16, she's beautiful and
• 35:22
  she's mine. And the video is literally a big
• 35:25
  bearded, middle-aged George Harrison or maybe in his late
• 35:29
  30s, but middle age with this singing to the 16 year old girl
• 35:33
  telling her she's 16, You're beautiful in your mind.
• 35:36
  And not like it's his daughter either.
• 35:37
  Like it was very. I'm like I couldn't And they're
• 35:40
  showing. I'm like, I can't.
• 35:41
  It was this was a hit. Somebody put this on and thought
• 35:44
  this was a good idea. Well, I would think that George
• 35:46
  Harrison is a big. I would.
• 35:47
  I would think that was. Sure was.
• 35:50
  I would think that. I would think that was odd.
• 35:52
  Jr. until I until I see the Never mind.
• 35:58
  Yeah, all of it. Yeah, it's.
• 36:01
  Yeah. Yeah, like times have changed.
• 36:03
  And we think stuff's weird now, but it's just different weird.
• 36:06
  Everything's weird. It's just different weird due to
• 36:08
  perception and and social consciousness.
• 36:11
  You know it really. I mean, there's always weird
• 36:13
  shit going on and evil and. Crazy.
• 36:16
  That's good. I mean, there's always all of.
• 36:18
  It's always a mixture, you know. What about your what about your
• 36:20
  award? Like 2021?
• 36:22
  Dude, you've got, like, forget acting for a minute like you
• 36:25
  know you've got what's that? The LA?
• 36:27
  Yeah, I blocked it. I'll have any of my notes in
• 36:30
  front of me, right? Now, but I remember that.
• 36:32
  So it's the LA Film Festival. Blow up the Golden Film
• 36:34
  Festival, yeah. And you got best producer,
• 36:36
  right? Yeah, that's correct.
• 36:39
  Yeah. Wow, What a shocker, huh?
• 36:41
  Yeah, as executive producer for a ATV episodic or a streaming
• 36:48
  episodic I should say called Dead serious, which is still
• 36:52
  being in in production. I started out as an actor on the
• 36:59
  cast and God, it's a funny story, man.
• 37:04
  Life is just so funny. Excuse my language.
• 37:06
  It's life is funny and and and that it was.
• 37:09
  It was a role. I was going to go on this on
• 37:11
  this audition for Blasi and it was on a Sunday and I started
• 37:21
  driving and. I was halfway there.
• 37:23
  I was like this, this, this, this role.
• 37:26
  I was like, I'm, I'm above this role.
• 37:27
  I I'm, you know what? I go scheduled it.
• 37:31
  I gave my word I'd be there. I made a commitment, turn back
• 37:35
  around and go do it regardless. So I go back and I do the
• 37:38
  audition and I I got the role and you know because of my
• 37:45
  audition though they they expanded the character.
• 37:50
  The character was supposed to be the first episode character and
• 37:53
  then it became a it's been written now through multiple
• 37:56
  seasons now. And with that said, that that
• 38:02
  part of it I would say though I learned what a hell of a lesson
• 38:06
  I learned to myself. And it's amazing.
• 38:08
  No matter how old you get and no matter who's teaching you, even
• 38:11
  yourself, you make a commitment and you follow through with it
• 38:15
  and you never know what's going to happen.
• 38:16
  But you know, you just do things to the best of your ability.
• 38:19
  But once you make a commitment, you you, you, you see it through
• 38:22
  and beyond that. I was blown away by the cast.
• 38:26
  This is a first of all, the writer and director is a
• 38:30
  tremendous young man, says young man.
• 38:33
  He's probably 2627, which is a young man to me now.
• 38:37
  Gosh, can't even said that. Well, I'll tell you what.
• 38:42
  I'll tell you what this this tremendous young man is, is, is
• 38:49
  he was hit in high school. He was hit by a car coming.
• 38:52
  He was, he was, he was a car hit him a hit and run.
• 38:57
  And so he has a lot of physical and and mental challenges that
• 39:04
  that because of the accident and the and the person just ran off.
• 39:08
  There was never any justice for for that situation.
• 39:12
  However, he's been stricken with these what I would say obstacles
• 39:18
  throughout his life and has it slowed him down?
• 39:20
  Not an iota. You know he, he, he, and I'll
• 39:26
  tell you he's, I was just blown away by him.
• 39:29
  You know he's a he's a he's a he's an African American young
• 39:33
  man who's got physical and mental obstacles because of this
• 39:36
  accident that he's had to overcome and fight for every
• 39:39
  day. And you know nothing in his life
• 39:45
  has has been set up easy for him, nor anybody I would say,
• 39:49
  but but even more so fortunately he has a tremendous mother that
• 39:54
  I've met and and and family that that I that I that that helped
• 39:57
  him but but I was blown away by him and his ability and then the
• 40:00
  casting of itself, the cast is such a diverse group of people
• 40:05
  of age of color of ethnicity. And I was just I I thought boy
• 40:11
  you know this project can be one that that I can really stand
• 40:16
  behind and really and really support.
• 40:18
  This is something that the country needs to see, that the
• 40:20
  world needs to see. That you know your color, your
• 40:24
  religion whatever. Let's all just come together and
• 40:26
  build things and and and and and and and row in the same way and
• 40:31
  look what we can do when we do that.
• 40:32
  And so because of that because of that feeling I, I became an
• 40:36
  executive producer and an investor on the project and and
• 40:41
  I have AI have an undergrad in finance and MBA.
• 40:44
  So I, I, I, I kind of put that that had on at times and and boy
• 40:51
  I tell you what I learned so much about the business side of
• 40:55
  of of of film of filmmaking and all the same time being a cast
• 41:01
  member. So and and and what's crazy
• 41:05
  about it Blasi is is that is that boy I was not even going to
• 41:10
  go. I was turned around to go home
• 41:11
  that Sunday because I thought this role was, because I thought
• 41:16
  this role was this role was underneath me and and and
• 41:20
  because of I think of doing the right thing and feeling the
• 41:24
  right way and seeing the world the right way I was, I was
• 41:29
  rewarded with the Los Angeles Global Film Festival Best
• 41:33
  Executive producer. So that's that's amazing.
• 41:37
  Great relations thank you. But again I I I just I say that
• 41:42
  because it was I I had the same mentality as anybody else.
• 41:45
  It was a Sunday. I didn't want to do something I
• 41:47
  I was you know and who who out there hasn't felt that way.
• 41:51
  It's not every day you're you're go get them attitude.
• 41:54
  You know sometimes you just you just don't have that in you but
• 41:59
  but if you follow a code and you do things and again I'm not
• 42:02
  saying I'm not giving advice. I'm just telling you how I see
• 42:04
  things. It's just that if I follow my
• 42:06
  code and I do things the right way, you know nothing but good
• 42:11
  could come from it. Since you've got this newest
• 42:13
  project in the can and it should come out as we speak in a few
• 42:17
  days after. Since that's been done, are you
• 42:21
  working on new projects now? You got anything in the pipe?
• 42:24
  What ratio are you spending on making art and and and working
• 42:28
  on film stuff? That's that's a good, good
• 42:30
  question, man. Art's really taking a back seat.
• 42:35
  I I've been you know, I I think so.
• 42:37
  Just finished a film called The Eclipse on Blood Mountain which,
• 42:43
  which will be coming out is another horror movie.
• 42:47
  Oh. It's so good.
• 42:49
  This one, this this, this one is this one is this one is a a
• 42:55
  creature, a creature of Native American descent.
• 43:02
  Origins of of Of religious origin finds some Airbnb 20
• 43:10
  somethings and hilarity Hilarity ensues but.
• 43:16
  We need, we need to, we need to we need to cut.
• 43:18
  We need to get a, we need to get a treatment done of a character
• 43:23
  that's this crazy radio host type guy that turns into a
• 43:27
  werewolf at night and it's Blasey and we crazy right wing
• 43:33
  southern radio host. Internet that he, you know, he
• 43:36
  just gets crazy and fights people and then if they if they
• 43:39
  ever get the, if they get the one up on him, he goes and
• 43:42
  snatch him out of their house because he's really a werewolf.
• 43:44
  So so so so so so so funny you say that because once you get
• 43:49
  involved in these projects and you get you get the acting and
• 43:52
  then you get involved you get you get involved with the
• 43:54
  directors you get involved with the executive production.
• 43:58
  You start to you start to get involved in networking with all
• 44:01
  the with all the business individuals in the in in the in
• 44:04
  the scope of the industry. I just stay busy now I raise I I
• 44:08
  I raise capital for films I I I I even created a a a fund of to
• 44:17
  raise money for a for financial because it because in Georgia
• 44:21
  you have a tremendous tax advantage of passive assets and
• 44:25
  and it's a tremendous place to to if you want to invest money
• 44:28
  for a guaranteed return Georgia filmmaking is a great place to
• 44:32
  do it give me a call if you got some money that's burning a hole
• 44:36
  in your pocket and actually invest into a film and but but
• 44:41
  yeah I've done that as well so I have I have invested in several
• 44:44
  films and become a kind of a liaison from a business
• 44:48
  standpoint in that regard. I help find people with money to
• 44:53
  invest in different films. So I still consider that an
• 44:58
  artist because I am funding people's dreams.
• 45:02
  You know I do. Are you able to make some money
• 45:05
  on these investments? So, yeah, yeah, you know, look,
• 45:07
  I don't, you know. It's a fair.
• 45:09
  I'm just curious like, you know, can I do like a self-directed
• 45:12
  IRA or something, you know, like no, no, listen, I'll tell you
• 45:14
  what there's there's guaranteed returns on on investments and
• 45:18
  the great thing is you could you could roll them over and you're
• 45:21
  not taxed on the money that you invest in these films.
• 45:23
  So it's it's it's tremendous. And your and your and your and
• 45:27
  your and you have a credit as an executive producer on the film.
• 45:30
  So a lot of people don't, a lot of people don't understand what
• 45:32
  the different terms are. Executive producer, producer,
• 45:34
  Executive producer basically means that you you're an
• 45:37
  investor and you have some you have, you have and you have
• 45:41
  business you have. You could have business
• 45:43
  authority over the film, but not creative authority.
• 45:47
  If that makes sense. Yeah, So, so, yes.
• 45:51
  With always so many executive producers on the film, I'm like
• 45:54
  or executive. Or in a movie.
• 45:56
  Or if it's something to do with some entertainer, it could be
• 45:59
  the original artist or the writer.
• 46:01
  Yeah, sure. Throw a bone too.
• 46:04
  Yeah, typically, that's why. That's why You'll see like, you
• 46:08
  know, actors that have a substantial career, you know,
• 46:12
  create their own production studios because they want to do
• 46:14
  things their own way. They don't necessarily want to
• 46:16
  direct it per SE, but they want to have the authority to to to
• 46:20
  direct the director, if you will, to to a certain extent,
• 46:24
  you know the. Direction and the control.
• 46:26
  Well, yeah, so, so, so, so again, but but again filmmaking,
• 46:31
  you know is is a tremendous, is a tremendous investment idea.
• 46:33
  So I've been doing that. I, I I do.
• 46:37
  You know what else I do? I have.
• 46:38
  I get a real kick out of this. And you know you know me.
• 46:41
  I'm a if I could do anything to help somebody push their dream
• 46:45
  forward man. I'll tell you what I'll do.
• 46:47
  I'll do anything I can to help you out.
• 46:49
  And because at the end of the day you know it's not just my my
• 46:54
  what ifs that I want to think about on my deathbed.
• 46:57
  I also want to help everybody else's what ifs.
• 46:59
  So if I have any capability of helping somebody's what ifs
• 47:03
  become a reality then they sure guaranteed I'm going to be doing
• 47:06
  it. And so with that said we have
• 47:09
  SCAD which is a a Savannah College of Art Design.
• 47:13
  They have a big campus here in Atlanta and they have a great
• 47:16
  film school. So I do a lot of one day 2 day
• 47:21
  I'll I'll I'll be on the cast I'll I'll play for for these
• 47:25
  film makers you know their final projects for their films you
• 47:30
  know and and and they'll they'll So I don't I don't put those in
• 47:33
  my filmography per se but but I do those every chance I get
• 47:40
  they'll offer me you know they don't they they try to pay you
• 47:43
  but I just tell them to put the money back into the film.
• 47:45
  You know it's editing or whatever.
• 47:47
  But again, I I think that it helps.
• 47:50
  I'm not going to be completely 100% generous on this because it
• 47:53
  does help me home my craft in in doing different characters and
• 47:57
  working with different people. And I also have in my mind that,
• 48:00
  hey, who knows if this is the next Scorsese, who's who's
• 48:03
  coming out of coming out of films?
• 48:05
  Let them come back and remember you down the road because you
• 48:07
  helped and again that's that's that's not why I do it and.
• 48:10
  You sharpen the pencil along the way but but but you know but I I
• 48:13
  again who? Who knows it?
• 48:15
  Who cares. All I know is that I have a
• 48:18
  talent and ability that they need and if I could have a
• 48:23
  chance to help them achieve a dream then then I can guarantee
• 48:26
  that I'm going to do that. That's cool.
• 48:29
  You know one thing I I didn't think about earlier when we when
• 48:32
  we were first talking on this, but the more I think about it in
• 48:35
  a different roles you're playing and and a lot of these more
• 48:38
  intense action horror type roles and I know you and as Blasey
• 48:43
  does you're always a gym guy. You were always in the gym when
• 48:46
  they were in college and and and always are you.
• 48:48
  How much of that do you still have to keep up to do these
• 48:52
  roles? Because I mean, I'm sure you've
• 48:54
  got to fluctuate between whatever your character is, but
• 48:57
  then again, you've got to stay on time with with with your
• 49:00
  normal routine. Are you still getting time to
• 49:03
  hit the gym every day or is that something you ramp up for
• 49:05
  certain parts and down for others?
• 49:09
  I would, I would like to say that I Jr. and that's you.
• 49:12
  You put that on the table. I'm not 20 years old anymore but
• 49:16
  right I, you know, I'm, I'm, I'm, you know at at 46, well.
• 49:22
  You look good at you look good in the shots.
• 49:24
  I see is why I well I appreciate it.
• 49:27
  I I, you know again I I I I don't let my you know obviously
• 49:31
  I don't let myself go I I do I hit the gym.
• 49:35
  Gosh. You know I I do as much as I do
• 49:39
  as much as I can. I I don't.
• 49:40
  I am not. I'm not pressing you know 315
• 49:42
  anymore I can tell you that. But but I I I stay.
• 49:48
  I stay I stay fit for a 46 year old you know.
• 49:52
  And I I I I do have. I will.
• 49:57
  I I depending on the film, how much lead time I have certain
• 50:01
  films I have more lead time I do I do not by no means do I do
• 50:06
  like a machinist Christian Bale situation where I'm you know
• 50:10
  eating an apple a day you know, but or or or yeah or doing a
• 50:14
  Joaquin Phoenix you know 5080 pound weight gain.
• 50:18
  But I do I do try to get myself into that mindset in that in
• 50:21
  that way. So I will.
• 50:24
  I will you know obviously let myself go but or put myself in a
• 50:28
  better position. I will say this though I do my
• 50:30
  own stunts and I actually I actually have, I actually have
• 50:35
  trained to do on scene stunt work fighting.
• 50:42
  So and you know I've as, as as as you know we've talked before.
• 50:46
  I've got, you know, eight years of crap of God or my belt and
• 50:49
  boxing and so. So which is?
• 50:52
  Which is which is actually a negative because I have.
• 50:58
  I haven't stuck in my mind to fight to actually.
• 51:01
  The real way to hit and make contact.
• 51:04
  So it's it's not easy to erase that and and and question, yeah.
• 51:09
  What? What exactly?
• 51:10
  The hell? What the hell are you talking
• 51:12
  about? What is that?
• 51:13
  What? I know that we kind of have
• 51:16
  discussed that, but walk us through.
• 51:18
  Yeah. What is that?
• 51:19
  So is Israeli special forces fighting tactics which they they
• 51:26
  they they they they invented for their special forces and it is a
• 51:32
  it's not an art it's not a it's like like karate or jiu jitsu or
• 51:36
  or it's not There's no there's no beauty in it.
• 51:38
  There's no there's no art in it. It strictly is to beat the
• 51:42
  living shit out of somebody to get yourself to safety.
• 51:45
  It's it's it's it's defense it's self-defense and it's only to be
• 51:49
  used in self-defense but it is but but once you progress
• 51:53
  through the levels you get to weapons defense.
• 51:57
  So I'm I'm you know you know knife fighting pistol you know
• 52:04
  pistol rifle disengagement. How to protect against three,
• 52:10
  you know, three, you know, three fighters into yourself.
• 52:12
  How to fight against a fighter and you have your family with
• 52:15
  you. How to How to disarm somebody on
• 52:18
  an airplane. How to How to disarm somebody
• 52:22
  and get out of when you're being held hostage on your knees.
• 52:25
  A lot of. You know a lot of.
• 52:26
  Security detail I know for different entertainers I've been
• 52:29
  around, that's a lot of those. A lot of their security detail
• 52:32
  always is Krav Maga background. Yeah.
• 52:34
  And and and and the best thing about it is, is there's no,
• 52:37
  there's no belts. There's none of that shit, you
• 52:38
  know, there's no, you're not sitting there trying to.
• 52:40
  It's not an art. Again it's strictly that the our
• 52:43
  motto our motto is how do I get home how get my family home
• 52:47
  safely and it's not it's not it's it Look if the person
• 52:51
  doesn't engage with you then no big deal I I walk our different
• 52:54
  ways. Again all I want to do is get
• 52:56
  home safe and but if you put yourself in front of me and and
• 52:59
  you make it so that you're you're you're you're challenging
• 53:02
  my safety or my family's or my loved ones or my friends safety
• 53:05
  then then I'm going to be prepared to handle the
• 53:07
  situation. The problem with that, the
• 53:10
  problem with that mentality, the problem with that mentality is
• 53:13
  again it's not conducive to stage fighting.
• 53:17
  So I I have, I have hit accidentally.
• 53:21
  You have hit Co stars and and and and again.
• 53:26
  But the but the good thing too is, is that I don't mind getting
• 53:30
  hit. So you know if I want something
• 53:31
  super more authentic it's like oh hey give me go ahead and give
• 53:34
  me one, you know, in the face. You know don't worry about don't
• 53:36
  worry about drawing it too close.
• 53:38
  But it's all about, it's all it's all about.
• 53:43
  It's all about, you know, so, so, so, so with with film
• 53:47
  fighting, it's all about the angles of the camera.
• 53:50
  You know like a a slap. You know a slap coming from this
• 53:53
  way is is you come in and then just pull it out.
• 53:55
  Instead of following through you just kind of pull it out like
• 53:58
  this but but on camera from the other from from a from the other
• 54:02
  side shot on the other from the other angle.
• 54:05
  Can't tell difference. So again it's it's it's I I find
• 54:09
  I find it fascinating what I've learned about how cinematography
• 54:13
  and direction works. Boy, I tell you what you can.
• 54:16
  It's truly movie magic if if that makes sense.
• 54:19
  Yeah, it it does. It's endless.
• 54:23
  Just editing a podcast has opened up my eyes into the
• 54:28
  little bit of magic you can do to fix stuff.
• 54:30
  And I mean that's that's nothing.
• 54:33
  Not even on a scale of like a of an Ant of what it takes to edit
• 54:39
  a movie and put it together. Color coding the sound like I
• 54:43
  mean it takes. Every single little part of
• 54:46
  every little thing to make what you watch on the big screen on
• 54:51
  Netflix, on Amazon any of those places.
• 54:54
  But you'll appreciate but you'll appreciate this Tigs from your
• 54:57
  standpoint is sure that's editing but as a director you
• 55:02
  have to make sure that you have the product to to to edit.
• 55:05
  So you have. So you have to be mindful of
• 55:08
  that as as the director of the of the of the project and while
• 55:12
  you're while you have all the assets together to get what you
• 55:16
  need to get to in order to edit properly, right?
• 55:19
  Right now I guess that's where some of those directors, those
• 55:23
  you can go into all these famous ones and all that where they get
• 55:27
  quote UN quote weird or whatever, they're just very
• 55:30
  demanding and. We got to keep reshooting this
• 55:33
  300 times. Boom, boom, boom till we get it
• 55:36
  right. It's the same thing every damn
• 55:38
  time. It's the same thing.
• 55:39
  No, it's not. Oh man, I tell you.
• 55:41
  Something specific they're looking for.
• 55:43
  I've I've worked. I tell like I tell.
• 55:45
  I tell directors, I make sure that I get really close with
• 55:49
  directors before I start working and what I think I tell them.
• 55:51
  I said, look, my mentality is you're the artist, I'm your
• 55:54
  paintbrush. You know, I, I, I utilize me
• 55:57
  however you want me to. But then again, you have to
• 56:00
  remember as well, they're not an actor.
• 56:03
  You're the actor, so you're the ones going to act, but still
• 56:06
  you're not the director. So they, you know, so you have
• 56:09
  to have that symbiotic relationship where they can talk
• 56:12
  to you in a way of not telling you what they want, but they
• 56:17
  tell you what they vision. Yeah.
• 56:20
  Could you run us through the roles of like from the director,
• 56:24
  the producer, just the different people that are on set?
• 56:29
  You know, just kind of a grand overview of people Because
• 56:33
  because I know a lot of people, probably you see it when it
• 56:35
  comes down the credits, you see these different things, but you
• 56:39
  have no idea what the actual role was.
• 56:41
  We touched on that a little bit, but like.
• 56:44
  Give a little overview of a movie set.
• 56:45
  What's on there when it's being recorded first and foremost?
• 56:49
  First and foremost I'd say this is that every single individual
• 56:52
  that you see in credits without them that film's not being made.
• 56:57
  So I don't care there's there's no there's no role that's too
• 57:00
  there's no role that's too large no role too small.
• 57:03
  Every role is exactly the same and every role is is is 100%
• 57:07
  needed in order for that film to be what it is and I wish I wish
• 57:11
  that you know when they do Oscars almost and I'm not saying
• 57:16
  this and that there's got to be there's a winner but I want I
• 57:18
  want everybody to understand that that if I if I if a if a
• 57:21
  director's awarded an Oscar I guarantee that director sit
• 57:26
  there saying every single person that you see in this credits
• 57:29
  they got this Oscar too. You know, and I'm talking about
• 57:33
  everything from where grips best boys, all those all those titles
• 57:37
  you see that you don't understand.
• 57:39
  So so to answer your question, executive producer is kind of
• 57:42
  top of the food chain. The the movie doesn't happen
• 57:45
  without that individual. They are the business side of
• 57:48
  it. They are the the ones that
• 57:50
  usually buy the script, own the script.
• 57:53
  They are the business. They they they they own the
• 57:56
  project. If it fails, it's their fault,
• 57:59
  If it wins, they win. They get the, they get the
• 58:02
  benefit, right. They're the ones they're going
• 58:03
  to accept the Oscar for the best film and it's because it's
• 58:07
  theirs. They also get the windfall from
• 58:10
  it. With that said, they have no
• 58:14
  they they typically do not have any creative decision making.
• 58:19
  So they're strictly business now that goes down to producer
• 58:23
  producers got is, is is not the owner, but they still have a a
• 58:28
  ownership in it. But they have they have more
• 58:32
  they do have some creative control they that they are going
• 58:36
  to be responsible for who is hired for the film with the
• 58:41
  executive producer. But the producers are the ones
• 58:43
  who are going to be helping hire the casting company the director
• 58:47
  all all those things they're they're kind of like this the oh
• 58:51
  gosh if the board of directors is the executive producer I
• 58:54
  guess then the CEO is kind of like the producer and then you
• 58:58
  have the director who who who really look the director's job
• 59:02
  generally this is some some directors like a Lucas at all
• 59:06
  take way more roles but typically a director is only
• 59:10
  going to be involved with how the scenes are shot.
• 59:14
  That's it how they're they're they are the one taking all the
• 59:18
  all the tools that they're given and making this beautiful thing.
• 59:23
  The actors that they're given they're typically not involved
• 59:26
  with casting sometimes are depending on the side of the
• 59:28
  project though and then it gets down to the other assistant.
• 59:32
  Then you have assistant directors who who are doing all
• 59:35
  the all the the the nuance work or the daily things like like,
• 59:40
  OK, what's the next scene? Who do we need to evolve to the
• 59:43
  next scene so that the director. Right.
• 59:46
  So the director can stay focused on what the greater the holistic
• 59:49
  picture is. And then you have, oh gosh, man,
• 59:51
  do you think you might have a second, a second assistant
• 59:54
  director, But then you have, then you have your
• 59:56
  cinematographers, and I'll tell you what the relationship
• 1:00:00
  between the director and the cinematographers or who's
• 1:00:02
  camera? Who's, who's running camera A's.
• 1:00:05
  Are are the most important relationship on the set, 'cause
• 1:00:08
  they're the ones. And I'll say too that a lot of
• 1:00:10
  times the director will take the word or the direction of the
• 1:00:16
  cinematographer on how certain shots are made.
• 1:00:18
  The director will just have the vision, but the cinematographer
• 1:00:21
  has to make it happen so, So again, it's so it's so critical.
• 1:00:26
  And then it kind of goes then, I mean, but then you have the
• 1:00:29
  grips and you have the electrical, the lighting people.
• 1:00:33
  The director wants a certain feel or a certain aura in on the
• 1:00:38
  set and and the and the lighting, the lighting grips are
• 1:00:41
  going to be the OR the excuse me.
• 1:00:43
  The crew are going to be the ones that the gaps are going to
• 1:00:45
  be the ones that that get the sound or excuse me, get the
• 1:00:48
  lighting and the the camera tracks all the things that
• 1:00:52
  happen. Unbelievable.
• 1:00:53
  I mean, I tell you, there's, there's, there's.
• 1:00:55
  So many people. This is not even like they have
• 1:00:57
  the sound folks, and the sound folks are the ones that have to
• 1:01:00
  hide the microphones in your clothes.
• 1:01:04
  You know, no matter what you're wearing.
• 1:01:05
  They have to have the booms and they have the booms out of those
• 1:01:08
  scenes and and have to set all that up.
• 1:01:10
  Can't forget the prop master with all the fake fake wrenches
• 1:01:14
  and the fake crowbars. I'm just saying that it's it's
• 1:01:16
  literally like it's it's literally what I what I always
• 1:01:18
  attributed to is it reminds me of kind of like Caesar moving
• 1:01:23
  all the troops from Rome to to Germania.
• 1:01:27
  You know, I mean to to to get all the horses and all the food
• 1:01:30
  and all the everything. Oh my gosh, the logistics.
• 1:01:33
  Are. You know, it's funny, Brandon,
• 1:01:35
  when you asked that, it was like, man, you could do a whole
• 1:01:37
  podcast on that. I bet.
• 1:01:39
  Like there's just so many parts in there.
• 1:01:42
  Like that's like. Yeah.
• 1:01:44
  That earlier because I was actually thinking we should do a
• 1:01:46
  whole nother show just. I think we will.
• 1:01:48
  Try to dig into that because this it keeps going.
• 1:01:51
  But if I. Still don't know what the hell a
• 1:01:53
  grip. Is.
• 1:01:53
  But I just finally learned what an executive producer is.
• 1:01:56
  But if there but if there's one thing.
• 1:01:57
  If there's if there's one thing I will say.
• 1:01:59
  And I I I every, every every time I step onto a set I before
• 1:02:05
  I step on a set I go around and I spend time with every
• 1:02:07
  individual. This is an actor as an executive
• 1:02:10
  producer with everybody on the set crew and cast and and and
• 1:02:15
  and just tell them get to know them get to know their names get
• 1:02:18
  to know what their job is and and because because I tell you
• 1:02:20
  what I am not going to be able to do my job if they're not
• 1:02:24
  doing theirs and vice versa. So, and everybody's job is, is,
• 1:02:29
  is critical. There's the the the actor's no
• 1:02:31
  more important and the grip, the grips no more important than the
• 1:02:34
  caterer and and and so on it. But because it takes every
• 1:02:37
  single individual to make a project success.
• 1:02:40
  I can't believe it takes that many people, but then again, I
• 1:02:43
  can. You know, if it if it didn't,
• 1:02:46
  then everybody. We all have nice little cameras
• 1:02:49
  and stuff these days. If it was easy, then everybody
• 1:02:52
  would do it. If it didn't, take.
• 1:02:54
  Tons of people. To make a project, come out,
• 1:02:57
  look the way it does and be the way it is, then, I mean, anybody
• 1:03:01
  could do it and not just anybody can do it, you know?
• 1:03:04
  I mean that is it's tough stuff. Think about it where where you
• 1:03:08
  know these these major, major motion pictures, you know, where
• 1:03:11
  they spend $100 million. What do you think all that money
• 1:03:14
  goes to? You know, I mean we, we, we, we
• 1:03:17
  we we film projects. You know I filmed projects as
• 1:03:21
  low as 25,000 up you know and up.
• 1:03:25
  But you know but the budgets are all no matter what the budget is
• 1:03:30
  every single one of those people still exists on on a set And and
• 1:03:33
  boy I tell you what I thought. I tell you what the, the, the
• 1:03:36
  value of each of those capital your human capital assets are
• 1:03:41
  are are tremendously, tremendously valuable.
• 1:03:45
  Well you think about, you think about number wise.
• 1:03:47
  Like I said, I've done a little background acting and on some of
• 1:03:50
  those say they would pay me $125.00 for a 10/10 hour day on
• 1:03:55
  set is what I'm booked for. Whether we're there for, I
• 1:03:58
  couldn't hell, I've been there for an hour and they let you go
• 1:04:00
  because the weather it ain't right or they don't need any
• 1:04:02
  more people. Do you still get paid for your
• 1:04:04
  full day? But I would go to these calls
• 1:04:07
  and one in Montgomery, there was probably another. 80 extras
• 1:04:11
  there, just like me, but the one I did for NCIS one time in New
• 1:04:14
  Orleans, or was it Bill? And one of those?
• 1:04:17
  There had to be 6-7 hundred other extras just like me.
• 1:04:21
  There was just tents. You say Bill and Ted.
• 1:04:22
  Yes, I was going to send, Sir. Did you just say Bill and Teds?
• 1:04:26
  Yeah, you know that new one They did the rush.
• 1:04:27
  Yes, it was Bill. I was with your agents.
• 1:04:35
  And there's one movie that had that had Ben Affleck in it that
• 1:04:38
  I I talked to him that day. Hell, we end up smoking a
• 1:04:41
  cigarette next to each other out the thing.
• 1:04:42
  But it was shot in New Orleans also.
• 1:04:44
  But that was another. It was probably 500 people
• 1:04:45
  there. That was, that was, that was
• 1:04:48
  Geely. No, this was just a few years
• 1:04:51
  ago. But he it was.
• 1:04:54
  It was kind of about the same time we have the picture of him
• 1:04:56
  smoking the cigarette, looking all like the world's Jersey
• 1:04:59
  girl. About that, but but you think
• 1:05:03
  about say there's 600 other extras on set that day and
• 1:05:06
  they're paying us all 125 bucks, 150 bucks apiece.
• 1:05:09
  To do the math, you got to have them on set every day for six
• 1:05:13
  months. That's just for extras.
• 1:05:15
  That's not even people who are making them real running.
• 1:05:17
  If you say, then if you end up on one scene where you say or
• 1:05:20
  you're multiple, or they need you for this, then you get
• 1:05:23
  bumped up to 1200 in a hurry and it's like, Oh my God, not only
• 1:05:27
  that, guess what? You have to feed those people.
• 1:05:30
  Oh yeah, you have to transport those people.
• 1:05:32
  Yeah. Yeah, they would move us from
• 1:05:34
  base camp to a location on buses.
• 1:05:36
  We get food, they bring in so. They house you if you're there
• 1:05:38
  for multiple days, They're housing and everything.
• 1:05:40
  Right. There was certain things on
• 1:05:42
  certain locations they would. Most of this you need to be in
• 1:05:44
  the area for anything I've ever done regardless.
• 1:05:46
  You just just just think about what it takes, if you have a
• 1:05:49
  family or or just yourself, what it takes for you to go somewhere
• 1:05:52
  for go. Let's say you go camping.
• 1:05:55
  You know, you know, think of the money it takes for you to go
• 1:05:57
  camping just on yourself. Or if you go with the family, or
• 1:06:01
  you know, I think of all the money it takes between, you
• 1:06:03
  know, the car, the gas, the food, then the actual event or
• 1:06:07
  activity, and then now extrapolate that out to, you
• 1:06:11
  know, thousand you know or whatever.
• 1:06:15
  Or even 50I mean, even like what I do every weekend, There's 25
• 1:06:18
  of us riding around every weekend.
• 1:06:20
  That that's that's why. That's why.
• 1:06:22
  That's why if you look at, if you look at the money in a
• 1:06:24
  movie, you'll see like, oh, OK, it made, it made 100 million in
• 1:06:28
  box office. Right.
• 1:06:29
  But the budget was 75. Oh, it's a failure, you know,
• 1:06:33
  'cause it's, you know, wait, they made $25 million?
• 1:06:36
  Well, did they? You know, Yeah.
• 1:06:40
  Right, right, right. Yeah.
• 1:06:41
  It's a wild world and I mean it just and now with all the new
• 1:06:45
  things that I don't know if you want to dive any of that since
• 1:06:47
  it just went down with this with the actors and writers strike
• 1:06:50
  with the we're on set of new AI potentially taking roles away
• 1:06:54
  from people. I know I watched the things just
• 1:06:57
  a few days ago about all the animal trainers in in in
• 1:07:01
  California. No no no animal live animals are
• 1:07:04
  being used for anything. They're using CGI now, so
• 1:07:07
  they're all selling farms, going out of business.
• 1:07:09
  And that's not even. Yeah, well, yeah, look.
• 1:07:11
  I mean look, look, what's what's tough right now And what I what
• 1:07:15
  I what I what I get angry about. What I find frustrating is I
• 1:07:21
  wish that the I am not. I am not in the union.
• 1:07:25
  I'm not union. I chose, I have chosen.
• 1:07:28
  Although I am union validated, I I I I don't see it as a value
• 1:07:35
  for me at this point and and I'm fortunate right now 'cause I got
• 1:07:40
  all the work while it was on. Strike, I was going to say, you
• 1:07:42
  already have good insurance. The rest of us are trying to get
• 1:07:44
  that SAG card. So we get good insurance.
• 1:07:47
  Well, no. Yeah, good point.
• 1:07:48
  Well, so, so The thing is this is, is, is, is is what I hope
• 1:07:52
  is. And again, I'm not.
• 1:07:53
  I'm not blaming the the, the, the, the, the, the, the guilds
• 1:07:58
  union. I'm not blaming them by any
• 1:07:59
  stretch of the imagination. I'm not blaming anybody.
• 1:08:02
  I just wish they'd come to some resolution so that all the
• 1:08:04
  people who are affected otherwise can get back to work.
• 1:08:07
  We're forgetting about all the absolutely all the lighting
• 1:08:09
  companies all the caterers all you know everybody everybody who
• 1:08:14
  is who is reliant on these two parties to work like adults to
• 1:08:20
  come together in a in an equitable agreement come on grow
• 1:08:24
  up and and and get together so that everybody can can can live
• 1:08:28
  again. I mean come on it's just it's
• 1:08:30
  there's got to be an equitable situation get off your high
• 1:08:33
  horses and and and come to an agreement and now I say that but
• 1:08:37
  where does that you know we're humans and that's but but again
• 1:08:40
  I just wish you know I'm a Pisces man so look I I want the
• 1:08:44
  world to work in hot harmony and I just but but but I do think
• 1:08:48
  holistically that gosh man like I said so many people are are
• 1:08:52
  reliant on a few people to to do things the right way and boy
• 1:09:00
  throughout time I guess we've done the same thing look at look
• 1:09:02
  at our government for God's sakes we we're all relying we're
• 1:09:06
  all relying on them a couple people do the right things but
• 1:09:09
  but again I I it goes back to the original question Tigs is is
• 1:09:12
  that what does everybody do. Well, what what everybody does
• 1:09:16
  is a lot and what everybody does is extremely valuable and a
• 1:09:19
  tremendous asset. And guess what, right now
• 1:09:21
  they're not able to do anything because because because because
• 1:09:24
  of the the financial disagreements, which is
• 1:09:27
  ridiculous. It is.
• 1:09:29
  Hopefully it comes to a resolution soon and quickly.
• 1:09:33
  So because look, I mean, we're the consumers on this end.
• 1:09:37
  You're not. You're bringing it to us.
• 1:09:40
  But we're the consumer. Oh, I'm a consumer.
• 1:09:42
  Eventually, we're going to You're a consumer too.
• 1:09:44
  But you're you're also part of bringing, feeding, feeding us.
• 1:09:49
  We need it. So I mean, we need our
• 1:09:52
  entertainment as dark as this world's getting right now.
• 1:09:55
  God knows we need it even more. Than ever.
• 1:09:58
  So they have to work this out. There are families that are
• 1:10:00
  being affected. I can remember when I lived in
• 1:10:03
  Florida and I sold hardwood lumber and things like that.
• 1:10:08
  We sold a lot of that lumber that went to props and things
• 1:10:13
  like that that were built into stages and stuff like that at
• 1:10:16
  Disney. Like there was this one cabinet
• 1:10:19
  company that we worked with or wood woodworking company that
• 1:10:22
  they made, manufactured all of this.
• 1:10:26
  Different stuff for all of these elaborate projects at Disney and
• 1:10:29
  some really, really cool stuff too.
• 1:10:32
  They would be one of those that would be out of business right
• 1:10:36
  now because they because of, because of this.
• 1:10:39
  It would kill them if they didn't have that mean.
• 1:10:42
  That's what they depended on. This is 20 years ago, but that's
• 1:10:45
  what they depended on to hit their nut every year, you know,
• 1:10:50
  to to make to do what they what they needed.
• 1:10:53
  So yeah. It's just a big trickle down by
• 1:10:56
  having this, the bigwigs, exactly like you're saying.
• 1:10:59
  They're sitting on their high horse living, living off the
• 1:11:03
  fatted calf that they've had for years.
• 1:11:06
  But now it it's starting to really, really hurt people.
• 1:11:09
  So I will, I will. I will say this, Tigs though
• 1:11:12
  that you know, and here's the other thing too is like look in
• 1:11:15
  the, in the, in the sag, you know, in the, in the union.
• 1:11:18
  Yeah, look, I mean the unions made-up of thousands of members
• 1:11:22
  and not all of them are the rock or George Clooney or Brad Pitt,
• 1:11:26
  you know, exactly. But it takes, I mean look you're
• 1:11:31
  not having all the all the projects or all the films choose
• 1:11:34
  from on streaming services without all these actors.
• 1:11:37
  So, so and I'm talking about, you know, I'm talking about very
• 1:11:40
  relative actors that are not capable of.
• 1:11:42
  I mean I'm talking about you have seen some very household
• 1:11:45
  games that are that are struggling right now because I I
• 1:11:48
  saw one that has to sell his house because because of lack of
• 1:11:51
  work. But I will say this though, you
• 1:11:54
  see people like the Rock, for instance, he donated, oh gosh,
• 1:12:00
  over $1,000,000 to to the to the Guild fund to help, to help to
• 1:12:06
  subsidize these the the actors that that do not have the
• 1:12:10
  capabilities of living without filming.
• 1:12:12
  So it is a union is a union and and again, you kind of live by
• 1:12:18
  the sword, you die by the sword. But what's fair, what's fair is
• 1:12:21
  fair and what's equitable is equitable.
• 1:12:23
  And I think that as adults, everybody can come together at
• 1:12:26
  some point and see what the right thing to do is.
• 1:12:30
  Yeah, because if we if we get another, if we get another game
• 1:12:33
  show on primetime TV, I'm gonna, I'm gonna have to.
• 1:12:35
  Write up a letter myself. God who?
• 1:12:37
  Who was who? Like Like like like yeah, like
• 1:12:39
  let's the what? I mean what's I mean what does
• 1:12:42
  God almighty. I can't.
• 1:12:43
  I don't. Hey, I'm not knocking.
• 1:12:44
  Any dude I saw, I saw one the other day.
• 1:12:47
  Y'all. I'm not kidding.
• 1:12:48
  I don't know if you've seen this.
• 1:12:49
  It was a show and I've seen it once or twice.
• 1:12:51
  Hopefully it's done, but it was a show basically where these
• 1:12:54
  people were trying to build Hot wheel cars saved alive.
• 1:12:59
  I've watched it multiple times. This comes on.
• 1:13:01
  Something. Yeah, Car.
• 1:13:03
  And you got to dream as a hot wheel, and you turn that car
• 1:13:06
  into a hot wheel as a chair. Is it there Lego show on like
• 1:13:11
  like this is and we're. Talking about this is on a prime
• 1:13:14
  time Big Three network. At 7:00 this show comes on.
• 1:13:17
  I'm like, what the crap is this mess?
• 1:13:20
  Hey, you know, you know, you know.
• 1:13:21
  Passively like it just. The same there it is, yeah, but
• 1:13:24
  that's what we're kids don't know until everybody get back to
• 1:13:27
  work. Well, The thing is, the thing
• 1:13:29
  The thing is this too is that we become such a with the streaming
• 1:13:32
  services. If you think about this way, it
• 1:13:35
  used to be just run by the networks and by the premium
• 1:13:38
  channels, right HBO, Cinemax, ABCABCCBS, whatever they showed
• 1:13:43
  is what you. And then then you had
• 1:13:45
  Blockbuster movie Gallery whatever they provided you is
• 1:13:47
  what you had your choice of. Nowadays, good God, there's
• 1:13:52
  endless amounts of of providers and distributors of of these of
• 1:13:55
  these films and content. With that said that's the
• 1:13:59
  keyword right there. That's what I was getting at
• 1:14:01
  right there. The one thing that you need when
• 1:14:03
  you have this many feeders and this many consumers is content.
• 1:14:08
  And that's why they're struggling right now, which is
• 1:14:11
  why I'm staying so busy right now.
• 1:14:13
  I've got offered, Look, hey for the first time in my.
• 1:14:16
  Perfect for you. Hey, for the first time in my
• 1:14:19
  life, I'm turning down work, you know, and I'm choosing not to do
• 1:14:23
  auditions because because I've got, you know, I'm holding up
• 1:14:27
  for better. But my agent didn't hear that.
• 1:14:30
  But Speaking of agents, boy, I tell you what, they're fantastic
• 1:14:36
  too. And I tell you here's a, here's
• 1:14:37
  a whole other group that's struggling.
• 1:14:39
  You know, again, we talk about all the people that do the
• 1:14:42
  actual projects on set and all the people that do all the work.
• 1:14:46
  You have all the backside of that, the managers, the agents,
• 1:14:49
  the publicists and all their employees.
• 1:14:51
  I mean, I'm just, you know, the advertising companies.
• 1:14:54
  I'm. I'm just saying that there's
• 1:14:55
  just. So lawyers, I will say this.
• 1:14:59
  JRI will say this the lawyers. That's what I was getting at.
• 1:15:03
  That's that's why I said the poor, the poor, starving
• 1:15:06
  lawyers, you know, lawyers not, not, not, not, not, not not
• 1:15:10
  personally, just professionally, right.
• 1:15:13
  But that's the that's the same thing we're going through over
• 1:15:16
  in my In My world, in music is the same thing.
• 1:15:19
  You have so many outlets and so you don't have to listen to the
• 1:15:21
  radio and you can't. You don't have to go to the
• 1:15:23
  record store to get it. They can go on your phone or
• 1:15:26
  computer and you can access anything in the world instantly.
• 1:15:30
  And and it's a whole new and we're still they're still trying
• 1:15:32
  to figure out how to make sure everybody gets paid right and
• 1:15:35
  you know gets credit Now we've got AI bleeding over into it so
• 1:15:38
  we're going to have the same issues and art were any form of
• 1:15:41
  art or entertainment you know Jr.
• 1:15:43
  Similar issues Jr. If you look at the world, you
• 1:15:45
  know, think about when we were younger, the artists used to
• 1:15:48
  complain about the singles. You know the single cassette,
• 1:15:51
  you know, they're like, no, we want them to buy the album, not
• 1:15:53
  just the single song. So look, you know, no matter
• 1:15:56
  what we do in life, we're going to have to evolve and adapt.
• 1:16:00
  But again, I I think let's shit look at podcasts.
• 1:16:03
  How many people on on terrestrial radio or sitting
• 1:16:05
  going like these podcasters you know?
• 1:16:08
  Right and and and that's why I'm not really I'm like well if if
• 1:16:12
  movies and TV just keep going to game shows maybe more people
• 1:16:15
  listen to Tigs Bits podcast hey we'll just get hey we'll just
• 1:16:21
  start doing a we'll just start doing shows on here and we'll.
• 1:16:24
  Put Paris to Hot Wheels, brother.
• 1:16:25
  I mean, we're going right, winning that contest, We've.
• 1:16:29
  Got award-winning actors. We've got, you know, we're just
• 1:16:32
  rocking here, man. We are.