1 00:00:05,320 --> 00:00:08,280 Speaker 1: All right, welcome back to Another Car Stories with Sun King. 2 00:00:08,160 --> 00:00:12,640 Speaker 2: And Amelia Hartford. So it's the questions. All right, I 3 00:00:12,680 --> 00:00:18,079 Speaker 2: got a question for you. Would you survive a zombie apocalypse? 4 00:00:18,720 --> 00:00:18,919 Speaker 3: Oh? 5 00:00:19,120 --> 00:00:23,200 Speaker 1: Would I? Wow, that's a great question. Would I survive 6 00:00:23,280 --> 00:00:25,439 Speaker 1: a zombie apocalypse like right now? 7 00:00:25,600 --> 00:00:25,840 Speaker 2: Yes? 8 00:00:25,880 --> 00:00:26,160 Speaker 3: Today? 9 00:00:26,200 --> 00:00:28,760 Speaker 1: If it happened like in five minutes, Well, it depends 10 00:00:28,760 --> 00:00:31,760 Speaker 1: on what kind of zombie? Are they fast zombies? Are 11 00:00:31,760 --> 00:00:32,800 Speaker 1: they slow zombies? 12 00:00:33,080 --> 00:00:35,160 Speaker 2: I'm talking like walking Dead zombies. 13 00:00:35,800 --> 00:00:36,800 Speaker 1: Were they they were slow? 14 00:00:36,960 --> 00:00:37,480 Speaker 2: They were slow? 15 00:00:37,560 --> 00:00:39,120 Speaker 1: Well, I would be yeah. 16 00:00:39,280 --> 00:00:42,200 Speaker 2: I'm not talking the last of us zombies okay, okay? 17 00:00:42,400 --> 00:00:45,239 Speaker 1: Or I am legend zombies that runs super fast. 18 00:00:46,120 --> 00:00:47,800 Speaker 2: The walking dead ones, the ones where they can't run, 19 00:00:47,840 --> 00:00:50,440 Speaker 2: they could walk, but they'll eat your brains. 20 00:00:50,520 --> 00:00:54,680 Speaker 1: I would say that I'm not prepared at home, okay, 21 00:00:54,800 --> 00:00:59,240 Speaker 1: Like I don't have like yeah, sure, actually I do. 22 00:01:00,040 --> 00:01:02,120 Speaker 1: I do have a bag that will last me a month. 23 00:01:02,760 --> 00:01:03,800 Speaker 1: Vin Diesel gave it to me. 24 00:01:04,120 --> 00:01:05,000 Speaker 2: That's awfully nice. 25 00:01:05,240 --> 00:01:08,920 Speaker 1: He gave me a like a survival bag. I don't 26 00:01:08,920 --> 00:01:12,680 Speaker 1: know if it's still good. Wow. So I have that, 27 00:01:12,760 --> 00:01:16,120 Speaker 1: But I don't have any weapons. I don't have guns 28 00:01:16,160 --> 00:01:20,600 Speaker 1: and stuff. But if so, if they were to attack 29 00:01:20,680 --> 00:01:23,280 Speaker 1: my home like there were would I be able to survive? 30 00:01:24,080 --> 00:01:25,480 Speaker 2: I think you're overthinking this a little. 31 00:01:25,880 --> 00:01:28,039 Speaker 1: I would hope, what do you think? Well, how about you? 32 00:01:28,120 --> 00:01:31,040 Speaker 2: Hell yeah, I would survive a zombie apocalypse. You would, yeah, 33 00:01:31,040 --> 00:01:31,520 Speaker 2: I would? 34 00:01:32,160 --> 00:01:34,480 Speaker 1: Well, what makes you say that? Why it's so confident? 35 00:01:34,760 --> 00:01:38,200 Speaker 2: I just it's just my gut instinct. I feel like 36 00:01:38,240 --> 00:01:43,039 Speaker 2: I have those instincts given a life or death situation 37 00:01:43,880 --> 00:01:46,000 Speaker 2: to pull myself out of it. 38 00:01:46,160 --> 00:01:46,640 Speaker 3: I don't know. 39 00:01:46,959 --> 00:01:49,360 Speaker 1: Would you so if there was like two zombies coming 40 00:01:49,360 --> 00:01:51,840 Speaker 1: in and you would be able to chop their heads off, 41 00:01:51,880 --> 00:01:53,560 Speaker 1: because you know you got to if I need it too. 42 00:01:53,600 --> 00:01:57,960 Speaker 1: Sure they're dead, so you would be okay doing that's all? 43 00:01:58,080 --> 00:02:00,200 Speaker 1: To do that, though, how would you do that depends? 44 00:02:00,240 --> 00:02:03,480 Speaker 2: We're here right now the iHeart Studios. Grab a knife 45 00:02:03,480 --> 00:02:04,560 Speaker 2: out of the kitchen. 46 00:02:04,280 --> 00:02:06,240 Speaker 1: Well, there's no knife there. We couldn't even find a 47 00:02:06,280 --> 00:02:06,720 Speaker 1: fork for that. 48 00:02:07,360 --> 00:02:08,960 Speaker 2: I' found a knife. That's how I cut the sandwich 49 00:02:08,960 --> 00:02:09,120 Speaker 2: and have. 50 00:02:09,320 --> 00:02:11,000 Speaker 1: A butter knife. 51 00:02:11,240 --> 00:02:12,160 Speaker 2: I kill. 52 00:02:13,440 --> 00:02:13,480 Speaker 3: You. 53 00:02:13,600 --> 00:02:15,840 Speaker 2: Go upstairs like a lock on the doors. I could 54 00:02:15,880 --> 00:02:18,040 Speaker 2: scale the side of the building. I could park her 55 00:02:18,160 --> 00:02:19,000 Speaker 2: to the next building. 56 00:02:19,080 --> 00:02:19,600 Speaker 1: You would do that. 57 00:02:19,680 --> 00:02:21,760 Speaker 2: I'd climb down to my car, my truck. 58 00:02:21,880 --> 00:02:23,960 Speaker 1: But what about Teddy? You would just leave him behind? 59 00:02:25,040 --> 00:02:25,840 Speaker 2: We can take Tedgi. 60 00:02:26,000 --> 00:02:29,760 Speaker 1: Yeah, no, no, he would be zombie. He would be 61 00:02:29,840 --> 00:02:30,960 Speaker 1: trying to hump that zombie. 62 00:02:31,080 --> 00:02:32,919 Speaker 2: That's true. 63 00:02:32,960 --> 00:02:33,640 Speaker 3: I would hope. 64 00:02:33,800 --> 00:02:36,840 Speaker 1: I would hope I could survive. But I thought about 65 00:02:36,840 --> 00:02:40,680 Speaker 1: this before. I was like, what would happen if zombies 66 00:02:40,680 --> 00:02:43,720 Speaker 1: attacked my house and bit my wife and then she 67 00:02:43,800 --> 00:02:48,280 Speaker 1: turned into a zombie? Would I just leave? Or would 68 00:02:48,320 --> 00:02:51,079 Speaker 1: I wait for her to be a zombie and then 69 00:02:51,320 --> 00:02:52,160 Speaker 1: chop off her head. 70 00:02:52,960 --> 00:02:55,680 Speaker 2: I love that you've thought about that. 71 00:02:56,560 --> 00:02:57,200 Speaker 1: Useless stuff. 72 00:02:57,240 --> 00:02:59,760 Speaker 2: Secondly, why do you have to stay at a chop 73 00:02:59,800 --> 00:03:01,360 Speaker 2: her head off? Why not just leave? 74 00:03:02,000 --> 00:03:05,919 Speaker 1: I don't want her to go around and exist right 75 00:03:06,360 --> 00:03:07,080 Speaker 1: as a zombie. 76 00:03:07,160 --> 00:03:09,079 Speaker 2: But what if they come out with a potion or 77 00:03:09,080 --> 00:03:11,119 Speaker 2: a formula one day? 78 00:03:11,240 --> 00:03:13,919 Speaker 1: Like, yeah, well she still has to go around and 79 00:03:14,160 --> 00:03:18,359 Speaker 1: like eat people. Yeah, eat people, right? I would be sad. 80 00:03:18,720 --> 00:03:21,720 Speaker 1: Like what if like I'm like in the neighborhood, like 81 00:03:22,080 --> 00:03:23,160 Speaker 1: you know, breaking. 82 00:03:22,800 --> 00:03:25,320 Speaker 2: Into casually walking the dog. You see your ambie wife 83 00:03:25,400 --> 00:03:25,840 Speaker 2: running by. 84 00:03:26,000 --> 00:03:28,120 Speaker 1: No, I would have to go get supplies, right, Like 85 00:03:28,160 --> 00:03:31,280 Speaker 1: I would break into someone's house to go get can goods, right, 86 00:03:31,600 --> 00:03:34,400 Speaker 1: you know, during the day, and then I see her 87 00:03:34,520 --> 00:03:38,839 Speaker 1: like walking just like, oh, living dead, right, I would 88 00:03:38,880 --> 00:03:42,640 Speaker 1: be sad. Sure, so I would want to end her misery. 89 00:03:42,920 --> 00:03:44,920 Speaker 2: Okay, I thought this was gonna be a fun Like 90 00:03:46,880 --> 00:03:49,360 Speaker 2: now I'm thinking about what it would take to murder 91 00:03:49,360 --> 00:03:50,360 Speaker 2: a significant other. 92 00:03:51,200 --> 00:03:54,000 Speaker 1: Come on, Like, would you okay, if you saw me 93 00:03:54,040 --> 00:03:56,000 Speaker 1: and I was a zombie and you're like you were 94 00:03:56,080 --> 00:03:58,760 Speaker 1: driving by me, would you just run over me to 95 00:03:58,880 --> 00:03:59,560 Speaker 1: end my misery? 96 00:03:59,640 --> 00:04:00,560 Speaker 2: Would you too? 97 00:04:00,680 --> 00:04:01,840 Speaker 1: I would hope you would. 98 00:04:01,960 --> 00:04:04,760 Speaker 2: Then sure, I'll squish your body so hard to get 99 00:04:04,800 --> 00:04:05,920 Speaker 2: some building with my truck. 100 00:04:06,240 --> 00:04:08,840 Speaker 1: You could do that. Well, yeah, you would do that. 101 00:04:08,760 --> 00:04:10,560 Speaker 2: And put you out a misery if that's what you wanted. 102 00:04:10,840 --> 00:04:15,080 Speaker 1: I appreciate that. Yeah, all right, all right, anyway, Jesus 103 00:04:15,880 --> 00:04:20,600 Speaker 1: speaking of I don't know what, there's no segue speaking 104 00:04:20,600 --> 00:04:24,680 Speaker 1: of kindness, of ending friends misery. One of the kindest 105 00:04:24,720 --> 00:04:27,839 Speaker 1: people I think in the community. And I mean, it 106 00:04:27,960 --> 00:04:31,160 Speaker 1: was just amazing to talk to this wonderful, wonderful hearted 107 00:04:31,240 --> 00:04:31,760 Speaker 1: human being. 108 00:04:31,920 --> 00:04:37,520 Speaker 2: Yeah, Jeff Swart. Swart, Yeah, he is a racing driver, 109 00:04:38,000 --> 00:04:42,840 Speaker 2: he's a director, he's an artiste, photographer, videographer, you name it. 110 00:04:42,920 --> 00:04:46,360 Speaker 1: I mean he was just dropping words of wisdom, all right, 111 00:04:46,560 --> 00:04:50,640 Speaker 1: just his philosophy of people being passionate about what they do. 112 00:04:51,120 --> 00:04:53,560 Speaker 1: That's the beginning and that's the end, you know. So 113 00:04:53,800 --> 00:04:56,720 Speaker 1: it's just a privilege and honor to sit down with them. Yeah, 114 00:04:57,000 --> 00:04:58,880 Speaker 1: be able to just listen to his words. 115 00:04:58,920 --> 00:05:01,719 Speaker 2: So yeah, without further ado, Jeff Swart. 116 00:05:05,720 --> 00:05:08,400 Speaker 1: Now for the listeners that aren't familiar with your career, 117 00:05:08,760 --> 00:05:13,000 Speaker 1: you started in print and then you went into commercial directing, 118 00:05:13,360 --> 00:05:16,479 Speaker 1: and then you went into narrative film directing. So how 119 00:05:16,480 --> 00:05:19,640 Speaker 1: did you get your start in print photography? 120 00:05:20,000 --> 00:05:25,200 Speaker 3: My fourth grade field trip in Delaware we lived in Wilmington, Delaware. 121 00:05:25,480 --> 00:05:27,960 Speaker 3: A fourth grade field trip. My parents gave me an 122 00:05:28,000 --> 00:05:31,760 Speaker 3: instematic camera to actually go take pictures on it. So 123 00:05:31,960 --> 00:05:34,680 Speaker 3: they did that. But funny enough, you know, as you 124 00:05:34,720 --> 00:05:37,120 Speaker 3: grow up, when you stop wanting to be a fireman 125 00:05:37,440 --> 00:05:39,600 Speaker 3: or an astronaut, you know, or at that he's kind 126 00:05:39,600 --> 00:05:42,479 Speaker 3: of all these kind of typical things. My goal was 127 00:05:42,520 --> 00:05:46,240 Speaker 3: to be a veterinarian. I loved animals. I loved that 128 00:05:46,320 --> 00:05:49,600 Speaker 3: whole process, and I always had a dog when I 129 00:05:49,720 --> 00:05:54,279 Speaker 3: was born. My dad, he was a sharpshooter in the Navy. 130 00:05:54,760 --> 00:05:57,320 Speaker 3: When I was born and came home, he took his 131 00:05:57,520 --> 00:06:00,400 Speaker 3: rifle down the street and traded it for a dog. 132 00:06:01,520 --> 00:06:04,320 Speaker 3: Every boy, he and his mind needed to have a dog. 133 00:06:04,960 --> 00:06:07,480 Speaker 3: And so I from that point on, we've always had 134 00:06:07,520 --> 00:06:10,719 Speaker 3: a dog. But so dogs and animals and everything were 135 00:06:10,800 --> 00:06:14,240 Speaker 3: so part of my life and so naturally the veterinary 136 00:06:14,520 --> 00:06:15,640 Speaker 3: part was very interesting. 137 00:06:15,760 --> 00:06:17,440 Speaker 1: Oh wait, wait, wait, why did your dad feel that 138 00:06:17,600 --> 00:06:18,599 Speaker 1: every boy needed a dog? 139 00:06:18,760 --> 00:06:20,359 Speaker 2: And they say dogs are man's best friends. 140 00:06:20,400 --> 00:06:24,279 Speaker 3: Yeah, and that's also it's kind of it's just nice 141 00:06:24,400 --> 00:06:30,560 Speaker 3: to have a non communicating relationship with something where you're 142 00:06:30,600 --> 00:06:33,800 Speaker 3: not a verbal communicator with it so much you just 143 00:06:34,040 --> 00:06:38,400 Speaker 3: sense this wonderful animal is here for you, and I'm 144 00:06:38,480 --> 00:06:42,159 Speaker 3: here for this wonderful animal. And we don't sit down 145 00:06:42,200 --> 00:06:45,800 Speaker 3: and have long talks about things or share, but there's 146 00:06:45,880 --> 00:06:51,880 Speaker 3: a communication and a relationship that develops that is just pure. 147 00:06:52,640 --> 00:06:55,320 Speaker 3: It's like, you know right now, you know, we live 148 00:06:55,320 --> 00:06:58,839 Speaker 3: in Colorado, and it's just wonderful to just watch the 149 00:06:58,880 --> 00:07:01,560 Speaker 3: dogs go out and be dog every day, no fences, 150 00:07:01,800 --> 00:07:04,479 Speaker 3: no anything, and you just sit there and you kind 151 00:07:04,480 --> 00:07:07,039 Speaker 3: of look at that dog and go, what's going through 152 00:07:07,680 --> 00:07:10,440 Speaker 3: his mind or her mind or whatever. I just I 153 00:07:10,440 --> 00:07:12,880 Speaker 3: don't know, I really like that. So the veterinary side 154 00:07:12,960 --> 00:07:16,400 Speaker 3: was really kind of to help dogs, you know, that's 155 00:07:16,440 --> 00:07:18,400 Speaker 3: a whole other level and to be able to do that, 156 00:07:18,440 --> 00:07:21,640 Speaker 3: and I love the fact that, again, the dog doesn't 157 00:07:21,680 --> 00:07:24,080 Speaker 3: come in and tell you what its problems are. You know, 158 00:07:24,160 --> 00:07:26,760 Speaker 3: you need to look at it, you need to spend 159 00:07:26,800 --> 00:07:29,960 Speaker 3: time with it. And even in the days of when 160 00:07:30,000 --> 00:07:33,520 Speaker 3: I was involved in veterinary medicine, it was you know, 161 00:07:33,560 --> 00:07:36,360 Speaker 3: there weren't even a lot of testing, and there weren't MRIs, 162 00:07:36,400 --> 00:07:38,200 Speaker 3: and there weren't all the things that we do for 163 00:07:38,320 --> 00:07:41,200 Speaker 3: our dogs now. It was really more of just like 164 00:07:41,320 --> 00:07:44,960 Speaker 3: looking and listening to the owners and you know, feeling 165 00:07:45,000 --> 00:07:47,360 Speaker 3: things on the dog and just seeing where are the problems, 166 00:07:47,400 --> 00:07:49,840 Speaker 3: what can we do? And it kind of really very 167 00:07:49,880 --> 00:07:53,160 Speaker 3: spiritual to kind of get in the head and the 168 00:07:53,160 --> 00:07:55,440 Speaker 3: body of the dog to decide what to do with it. 169 00:07:55,480 --> 00:07:59,600 Speaker 3: But anyway, my plan was to go to veterinary school 170 00:08:00,160 --> 00:08:01,680 Speaker 3: in the United States, but then all of a sudden 171 00:08:01,680 --> 00:08:03,600 Speaker 3: it looked like, oh, maybe it would be a little 172 00:08:03,640 --> 00:08:05,960 Speaker 3: easier to get in the ventory school in Europe. So 173 00:08:06,640 --> 00:08:09,760 Speaker 3: I went to Germany. Got oh that's a huge Yes, 174 00:08:09,960 --> 00:08:12,760 Speaker 3: yeah it was. It was a bit. It was a 175 00:08:12,760 --> 00:08:13,240 Speaker 3: big deal. 176 00:08:13,360 --> 00:08:14,560 Speaker 2: This was your hold. 177 00:08:15,200 --> 00:08:16,920 Speaker 3: It would have been nineteen years. 178 00:08:17,000 --> 00:08:18,680 Speaker 2: It's just like it's going to be easier to go 179 00:08:18,760 --> 00:08:20,640 Speaker 2: to vet school or become a veterinarian. 180 00:08:20,720 --> 00:08:24,320 Speaker 3: For the It's very hard in California at that time 181 00:08:24,520 --> 00:08:28,000 Speaker 3: one vetinary school you see David ninety spaces. I think 182 00:08:28,120 --> 00:08:30,600 Speaker 3: it was easier for me to be a doctor than 183 00:08:30,600 --> 00:08:32,920 Speaker 3: it would have been to a ventnor. It was very, 184 00:08:33,040 --> 00:08:37,120 Speaker 3: very hard. It was hard and so but there there 185 00:08:37,120 --> 00:08:41,120 Speaker 3: were nineteen foreign student positions. So I thought, well, I'm 186 00:08:41,120 --> 00:08:43,200 Speaker 3: going to do do that. I flew to Frankfurt, took 187 00:08:43,200 --> 00:08:46,280 Speaker 3: a train to Munich, got off the train in Munich, 188 00:08:46,840 --> 00:08:49,400 Speaker 3: I stayed in the youth hostel, and I went around 189 00:08:50,040 --> 00:08:53,080 Speaker 3: Munich going to all the veterinarians showing up and they're saying, 190 00:08:53,120 --> 00:08:56,440 Speaker 3: do you need an assistant? Because I decided that for 191 00:08:56,480 --> 00:08:59,280 Speaker 3: the first year I needed to go there learn the language. 192 00:09:00,080 --> 00:09:02,440 Speaker 3: Really could and the only thing I really knew how 193 00:09:02,480 --> 00:09:05,160 Speaker 3: to do was to be a veterinary assistant because that's 194 00:09:05,160 --> 00:09:08,400 Speaker 3: what I done in the US. Ultimately, somebody knew another 195 00:09:08,480 --> 00:09:11,280 Speaker 3: veterinarian that needed help, and it was a large animal vetinary, 196 00:09:11,320 --> 00:09:14,520 Speaker 3: and I started working for a large, large animal veterinarian 197 00:09:14,640 --> 00:09:18,760 Speaker 3: outside of Munich. But the thing that simultaneously kind of 198 00:09:18,760 --> 00:09:21,840 Speaker 3: happened once I got settled into that was, as you 199 00:09:21,920 --> 00:09:25,920 Speaker 3: can in Europe. On Friday nights, I would get on 200 00:09:26,000 --> 00:09:30,679 Speaker 3: a train and take the train to somewhere else in 201 00:09:30,720 --> 00:09:33,800 Speaker 3: Europe and go to a race because I loved racing, 202 00:09:33,840 --> 00:09:35,760 Speaker 3: and here I was in Europe to get to see 203 00:09:35,880 --> 00:09:39,360 Speaker 3: racing from Formula one, sports car racing to whatever. And 204 00:09:39,480 --> 00:09:42,240 Speaker 3: so I would spend Saturday and Sunday at the races 205 00:09:42,280 --> 00:09:45,320 Speaker 3: and figure out ways to sit, sneak into the pits, 206 00:09:45,360 --> 00:09:47,280 Speaker 3: and do all those kind of things that you could 207 00:09:47,280 --> 00:09:47,760 Speaker 3: do then. 208 00:09:47,679 --> 00:09:51,120 Speaker 2: And during that era. To be able to go to 209 00:09:51,240 --> 00:09:54,680 Speaker 2: races in Europe. Ivote, God, what a what a time 210 00:09:54,679 --> 00:09:55,240 Speaker 2: to be alive? 211 00:09:55,400 --> 00:09:58,160 Speaker 3: Oh it was, And it was Nikki Lauda and James 212 00:09:58,280 --> 00:10:00,760 Speaker 3: Hunt and you know, all those kind great things, which 213 00:10:00,800 --> 00:10:03,240 Speaker 3: I'll tell you a little funny moment relative to that. 214 00:10:03,360 --> 00:10:07,040 Speaker 3: But I was literally, you know, with my little camera 215 00:10:07,120 --> 00:10:09,360 Speaker 3: that I had kind of evolved from that instematic and 216 00:10:09,440 --> 00:10:11,920 Speaker 3: fourth grade. I had a camera with me and would 217 00:10:11,960 --> 00:10:14,800 Speaker 3: photograph the races and be right there in the middle 218 00:10:14,800 --> 00:10:18,360 Speaker 3: of things. And I just came to this realization that, 219 00:10:18,920 --> 00:10:22,160 Speaker 3: you know, this is where I really wanted to be. 220 00:10:22,400 --> 00:10:25,040 Speaker 3: I was allowed to be around cars, the people that 221 00:10:25,080 --> 00:10:28,680 Speaker 3: were closest to the action were the photographers. So I 222 00:10:28,760 --> 00:10:32,920 Speaker 3: wrote my parents a letter from Europe after being there 223 00:10:32,960 --> 00:10:36,280 Speaker 3: for about nine ten months, and I said, you know, 224 00:10:36,600 --> 00:10:38,600 Speaker 3: I don't think I want to be a Venteroran anymore. 225 00:10:39,360 --> 00:10:42,840 Speaker 3: I want to be a photographer. And you know, you 226 00:10:42,880 --> 00:10:45,560 Speaker 3: have to wait for that to come back now. So 227 00:10:45,600 --> 00:10:47,720 Speaker 3: then the letter comes back, and I opened the letter 228 00:10:47,720 --> 00:10:49,640 Speaker 3: and said, well, you know, that's going to be a 229 00:10:49,720 --> 00:10:53,479 Speaker 3: really difficult life because my parents knew nothing about photography. 230 00:10:53,520 --> 00:10:56,360 Speaker 3: You know, as a career, I really didn't know anything 231 00:10:56,360 --> 00:10:59,640 Speaker 3: about photography. But they just said, we'll support you. But 232 00:10:59,800 --> 00:11:01,800 Speaker 3: you know, if you're a veterinarian, you've got it kind 233 00:11:01,800 --> 00:11:03,920 Speaker 3: of made. You know, you will be a doctor and 234 00:11:03,960 --> 00:11:06,479 Speaker 3: all that stuff. But if you want to be a photographer, 235 00:11:07,160 --> 00:11:08,800 Speaker 3: you need to come back to the United States and 236 00:11:08,800 --> 00:11:10,079 Speaker 3: you need to figure out where you're going to go 237 00:11:10,120 --> 00:11:12,640 Speaker 3: to school, because we can't help you in that. And 238 00:11:12,720 --> 00:11:16,360 Speaker 3: so that was my life change. And it was not 239 00:11:16,559 --> 00:11:20,800 Speaker 3: because I love photography, but because photography was the way 240 00:11:20,840 --> 00:11:24,240 Speaker 3: to be around cars. So that was really it. And 241 00:11:24,280 --> 00:11:27,720 Speaker 3: as it turned out, you know, I did eventually really 242 00:11:27,720 --> 00:11:30,920 Speaker 3: love photography. I did all that. I just in my 243 00:11:31,080 --> 00:11:34,120 Speaker 3: head the driving force was this is my way to 244 00:11:34,120 --> 00:11:34,920 Speaker 3: be around cars. 245 00:11:35,160 --> 00:11:37,880 Speaker 1: You know, you think because you love cars and racing, 246 00:11:38,600 --> 00:11:42,400 Speaker 1: you were able to capture in your photography the cars 247 00:11:42,480 --> 00:11:45,360 Speaker 1: in a unique way compared to other photographers that would 248 00:11:45,400 --> 00:11:46,520 Speaker 1: just take a picture of a car. 249 00:11:47,559 --> 00:11:51,080 Speaker 3: That was really true and it still works to this day. 250 00:11:51,280 --> 00:11:54,800 Speaker 3: I mean, there's so many subjects that relate to what 251 00:11:54,840 --> 00:11:57,960 Speaker 3: you just said, is that. You know, it was the speed, 252 00:11:58,280 --> 00:12:00,560 Speaker 3: it was the motion, it was the thing like that 253 00:12:00,760 --> 00:12:03,600 Speaker 3: to it that I was so attracted to. I was 254 00:12:03,720 --> 00:12:07,880 Speaker 3: less interested in just freezing the car. I wanted the 255 00:12:07,920 --> 00:12:12,480 Speaker 3: motion and things. And my highest aspiration was someday shoot 256 00:12:12,559 --> 00:12:14,719 Speaker 3: something for Road and Track magazine because that's what I'd 257 00:12:14,720 --> 00:12:17,760 Speaker 3: grown up with my family, was this magazine that came 258 00:12:17,800 --> 00:12:20,599 Speaker 3: every month. Well, of course, when I got out of 259 00:12:20,679 --> 00:12:23,200 Speaker 3: Art Center, I thought, you know, if I could just 260 00:12:23,240 --> 00:12:26,320 Speaker 3: do something. So the offices for Road and Track were 261 00:12:26,320 --> 00:12:29,360 Speaker 3: in Newport Beach and I went down to those offices 262 00:12:29,480 --> 00:12:33,440 Speaker 3: and my first assignment was a cover with them, So 263 00:12:33,520 --> 00:12:37,000 Speaker 3: it just it took off from there. But also I 264 00:12:37,160 --> 00:12:41,640 Speaker 3: started covering Formula one for Road and Track magazine, and 265 00:12:41,679 --> 00:12:43,760 Speaker 3: I'd go to the Brazilian Grand Prix and shoot the 266 00:12:43,840 --> 00:12:46,800 Speaker 3: Formula one spotters, guide and do all these things, but 267 00:12:46,880 --> 00:12:51,080 Speaker 3: it was always about motion and action and blurred backgrounds 268 00:12:51,120 --> 00:12:55,640 Speaker 3: and kind of creating it maybe more artful and funny enough. 269 00:12:55,679 --> 00:12:58,320 Speaker 3: I mean, who would have ever thought that somebody was 270 00:12:58,400 --> 00:13:02,520 Speaker 3: reading Road and Track magazine and they're at a company 271 00:13:02,559 --> 00:13:06,280 Speaker 3: that builds fighter planes and they call me up and say, 272 00:13:06,760 --> 00:13:08,560 Speaker 3: could you come up to our offices for a meeting? 273 00:13:08,679 --> 00:13:10,520 Speaker 3: And I come up there and they have all my 274 00:13:10,640 --> 00:13:13,960 Speaker 3: Formula one work from Road and Track magazine. They're saying, 275 00:13:14,240 --> 00:13:17,720 Speaker 3: we would like you to shoot our fighter planes like 276 00:13:17,800 --> 00:13:20,840 Speaker 3: you shoot Formula one, And I'm like, how do I 277 00:13:21,080 --> 00:13:24,960 Speaker 3: get in this situation? Ultimately it led to me being 278 00:13:25,880 --> 00:13:30,280 Speaker 3: Martin Baker ejection seat certified, went through all the training 279 00:13:30,480 --> 00:13:32,680 Speaker 3: that you do basically to be a pilot, and I 280 00:13:32,760 --> 00:13:35,360 Speaker 3: flew back seat with this little card I carried with 281 00:13:35,400 --> 00:13:39,320 Speaker 3: me in F eighteen's and almost everything that way, and 282 00:13:39,640 --> 00:13:43,440 Speaker 3: photographed fighter planes the way I did F one And 283 00:13:43,520 --> 00:13:45,959 Speaker 3: it was just kind of a magical moment. But it 284 00:13:46,080 --> 00:13:48,880 Speaker 3: came from Road and Track, came from shooting the Formula 285 00:13:48,880 --> 00:13:49,760 Speaker 3: one cars. 286 00:13:49,600 --> 00:13:54,000 Speaker 1: So came from something that you were passionate. Yeah, yeah, absolutely, 287 00:13:54,120 --> 00:13:55,000 Speaker 1: what a great lesson. 288 00:13:55,200 --> 00:13:58,160 Speaker 2: Absolutely can you look back in your life and see 289 00:13:58,880 --> 00:13:59,840 Speaker 2: everything connect. 290 00:14:01,760 --> 00:14:06,280 Speaker 3: The amount of full circle moments, it still to this 291 00:14:06,400 --> 00:14:10,560 Speaker 3: day gives me chills just around motorsport or whatever. You know. 292 00:14:11,080 --> 00:14:14,720 Speaker 3: I get a call through my office that Ron Howard 293 00:14:14,800 --> 00:14:18,080 Speaker 3: wants to have a meeting about a movie he's working on, 294 00:14:18,520 --> 00:14:22,200 Speaker 3: and it was the movie Rush, and he said, can 295 00:14:22,200 --> 00:14:24,560 Speaker 3: we meet for breakfast? I really like the way you 296 00:14:24,640 --> 00:14:29,720 Speaker 3: approach shooting cars and action and everything. He said, could 297 00:14:29,800 --> 00:14:32,040 Speaker 3: we just have a breakfast one day? And so I 298 00:14:32,080 --> 00:14:35,000 Speaker 3: go down and I'm sitting there and I didn't know 299 00:14:35,040 --> 00:14:38,520 Speaker 3: what he was working on, but I'm sitting there with 300 00:14:38,600 --> 00:14:44,520 Speaker 3: Ron Howard and then to get his perspective that says, 301 00:14:46,080 --> 00:14:49,520 Speaker 3: this is about James Hunt and Nikki Lauda, and I 302 00:14:49,560 --> 00:14:52,800 Speaker 3: go back to I'm a veterinary working for veterinarian in 303 00:14:52,840 --> 00:14:56,360 Speaker 3: Europe in the pits at Dutch Grand Prix and song 304 00:14:56,480 --> 00:15:00,000 Speaker 3: for it shooting Nikki l Loud and James Hung. 305 00:15:00,920 --> 00:15:04,600 Speaker 1: It's like, wow, well, you know, Ron Howard is a 306 00:15:04,960 --> 00:15:06,560 Speaker 1: is a real special human being. 307 00:15:06,600 --> 00:15:11,800 Speaker 3: Huh. Yeah. I loved his diligence in studying it. You know. 308 00:15:12,000 --> 00:15:14,520 Speaker 1: Yeah, I did this table read for a film that 309 00:15:14,640 --> 00:15:18,160 Speaker 1: he was going to potentially do and we never did it. 310 00:15:18,280 --> 00:15:22,920 Speaker 1: And it put things into perspective, like meeting him the first. 311 00:15:23,000 --> 00:15:25,080 Speaker 1: You know, I grew up watching him on Happy Days 312 00:15:25,160 --> 00:15:29,280 Speaker 1: and Andy Griffith Show, right, and Andy griff The show 313 00:15:29,360 --> 00:15:31,240 Speaker 1: is a black and white TV show. 314 00:15:38,680 --> 00:15:38,880 Speaker 2: Room. 315 00:15:45,280 --> 00:15:48,400 Speaker 4: It's great TV. But rn Over was like a little boy. 316 00:15:49,120 --> 00:15:51,440 Speaker 4: He's really the little boy of the local sheriff, right. 317 00:15:51,560 --> 00:15:58,480 Speaker 4: And anyway, so we're in his production office in Beverly 318 00:15:58,560 --> 00:16:01,640 Speaker 4: Hills and and then I went to the bat. I 319 00:16:01,680 --> 00:16:03,120 Speaker 4: was like, hey, can I use your bathroom? And he 320 00:16:03,120 --> 00:16:04,640 Speaker 4: had a bathroom in his office. He goes, hey, you 321 00:16:04,680 --> 00:16:07,800 Speaker 4: can use that one, and I'm using his toilet. 322 00:16:08,000 --> 00:16:11,520 Speaker 1: There was an oscar on the toilet and I was like, 323 00:16:11,920 --> 00:16:14,600 Speaker 1: I guess this is what he thinks of what these 324 00:16:14,640 --> 00:16:16,680 Speaker 1: actually are. I mean, at the end of the day, 325 00:16:16,720 --> 00:16:20,160 Speaker 1: it's really the experience, really, you know that he values. 326 00:16:20,200 --> 00:16:22,840 Speaker 1: It's like at the end, it's just a statue, right, 327 00:16:23,040 --> 00:16:26,160 Speaker 1: And it was like one of those like full circle 328 00:16:26,280 --> 00:16:28,560 Speaker 1: moments to be able to work with this icon. 329 00:16:28,880 --> 00:16:33,000 Speaker 3: Yeah, yeah, no it is. And I think he really 330 00:16:33,040 --> 00:16:36,520 Speaker 3: need to appreciate those moments too, And it really puts 331 00:16:36,520 --> 00:16:40,800 Speaker 3: things in perspective. Even for like fun I shot the 332 00:16:40,840 --> 00:16:44,040 Speaker 3: first I think I shot four seasons of GT Academy, 333 00:16:44,400 --> 00:16:50,120 Speaker 3: the real, real GT Academy. Yeah, so you know, so 334 00:16:50,240 --> 00:16:52,760 Speaker 3: here we are, you know, a million I think about that, 335 00:16:52,840 --> 00:16:55,320 Speaker 3: you know, then the movie comes along. But you know, 336 00:16:55,400 --> 00:17:01,000 Speaker 3: it's like I was living four years with a group 337 00:17:01,040 --> 00:17:05,160 Speaker 3: of kids that basically had qualified by gaming, and then 338 00:17:05,200 --> 00:17:08,280 Speaker 3: we'd put them literally on day one in a GTR 339 00:17:08,920 --> 00:17:14,840 Speaker 3: you know, on Silverstone, and it was to watch the 340 00:17:15,600 --> 00:17:21,520 Speaker 3: mental load, the physical load, the the racecraft developed, all 341 00:17:21,560 --> 00:17:24,080 Speaker 3: these things that would have to kind of all come 342 00:17:24,119 --> 00:17:27,800 Speaker 3: together to succeed in that. It was a fascinating process. 343 00:17:27,840 --> 00:17:30,639 Speaker 3: And then here you are coming off the movie. It 344 00:17:30,680 --> 00:17:34,399 Speaker 3: was just again a really fun, you know, circle moment 345 00:17:34,480 --> 00:17:38,000 Speaker 3: of watching that evolve into something that was bigger than 346 00:17:38,000 --> 00:17:39,680 Speaker 3: we ever imagined in the beginning. 347 00:17:40,160 --> 00:17:42,879 Speaker 1: What were some of the characteristics that stood out of 348 00:17:42,920 --> 00:17:47,320 Speaker 1: the individuals that excelled you know, I mean that's a 349 00:17:47,400 --> 00:17:48,680 Speaker 1: question through life, Yeah. 350 00:17:49,800 --> 00:17:51,840 Speaker 3: It really is. It was. It was kind of hard 351 00:17:51,840 --> 00:17:56,119 Speaker 3: to watch sometimes because people were so serious there the 352 00:17:56,160 --> 00:18:00,679 Speaker 3: competitors that were so serious and tried so hard, and 353 00:18:01,240 --> 00:18:05,160 Speaker 3: you know, it wasn't you know, racing is so much 354 00:18:05,200 --> 00:18:08,159 Speaker 3: a part of economics in a lot of ways today 355 00:18:08,240 --> 00:18:11,560 Speaker 3: is racing, and there was no economics in there. You 356 00:18:11,600 --> 00:18:15,840 Speaker 3: know you qualified or you didn't. It wasn't you know, 357 00:18:15,880 --> 00:18:19,600 Speaker 3: how you were bankrolled or anything. So for them to 358 00:18:19,800 --> 00:18:24,320 Speaker 3: arrive there, it was really kind of multiple great human 359 00:18:24,400 --> 00:18:29,360 Speaker 3: interest stories of guys that are just living, breathing. Everything 360 00:18:29,400 --> 00:18:33,719 Speaker 3: about it was, you know, basically in the hands of 361 00:18:33,760 --> 00:18:38,240 Speaker 3: this one week long event, and the problem in the 362 00:18:39,080 --> 00:18:41,960 Speaker 3: not the problem because the game prepared them so well, 363 00:18:42,000 --> 00:18:45,920 Speaker 3: but there was no consequence in the game for them 364 00:18:45,920 --> 00:18:50,479 Speaker 3: to get there. And I couldn't believe how fast the 365 00:18:50,520 --> 00:18:54,840 Speaker 3: competitors would ramp up. They would go quick right away 366 00:18:55,800 --> 00:18:59,720 Speaker 3: because they'd race with no consequence to get there. And 367 00:19:00,720 --> 00:19:03,360 Speaker 3: then the other side of it, too, was is that 368 00:19:03,400 --> 00:19:08,160 Speaker 3: they would they would be able to manage the cars 369 00:19:08,800 --> 00:19:11,679 Speaker 3: so often because some of this part of this. I 370 00:19:11,680 --> 00:19:14,200 Speaker 3: would ride with them sometimes in film and do thing 371 00:19:14,720 --> 00:19:17,760 Speaker 3: and you just, you know, knowing what I knew, their 372 00:19:17,800 --> 00:19:20,120 Speaker 3: car control was so good, and a lot of times 373 00:19:20,200 --> 00:19:22,560 Speaker 3: it would come back to saying, well, I have so 374 00:19:22,880 --> 00:19:27,000 Speaker 3: little physical feedback in the game, but now that I'm 375 00:19:27,000 --> 00:19:33,040 Speaker 3: in a car, that extra feedback I have actually really helps, 376 00:19:33,160 --> 00:19:36,280 Speaker 3: you know, I really understand it. It's it's obviously something 377 00:19:36,320 --> 00:19:39,280 Speaker 3: you have to adapt to, but the ability to kind 378 00:19:39,280 --> 00:19:41,760 Speaker 3: of ramp up and go quickly right away was always 379 00:19:41,760 --> 00:19:45,360 Speaker 3: surprising to me because I remember in some of the beginnings, 380 00:19:45,359 --> 00:19:47,000 Speaker 3: you know, some of these guys had never even driven 381 00:19:47,000 --> 00:19:49,960 Speaker 3: a manual transmission. You know, they qualified in the game, 382 00:19:50,000 --> 00:19:52,280 Speaker 3: but they never had driven a manual transmission, and the 383 00:19:52,320 --> 00:19:55,680 Speaker 3: things that they'd have to deal with was really fascinating. 384 00:19:55,720 --> 00:19:59,920 Speaker 3: And and it was interesting because it became more entertainment 385 00:20:01,080 --> 00:20:03,760 Speaker 3: in this as we went through the seasons, rather than 386 00:20:03,920 --> 00:20:08,359 Speaker 3: pure racecraft and everything that you needed to do to 387 00:20:08,400 --> 00:20:10,879 Speaker 3: be a racing driver. It needed to be a little 388 00:20:10,880 --> 00:20:13,120 Speaker 3: more entertaining season after season, and I think that. 389 00:20:13,440 --> 00:20:14,480 Speaker 1: Like a reality show. 390 00:20:14,560 --> 00:20:19,080 Speaker 3: Yeah, yeah, and it became probably the results were less 391 00:20:19,200 --> 00:20:21,479 Speaker 3: pure to what it took to be a racer. 392 00:20:36,680 --> 00:20:38,880 Speaker 1: I mean, when you bought that nine fourteen six, it 393 00:20:38,960 --> 00:20:42,760 Speaker 1: was the affordable Porsche. Yeah, but today that's not a fortune. 394 00:20:42,800 --> 00:20:48,920 Speaker 3: No, I is really, but yeah, it was my cheapest 395 00:20:48,960 --> 00:20:51,200 Speaker 3: way to get into a six cylinder porschew How much 396 00:20:51,320 --> 00:20:54,280 Speaker 3: was that when you bought it? I think thirty eight 397 00:20:54,640 --> 00:20:56,720 Speaker 3: dollars or something like that. 398 00:20:57,040 --> 00:20:57,800 Speaker 1: Oh my god. 399 00:20:57,640 --> 00:21:00,199 Speaker 3: The story, you know, we can get into it. The 400 00:21:00,280 --> 00:21:03,719 Speaker 3: story of getting that car is kind of very defining 401 00:21:03,920 --> 00:21:08,199 Speaker 3: for my whole kind of world. So I had a 402 00:21:08,240 --> 00:21:12,480 Speaker 3: paper out, like at thirteen years old, and so my 403 00:21:12,720 --> 00:21:17,080 Speaker 3: dad my parents. My dad was a mechanical engineer who 404 00:21:17,119 --> 00:21:21,240 Speaker 3: specialized in plastics, and my mom was a school teacher. 405 00:21:21,920 --> 00:21:24,800 Speaker 3: So it's kind of the environment. I was the only child, 406 00:21:24,960 --> 00:21:29,080 Speaker 3: and so I kind of just you know, grew up 407 00:21:29,119 --> 00:21:31,560 Speaker 3: in that kind of environment. But I had a paper out, 408 00:21:32,080 --> 00:21:34,840 Speaker 3: and his deal was I had to invest half my 409 00:21:34,960 --> 00:21:38,359 Speaker 3: money in the stock market. Wow. And it was just 410 00:21:38,440 --> 00:21:40,679 Speaker 3: kind of like you know, in retrospect, I gets just 411 00:21:40,720 --> 00:21:43,080 Speaker 3: teaching you to be conscious of your money and not 412 00:21:43,240 --> 00:21:46,440 Speaker 3: just like you every month getting my little paycheck from 413 00:21:46,480 --> 00:21:50,320 Speaker 3: my paper out, I was spending it. So it also 414 00:21:50,520 --> 00:21:53,280 Speaker 3: allowed you to kind of research and what would I 415 00:21:53,359 --> 00:21:55,800 Speaker 3: be interested in investing in and things like that. And 416 00:21:55,840 --> 00:21:58,480 Speaker 3: then when I graduated my school, deal was I could 417 00:21:58,720 --> 00:22:04,040 Speaker 3: buy my first car. And my dad had a early 418 00:22:04,119 --> 00:22:06,720 Speaker 3: nine to eleven and which is kind of a fairly 419 00:22:06,760 --> 00:22:10,560 Speaker 3: well known story, but it was actually chassis number thirty five, 420 00:22:10,680 --> 00:22:13,320 Speaker 3: nine eleven. It was a nine oh one, So like 421 00:22:13,920 --> 00:22:18,000 Speaker 3: this would be a revered amazing car to own today. 422 00:22:18,520 --> 00:22:20,680 Speaker 3: It just for my dad happened to be the oldest, 423 00:22:20,760 --> 00:22:23,160 Speaker 3: most affordable nine to eleven. He could buy at the time, 424 00:22:23,240 --> 00:22:26,520 Speaker 3: which was also a used car at the time when 425 00:22:26,560 --> 00:22:30,480 Speaker 3: he bought it, And so I love the sound of 426 00:22:30,480 --> 00:22:34,879 Speaker 3: a six cylinder motor and a nine to eleven. I 427 00:22:34,920 --> 00:22:37,720 Speaker 3: couldn't get a very new nine to eleven at the 428 00:22:37,760 --> 00:22:39,960 Speaker 3: time for the same amount of money, but I could 429 00:22:40,000 --> 00:22:43,760 Speaker 3: get an almost brand new nine fourteen six, and so 430 00:22:44,400 --> 00:22:46,919 Speaker 3: that's what I bought. So I bought a nine fourteen 431 00:22:47,040 --> 00:22:49,400 Speaker 3: six and I still have it to this day. It's 432 00:22:49,440 --> 00:22:54,359 Speaker 3: on display at the Peterson Museum. But the cool things too, 433 00:22:54,520 --> 00:22:58,359 Speaker 3: is that that car. You know, who would have ever 434 00:22:58,600 --> 00:23:03,680 Speaker 3: thought that car kind of provided so many life experiences 435 00:23:03,720 --> 00:23:06,320 Speaker 3: along the way because I went off to college in it. 436 00:23:06,480 --> 00:23:09,600 Speaker 3: You know, people who went to Art Center College Design 437 00:23:09,680 --> 00:23:12,760 Speaker 3: where I went to college, they still remember, oh, you 438 00:23:12,840 --> 00:23:15,000 Speaker 3: drove that yellow nine fourteen six in those days. 439 00:23:15,000 --> 00:23:16,720 Speaker 1: The color of my nine fourteen is it? I have 440 00:23:16,760 --> 00:23:17,200 Speaker 1: a nine for it? 441 00:23:17,560 --> 00:23:20,440 Speaker 3: Yellow? Yeah? Oh really, yeah, well that was the color 442 00:23:20,480 --> 00:23:22,800 Speaker 3: and ex actually made me kind of you know, I 443 00:23:22,840 --> 00:23:26,520 Speaker 3: still really like yellow cars to this day. But but 444 00:23:26,560 --> 00:23:28,720 Speaker 3: the thing was is, you know, like if you look 445 00:23:28,760 --> 00:23:30,600 Speaker 3: at back to the life, it's kind of been the 446 00:23:30,640 --> 00:23:34,040 Speaker 3: common thread in so many ways. And you know, I 447 00:23:34,080 --> 00:23:36,879 Speaker 3: went to college in it. I met my wife in it. 448 00:23:37,000 --> 00:23:40,520 Speaker 3: You know, I was a skateboarder. I was a longboard skateboarder, 449 00:23:40,560 --> 00:23:42,639 Speaker 3: and so I would be up in the hills in 450 00:23:42,680 --> 00:23:46,440 Speaker 3: between classes in Pasadena and at Art Center and skateboarding, 451 00:23:46,480 --> 00:23:49,199 Speaker 3: and I met my wife. She was one of the 452 00:23:49,240 --> 00:23:52,560 Speaker 3: girls giving rides back up the mountain after we'd skate down. 453 00:23:52,640 --> 00:23:55,440 Speaker 3: And you know, I was driving the nine fourteen six then, 454 00:23:55,240 --> 00:23:58,840 Speaker 3: and then if you kind of go years later in 455 00:23:59,040 --> 00:24:03,560 Speaker 3: nineteen already been rallying and doing things in the us 456 00:24:03,640 --> 00:24:06,440 Speaker 3: POR Rally Championship and racing at Pike, speaking different things. 457 00:24:06,480 --> 00:24:09,720 Speaker 3: But I had the opportunity to do a long distance 458 00:24:09,800 --> 00:24:14,920 Speaker 3: event FI Marathon Rally, which was twenty five days, ten 459 00:24:15,000 --> 00:24:19,080 Speaker 3: thousand miles from Panama to Alaska, and trying to decide 460 00:24:19,080 --> 00:24:21,320 Speaker 3: what car to do that in and everything it was 461 00:24:21,320 --> 00:24:24,679 Speaker 3: such a big deal. Well, I decided to build my 462 00:24:24,800 --> 00:24:27,560 Speaker 3: nine fourteen six into that rally car that I could 463 00:24:27,600 --> 00:24:30,520 Speaker 3: do it because that particular event had to be nineteen 464 00:24:30,600 --> 00:24:33,960 Speaker 3: seventy three. In earlier cars, that car being in nineteen 465 00:24:34,040 --> 00:24:39,160 Speaker 3: seventy worked for that. But I entered that car in Panama. 466 00:24:39,280 --> 00:24:41,679 Speaker 3: But the cool thing is you had a service group 467 00:24:42,320 --> 00:24:44,080 Speaker 3: and there were two people in my service crew, a 468 00:24:44,800 --> 00:24:47,280 Speaker 3: guy who we had known from Vasik PULLUK in the 469 00:24:47,320 --> 00:24:50,840 Speaker 3: early days of working with Porsche with my dad of 470 00:24:51,160 --> 00:24:54,600 Speaker 3: having his car being serviced there. He was Spanish speaking 471 00:24:54,680 --> 00:24:57,000 Speaker 3: and English speaking, so it's perfect for an event that 472 00:24:57,080 --> 00:25:01,840 Speaker 3: went through Central America and my dad was in the 473 00:25:01,880 --> 00:25:06,160 Speaker 3: service vehicle. So can you imagine, like the guy who 474 00:25:06,240 --> 00:25:10,560 Speaker 3: made me invest money at thirteen years old with the 475 00:25:10,560 --> 00:25:12,960 Speaker 3: deal I could eventually spend the money when I graduated 476 00:25:12,960 --> 00:25:16,800 Speaker 3: from high school. Here he is following me for twenty 477 00:25:16,840 --> 00:25:20,800 Speaker 3: five days in the car that I had bought with 478 00:25:20,840 --> 00:25:24,239 Speaker 3: that money that I got to invest. It was just 479 00:25:24,320 --> 00:25:26,400 Speaker 3: like it was so cool. And my dad wasn't one 480 00:25:26,440 --> 00:25:28,639 Speaker 3: of those guys who had done a lot of things 481 00:25:28,680 --> 00:25:32,200 Speaker 3: worldly and had done it. He was passionate with cars, yes, 482 00:25:32,240 --> 00:25:34,720 Speaker 3: but he just hadn't done anything like that. He's immersed 483 00:25:34,720 --> 00:25:39,680 Speaker 3: in this full on international event chasing his kid driving 484 00:25:39,720 --> 00:25:43,280 Speaker 3: this car that he'd you know, motivated to invest in 485 00:25:43,320 --> 00:25:47,000 Speaker 3: the stock market, and we finished second overall and had 486 00:25:47,040 --> 00:25:50,280 Speaker 3: an amazing race and everything, and you know, it was 487 00:25:50,400 --> 00:25:53,680 Speaker 3: probably if my dad could share it now, it would 488 00:25:53,680 --> 00:25:56,439 Speaker 3: probably be one of his great moments in life of 489 00:25:56,480 --> 00:25:58,880 Speaker 3: doing that. And so you know, you just don't get 490 00:25:58,880 --> 00:26:02,080 Speaker 3: that opportunity very often, and it was really something special. 491 00:26:02,280 --> 00:26:05,000 Speaker 2: Wow, where do you think you get that drive from? 492 00:26:05,080 --> 00:26:08,720 Speaker 2: You say your father wasn't much of a worldly traveler? 493 00:26:08,800 --> 00:26:10,320 Speaker 2: Did you take that after your mom. 494 00:26:10,840 --> 00:26:13,600 Speaker 3: A little bit? I mean, you know, if you look 495 00:26:13,640 --> 00:26:16,639 Speaker 3: at the racing side of me and uh, you know, 496 00:26:16,720 --> 00:26:19,520 Speaker 3: racing at Pike's Peak, which is, you know, a fairly 497 00:26:19,600 --> 00:26:23,080 Speaker 3: daunting event, and it was some consequence, you know. I 498 00:26:23,119 --> 00:26:26,520 Speaker 3: remember growing up, my mom was the one that had 499 00:26:26,560 --> 00:26:28,760 Speaker 3: to go on the roof of the house to install 500 00:26:28,840 --> 00:26:34,120 Speaker 3: the antenna because my dad was afraid of being the roof, 501 00:26:34,600 --> 00:26:37,680 Speaker 3: you know, up high and heights and things. But I think, 502 00:26:38,080 --> 00:26:41,159 Speaker 3: you know, I think familiar to your point is like 503 00:26:41,800 --> 00:26:43,880 Speaker 3: it's also a little bit of an only child thing. 504 00:26:44,760 --> 00:26:47,919 Speaker 3: I went to a different school every year till I 505 00:26:48,000 --> 00:26:51,000 Speaker 3: was a junior in high school. It wasn't always because 506 00:26:51,000 --> 00:26:53,359 Speaker 3: we were changing houses and moving and things. But my 507 00:26:53,440 --> 00:26:56,080 Speaker 3: dad was in the plastics business, which was like an 508 00:26:56,080 --> 00:26:59,639 Speaker 3: emerging big business and so he was always getting offers 509 00:26:59,640 --> 00:27:02,800 Speaker 3: to do things elsewhere and things like that. But that 510 00:27:03,240 --> 00:27:08,480 Speaker 3: kind of having to do things for yourself and adapt 511 00:27:08,600 --> 00:27:14,320 Speaker 3: to environments and to be kind of very aware of 512 00:27:15,560 --> 00:27:17,760 Speaker 3: you're on your own and you got to do this, 513 00:27:17,920 --> 00:27:20,879 Speaker 3: and my parents were very supportive. It wasn't like I was, 514 00:27:21,359 --> 00:27:24,000 Speaker 3: you know, in my own in that way. But you know, 515 00:27:24,080 --> 00:27:26,280 Speaker 3: you as a kid, you know there's a generation you 516 00:27:26,359 --> 00:27:29,399 Speaker 3: want to be taking command of it. You know, you 517 00:27:29,480 --> 00:27:32,680 Speaker 3: didn't have a lot of friends because you weren't dropping 518 00:27:32,720 --> 00:27:35,879 Speaker 3: into you weren't living a life where you know, you 519 00:27:35,920 --> 00:27:38,359 Speaker 3: had lifetime friends and things like that. I was having 520 00:27:38,359 --> 00:27:39,680 Speaker 3: to constantly make new friends. 521 00:27:40,160 --> 00:27:44,439 Speaker 2: It's so fascinating to hear you say this because I 522 00:27:44,960 --> 00:27:46,919 Speaker 2: doesn't sound like I want to as many different schools 523 00:27:46,920 --> 00:27:50,240 Speaker 2: as you did. But in my high school years, I 524 00:27:50,280 --> 00:27:52,680 Speaker 2: went to a new high school every single year. And 525 00:27:52,960 --> 00:27:56,240 Speaker 2: the traits that you're talking about of like I fortunately 526 00:27:56,240 --> 00:27:58,560 Speaker 2: have the childhood friends who I'm still in touch with today, 527 00:27:58,560 --> 00:28:02,080 Speaker 2: but constantly having to meet new people, almost growing up 528 00:28:02,119 --> 00:28:05,679 Speaker 2: on your own terms in a way, and there's just 529 00:28:05,720 --> 00:28:08,320 Speaker 2: a certain element that at the time I didn't understand, 530 00:28:08,320 --> 00:28:11,720 Speaker 2: but looking back at it really gave me this grounding 531 00:28:11,760 --> 00:28:13,000 Speaker 2: that it sounds like we share. 532 00:28:13,359 --> 00:28:15,040 Speaker 3: And you know, I think also the other thing that 533 00:28:16,040 --> 00:28:18,120 Speaker 3: for me at least, and I mean, this is more 534 00:28:18,240 --> 00:28:21,560 Speaker 3: career oriented, but it really spawned a lot of creativity, 535 00:28:22,080 --> 00:28:25,560 Speaker 3: you know, because you had to. You know, we weren't 536 00:28:25,800 --> 00:28:30,560 Speaker 3: internet bound. We weren't you know, entertained naturally by technology. 537 00:28:31,160 --> 00:28:33,879 Speaker 3: You had to figure out ways to be entertained. And 538 00:28:34,200 --> 00:28:36,600 Speaker 3: you know, for that, since I didn't you know, I 539 00:28:36,640 --> 00:28:38,560 Speaker 3: came home from school, I wasn't really hanging with my 540 00:28:38,600 --> 00:28:40,520 Speaker 3: friends because I was new to the school, you know. 541 00:28:40,600 --> 00:28:44,760 Speaker 3: So I ended up being I think, more motivated to 542 00:28:44,800 --> 00:28:50,160 Speaker 3: be creative and be self self motivated to make something 543 00:28:50,760 --> 00:28:53,960 Speaker 3: on your own because you didn't have that reliance. And 544 00:28:54,240 --> 00:28:57,040 Speaker 3: in a lot of ways, you know, if you look 545 00:28:57,080 --> 00:29:02,239 Speaker 3: at going into ultimately photography and then directing, is that 546 00:29:02,560 --> 00:29:04,840 Speaker 3: it kind of comes back on you. You have to 547 00:29:04,880 --> 00:29:08,920 Speaker 3: own it. Yes, in filmmaking, we have an amazing support 548 00:29:09,000 --> 00:29:11,400 Speaker 3: system and all these departments that work for you, but 549 00:29:12,440 --> 00:29:16,160 Speaker 3: it still comes back to it's got to be your signature. 550 00:29:16,560 --> 00:29:19,479 Speaker 3: It's got to be your vision. Otherwise, you know, your 551 00:29:20,040 --> 00:29:23,720 Speaker 3: your shelf life in the business probably isn't that great. 552 00:29:23,760 --> 00:29:26,640 Speaker 3: And I do remember the first time when I started 553 00:29:26,720 --> 00:29:31,080 Speaker 3: visiting production companies that wanted me to direct, they told 554 00:29:31,120 --> 00:29:33,440 Speaker 3: me flat out, you know this is you know, you've 555 00:29:33,480 --> 00:29:35,960 Speaker 3: got about a seven year shelf life in this world 556 00:29:36,040 --> 00:29:39,920 Speaker 3: of advertising directing because you know, it's a very much 557 00:29:39,920 --> 00:29:42,920 Speaker 3: an on to the next the new guys, the new views, 558 00:29:43,000 --> 00:29:45,240 Speaker 3: things like that. But you know, I'm in my thirty 559 00:29:45,280 --> 00:29:49,280 Speaker 3: fifth year of doing that and it's still just as 560 00:29:49,320 --> 00:29:51,600 Speaker 3: fun and as exciting as it was in the beginning. 561 00:29:51,600 --> 00:29:52,960 Speaker 3: And I think that, like I told you at the 562 00:29:52,960 --> 00:29:55,680 Speaker 3: beginning of this, it's kind of like you know, like 563 00:29:55,680 --> 00:29:58,480 Speaker 3: I said, the good news is I've I've been doing 564 00:29:58,520 --> 00:30:00,920 Speaker 3: this for a long time. Bad news, I've been doing 565 00:30:00,920 --> 00:30:03,040 Speaker 3: it for a long time because I also want to 566 00:30:03,200 --> 00:30:06,480 Speaker 3: always have things evolve, always have things changed, because that's 567 00:30:06,480 --> 00:30:07,760 Speaker 3: what stimulates me the most. 568 00:30:07,800 --> 00:30:11,200 Speaker 1: Now that's really beautiful because a lot of folks, even myself, 569 00:30:11,240 --> 00:30:14,640 Speaker 1: I catch myself being stuck in the old ways, right 570 00:30:14,720 --> 00:30:17,040 Speaker 1: and then it kind of I'm just turning into the 571 00:30:17,080 --> 00:30:21,320 Speaker 1: old guy. I'm like these young it wasn't like that 572 00:30:21,320 --> 00:30:26,760 Speaker 1: when I was young worldwide, and I could take it 573 00:30:26,800 --> 00:30:29,960 Speaker 1: to another generation, you know. 574 00:30:30,640 --> 00:30:32,880 Speaker 3: And it's funny because you know, in the beginning of 575 00:30:32,920 --> 00:30:36,120 Speaker 3: your career, you kind of you just want to be 576 00:30:36,160 --> 00:30:39,160 Speaker 3: so focused and you want to just be you know, 577 00:30:40,240 --> 00:30:43,040 Speaker 3: no outside influences. This is me. This is who I'm 578 00:30:43,080 --> 00:30:46,280 Speaker 3: going to be, and you you have to kind of 579 00:30:46,440 --> 00:30:50,520 Speaker 3: hand it off to being Okay, who around me is 580 00:30:50,600 --> 00:30:52,600 Speaker 3: doing the cool stuff? You know? I got to start 581 00:30:52,640 --> 00:30:55,240 Speaker 3: being aware of that, And I think that that was 582 00:30:55,280 --> 00:30:57,080 Speaker 3: one of the keys. Is I kind of handed that 583 00:30:57,160 --> 00:31:00,920 Speaker 3: off earlier. Maybe I didn't hold on to just this 584 00:31:01,120 --> 00:31:02,800 Speaker 3: like I don't care what anybody else is doing. I'm 585 00:31:02,840 --> 00:31:06,360 Speaker 3: doing this. I really wanted to know what was going on. 586 00:31:06,440 --> 00:31:09,640 Speaker 3: And it's almost like, you know, in the creative process, 587 00:31:09,840 --> 00:31:12,320 Speaker 3: almost like a flip book, like you want to go 588 00:31:12,440 --> 00:31:16,000 Speaker 3: through a whole bunch of images really quickly and take 589 00:31:16,040 --> 00:31:20,520 Speaker 3: what you think you saw, not open up and study 590 00:31:20,520 --> 00:31:22,400 Speaker 3: a picture and say I'm going to do something just 591 00:31:22,640 --> 00:31:25,840 Speaker 3: like that, but like flip through something and see these 592 00:31:25,880 --> 00:31:28,280 Speaker 3: things all flashed by anything. I think I saw something 593 00:31:28,360 --> 00:31:30,400 Speaker 3: kind of cool, and then where's your mind taken? You know, 594 00:31:30,520 --> 00:31:33,800 Speaker 3: it's great so that you don't end up like just 595 00:31:34,360 --> 00:31:36,400 Speaker 3: copying somebody. You know, you don't want to do that. 596 00:31:36,440 --> 00:31:39,719 Speaker 3: I think, you know, one of my greatest compliments from 597 00:31:39,760 --> 00:31:43,240 Speaker 3: my kids a few years ago was she said to me, 598 00:31:43,280 --> 00:31:45,920 Speaker 3: how do you stay so relevant? And I thought, well, 599 00:31:45,920 --> 00:31:50,120 Speaker 3: that's pretty cool, But the reality is, if I am relevant, 600 00:31:50,280 --> 00:31:52,800 Speaker 3: you know, it's from people like you guys, from people 601 00:31:52,920 --> 00:31:55,880 Speaker 3: like you know, the race service guys or the whatever. 602 00:31:55,960 --> 00:31:58,760 Speaker 3: You know, there's so many people in our business that 603 00:31:59,640 --> 00:32:04,320 Speaker 3: I love watching evolve. You know. I think that one 604 00:32:04,320 --> 00:32:08,160 Speaker 3: of the single important things that leaves for me is 605 00:32:08,280 --> 00:32:13,720 Speaker 3: leaving room to be in awe of others beautiful. That's 606 00:32:14,680 --> 00:32:19,760 Speaker 3: to me. I wish so many people, filmmakers and people 607 00:32:19,760 --> 00:32:23,080 Speaker 3: that I see knew how in awe I am of 608 00:32:23,120 --> 00:32:26,840 Speaker 3: what they do. You know, because my crews are sixty 609 00:32:26,880 --> 00:32:30,200 Speaker 3: to eighty people. I mean you've been on features, you guys, 610 00:32:30,200 --> 00:32:31,960 Speaker 3: and you've seen all this, and I mean like when 611 00:32:32,000 --> 00:32:33,840 Speaker 3: you're on a feature, it's one hundred and twenty, one 612 00:32:33,920 --> 00:32:36,560 Speaker 3: hundred and thirty people whatever. But I'm in all of 613 00:32:36,600 --> 00:32:38,560 Speaker 3: the guys that go out with two or three people 614 00:32:38,880 --> 00:32:43,160 Speaker 3: and just do wonderful film. And I take that influence 615 00:32:43,240 --> 00:32:46,400 Speaker 3: into my own life all the time, every day virtually. 616 00:32:46,680 --> 00:32:49,120 Speaker 3: But leaving that room to be in awe is so 617 00:32:49,200 --> 00:32:52,200 Speaker 3: important as opposed to I'm just this. I'm that I'm 618 00:32:52,200 --> 00:32:54,880 Speaker 3: going to go out every day now, you know, got 619 00:32:54,880 --> 00:32:57,600 Speaker 3: to leave that window open. You know, it's like bad weather. 620 00:32:57,680 --> 00:33:01,600 Speaker 3: You know, we're in a business of filmmaking. You got 621 00:33:01,640 --> 00:33:04,040 Speaker 3: to have great weather. You gotta have this. But Honestly, 622 00:33:04,240 --> 00:33:07,520 Speaker 3: bad weather has given me more opportunity than it's taken away. 623 00:33:07,600 --> 00:33:09,800 Speaker 3: You know, the amount of times I've been filming in 624 00:33:09,840 --> 00:33:12,480 Speaker 3: a wall of blacks coming this way and everybody's worried 625 00:33:12,480 --> 00:33:14,720 Speaker 3: that we're going to have this or whatever. The scenes 626 00:33:14,720 --> 00:33:18,080 Speaker 3: it's created, and the opportunities and even the motivation to 627 00:33:18,200 --> 00:33:22,280 Speaker 3: move quicker and get things done, it's all it's just cool. 628 00:33:22,360 --> 00:33:25,000 Speaker 3: You know. It's like, as a director, you want to 629 00:33:25,040 --> 00:33:27,480 Speaker 3: control everything, but you have to respect the fact that 630 00:33:27,520 --> 00:33:30,720 Speaker 3: there's so many elements as you don't have control over. 631 00:33:31,480 --> 00:33:33,680 Speaker 1: I mean, this is I think this is something I 632 00:33:33,720 --> 00:33:37,680 Speaker 1: really needed to hear. Same on a personal level and 633 00:33:37,680 --> 00:33:40,840 Speaker 1: in terms of, like, you know, career as well, because 634 00:33:40,960 --> 00:33:44,880 Speaker 1: as I start getting older, like I go, I wonder 635 00:33:45,200 --> 00:33:48,120 Speaker 1: if you know, I'm going to be like aged out 636 00:33:48,440 --> 00:33:51,640 Speaker 1: of like opportunities. And what you just said is like 637 00:33:52,120 --> 00:33:54,560 Speaker 1: it rings like I mean, it's just great words of 638 00:33:54,600 --> 00:33:58,480 Speaker 1: wisdom that I'll you know, walk away with and it's like, okay, 639 00:33:58,720 --> 00:34:02,360 Speaker 1: being a roof for the younger people, right, And it's 640 00:34:02,400 --> 00:34:04,800 Speaker 1: like I think about it and I'm like, hey, the 641 00:34:04,840 --> 00:34:08,440 Speaker 1: fact that you know I was there early on and 642 00:34:08,560 --> 00:34:10,520 Speaker 1: you can kind of like you know, pave the way, 643 00:34:11,040 --> 00:34:14,040 Speaker 1: and then you see all of these great opportunities that 644 00:34:14,120 --> 00:34:17,520 Speaker 1: other you know, people of color are having, or Asian 645 00:34:17,560 --> 00:34:20,799 Speaker 1: American men are having. It's like being all yeah, right, 646 00:34:20,800 --> 00:34:25,200 Speaker 1: and it's such a beautiful positive way to be present, 647 00:34:25,640 --> 00:34:29,480 Speaker 1: right and still and and and it's not about you anymore. 648 00:34:29,480 --> 00:34:30,920 Speaker 1: It's about like the whole. 649 00:34:30,800 --> 00:34:35,319 Speaker 3: You know, really beautiful. It's a handoff of competing, which 650 00:34:35,400 --> 00:34:39,120 Speaker 3: is important in the beginning, yeah, to collaborating. Yeah, you know, 651 00:34:39,160 --> 00:34:43,680 Speaker 3: it's a simple process that I don't think you realize 652 00:34:43,719 --> 00:34:45,560 Speaker 3: you kind of have to go through, you know, in 653 00:34:45,600 --> 00:34:49,120 Speaker 3: a way. And and I think that that's you know, 654 00:34:49,239 --> 00:34:54,960 Speaker 3: filmmaking is so definitive in so many ways. And interestingly, 655 00:34:55,719 --> 00:34:58,560 Speaker 3: my parallels, you know, if I were to just take 656 00:34:58,800 --> 00:35:02,840 Speaker 3: from my racing side, the event of Pike's Peak, which is, 657 00:35:03,640 --> 00:35:06,359 Speaker 3: you know, a mountain we race up. I've raced over 658 00:35:06,400 --> 00:35:10,479 Speaker 3: twenty years there, I've done well there. I understand the place, 659 00:35:10,520 --> 00:35:14,920 Speaker 3: the place is home. But it's still so definitive. And 660 00:35:15,600 --> 00:35:19,560 Speaker 3: it's one run on race day. It's a finish line 661 00:35:19,640 --> 00:35:24,200 Speaker 3: that is at fourteen and fifteen feet, it's there's no 662 00:35:24,320 --> 00:35:29,160 Speaker 3: pit stops, smiling. I want to do that so bad, 663 00:35:30,239 --> 00:35:33,759 Speaker 3: but yet all those same variables we have in filmmaking 664 00:35:33,840 --> 00:35:39,799 Speaker 3: of weather and crew and you know, budgets and all 665 00:35:39,800 --> 00:35:43,240 Speaker 3: this management goes into you know, I'm under ten minutes 666 00:35:43,360 --> 00:35:45,840 Speaker 3: racing there, one of the few people are under ten minutes, 667 00:35:45,880 --> 00:35:48,640 Speaker 3: and it's like you got to put all into that 668 00:35:48,680 --> 00:35:51,640 Speaker 3: little package in the same way. But it's definitive. Again, 669 00:35:51,680 --> 00:35:53,640 Speaker 3: You've got to get to the summit no matter what. 670 00:35:53,800 --> 00:35:56,600 Speaker 3: And there's no second chances. There's not like you can't 671 00:35:56,600 --> 00:36:01,879 Speaker 3: bring it back in the way in filmmaking, and we don't. 672 00:36:01,920 --> 00:36:05,560 Speaker 3: In my entire career, I've never gotten to a sunset 673 00:36:05,560 --> 00:36:07,600 Speaker 3: and said, you know, we didn't get everything. We need 674 00:36:07,640 --> 00:36:11,720 Speaker 3: to come back tomorrow. That doesn't happen. That's in my world. 675 00:36:11,719 --> 00:36:14,680 Speaker 3: That's a two hundred thousand dollars vault. You know, you 676 00:36:14,760 --> 00:36:17,640 Speaker 3: don't just say, oh, didn't get it all. I gotta 677 00:36:17,640 --> 00:36:21,479 Speaker 3: come back tomorrow. That sunset, that thing the day that's 678 00:36:21,560 --> 00:36:25,560 Speaker 3: managed through your assistant directors and crew and everything else. 679 00:36:26,040 --> 00:36:29,080 Speaker 3: It's all for that moment of being done at sunset. 680 00:36:29,120 --> 00:36:31,240 Speaker 3: You know, we don't just start bringing out the lights 681 00:36:31,239 --> 00:36:33,919 Speaker 3: when the sun goes down. We don't have the chance 682 00:36:33,960 --> 00:36:36,560 Speaker 3: of bringing the sun back up all of things. And 683 00:36:36,640 --> 00:36:41,040 Speaker 3: I love that pressure, and I think that's why my 684 00:36:41,280 --> 00:36:47,600 Speaker 3: racing paralleling with my filmmaking. There is so many things 685 00:36:47,640 --> 00:36:50,480 Speaker 3: in the process that I approach in the same way. 686 00:36:50,600 --> 00:36:53,520 Speaker 1: But when, for instance, like if you need to make 687 00:36:53,560 --> 00:36:55,880 Speaker 1: your day on a film set, or you need to 688 00:36:55,960 --> 00:36:59,000 Speaker 1: get to the finish line and you don't make it, like, 689 00:36:59,080 --> 00:37:03,960 Speaker 1: how do you find peace with that? Because it's add to. 690 00:37:03,920 --> 00:37:06,759 Speaker 2: Your question because we're going on a path of a 691 00:37:06,800 --> 00:37:09,080 Speaker 2: conversation we haven't had yet, you and I personally have 692 00:37:09,120 --> 00:37:12,560 Speaker 2: been not on this podcast is also adding to Song's 693 00:37:12,640 --> 00:37:16,320 Speaker 2: question of what's your relationship with failure when that comes? 694 00:37:16,520 --> 00:37:21,200 Speaker 3: You know, that's a complicated one, I guess because in 695 00:37:21,239 --> 00:37:24,440 Speaker 3: my head, failure is a big deal. You know, I 696 00:37:25,160 --> 00:37:29,520 Speaker 3: don't take it lightly. I want it to work. I 697 00:37:29,560 --> 00:37:32,640 Speaker 3: can think of the moments of failure in motorsport, which 698 00:37:32,680 --> 00:37:36,120 Speaker 3: is pretty definitive, usually because you've crashed or done something 699 00:37:36,200 --> 00:37:40,560 Speaker 3: like that. In filmmaking, it's you know, you fret over 700 00:37:40,800 --> 00:37:43,680 Speaker 3: scenes that you might have missed and you didn't have 701 00:37:43,719 --> 00:37:47,319 Speaker 3: a chance to do it. But experience gives you confidence 702 00:37:47,520 --> 00:37:49,560 Speaker 3: knowing that you have the best people to edit, the 703 00:37:49,600 --> 00:37:54,000 Speaker 3: best people to finish these things. But it's it's hanging 704 00:37:54,040 --> 00:37:56,719 Speaker 3: over you. But in general, you want to be in 705 00:37:56,760 --> 00:38:02,640 Speaker 3: a proactive position, not a reaction of position. Your experience 706 00:38:02,760 --> 00:38:04,920 Speaker 3: is going to give you the opportunity to be reactive. 707 00:38:05,000 --> 00:38:09,719 Speaker 3: But the more you can plan and be proactive, it 708 00:38:10,160 --> 00:38:16,480 Speaker 3: creativity comes out. Creativity is in two areas. Creative pure 709 00:38:16,600 --> 00:38:23,200 Speaker 3: creativity is being aware of the moments you're filming and 710 00:38:23,239 --> 00:38:27,160 Speaker 3: working on to enhance it in the best possible way 711 00:38:27,360 --> 00:38:32,160 Speaker 3: to tell the story, both visual and from an editorial standpoint. 712 00:38:32,840 --> 00:38:36,399 Speaker 3: But there's also creative to the solution. You know, your 713 00:38:36,440 --> 00:38:41,000 Speaker 3: experience of I can creatively make this scene work even 714 00:38:41,080 --> 00:38:43,799 Speaker 3: though I don't have all the right elements there. So 715 00:38:44,360 --> 00:38:46,920 Speaker 3: it's a it's a balance, I guess in that way. 716 00:38:47,000 --> 00:38:50,120 Speaker 3: But I guess to your point, I, you know, fear 717 00:38:50,120 --> 00:38:55,399 Speaker 3: of failure. If you're fearing things in the process, creativity 718 00:38:55,480 --> 00:38:58,719 Speaker 3: has a hard time coming out. It really does. It's 719 00:38:58,800 --> 00:39:00,520 Speaker 3: like a blocker, you know, when you all of a 720 00:39:00,520 --> 00:39:04,759 Speaker 3: sudden have to just be reactive, reactive, reactive, you're kind 721 00:39:04,760 --> 00:39:06,960 Speaker 3: of on your heels, you know, and you want to 722 00:39:07,000 --> 00:39:08,719 Speaker 3: be on your toes. You want to be able to 723 00:39:09,160 --> 00:39:11,680 Speaker 3: move forward and have the big picture of the way 724 00:39:11,760 --> 00:39:12,279 Speaker 3: things go. 725 00:39:12,360 --> 00:39:18,560 Speaker 1: Together, being able to relinquish that control as a creative 726 00:39:18,640 --> 00:39:21,239 Speaker 1: It's very hard, right, I mean we were talking about 727 00:39:21,239 --> 00:39:25,080 Speaker 1: that earlier, Like you know, you know, do you when 728 00:39:25,239 --> 00:39:28,439 Speaker 1: when something doesn't go right then it all comes back 729 00:39:28,480 --> 00:39:30,960 Speaker 1: on you. But if you can relinquish it, you're like, hey, 730 00:39:31,680 --> 00:39:52,160 Speaker 1: you know, it's not just my fault, your fault. You know, 731 00:39:52,360 --> 00:39:58,560 Speaker 1: you started shooting basically it was analog, right, and today 732 00:39:58,680 --> 00:40:03,719 Speaker 1: moving into CG and you don't even yeah, a whole 733 00:40:03,800 --> 00:40:07,760 Speaker 1: other thing. Are you as open minded about that as well? 734 00:40:07,800 --> 00:40:13,200 Speaker 1: Of like that pushing the bar for action sequences with cars. 735 00:40:13,200 --> 00:40:16,400 Speaker 3: It's really interesting. And again it's kind of like I 736 00:40:16,560 --> 00:40:20,360 Speaker 3: started in film and you had four hundred foot magazines, 737 00:40:20,400 --> 00:40:22,440 Speaker 3: you know, and that that ran for a certain amount 738 00:40:22,480 --> 00:40:24,960 Speaker 3: of time. You know, it's like everything was based on 739 00:40:25,400 --> 00:40:27,360 Speaker 3: changing film and things like that. You know, now we 740 00:40:27,480 --> 00:40:31,640 Speaker 3: leave cameras rolling, We have multiple cameras working, and you 741 00:40:31,680 --> 00:40:34,479 Speaker 3: know if when even when I was at Art Center, 742 00:40:34,560 --> 00:40:38,160 Speaker 3: I got into mounting cameras. I was mounting cameras on 743 00:40:38,200 --> 00:40:41,760 Speaker 3: my skateboards, on biplane wings, on all sorts of things, 744 00:40:42,120 --> 00:40:44,759 Speaker 3: and I just love doing that. And my first road 745 00:40:44,760 --> 00:40:47,600 Speaker 3: and track cover was actually a camera rig on a 746 00:40:47,680 --> 00:40:50,040 Speaker 3: car going down a road, and so it was like 747 00:40:50,120 --> 00:40:54,000 Speaker 3: this time tunnel blurry. Look, it really kind of showed 748 00:40:54,040 --> 00:40:55,719 Speaker 3: action and I love that. And you know, now we're 749 00:40:55,719 --> 00:40:59,440 Speaker 3: in the GoPro and all things. Everything's gotten smaller, everything's 750 00:40:59,480 --> 00:41:02,280 Speaker 3: gotten more usable. And you know, there was a moment 751 00:41:02,360 --> 00:41:07,400 Speaker 3: in time too where changing over from film to digital, 752 00:41:08,280 --> 00:41:11,279 Speaker 3: I shot with a different camera system every job. You know, 753 00:41:11,320 --> 00:41:14,759 Speaker 3: it was evolving so quickly, and the way things are evolving, 754 00:41:15,200 --> 00:41:18,719 Speaker 3: it's an opportunity, but in some ways it stands in 755 00:41:18,760 --> 00:41:23,440 Speaker 3: the way. And I was very much a person that 756 00:41:24,360 --> 00:41:27,600 Speaker 3: I felt like I needed to be genuine to filmmaking 757 00:41:27,640 --> 00:41:31,800 Speaker 3: and genuine to the car. I was in an area 758 00:41:31,880 --> 00:41:36,480 Speaker 3: where I was a high action specialist, so generally I'd 759 00:41:36,520 --> 00:41:41,480 Speaker 3: be shooting cool cars, you know, that were truly capable 760 00:41:41,520 --> 00:41:43,960 Speaker 3: of that, and I always felt like if they needed 761 00:41:43,960 --> 00:41:47,280 Speaker 3: to go into special effects and different things at that time, 762 00:41:48,360 --> 00:41:51,920 Speaker 3: it was kind of taking away from the you know, 763 00:41:52,040 --> 00:41:55,200 Speaker 3: believability that that car could really do it. So my 764 00:41:55,440 --> 00:41:58,320 Speaker 3: goal was by working with people like Rees and Tanner 765 00:41:58,360 --> 00:42:01,000 Speaker 3: and pulled all on back these guys as it could 766 00:42:01,080 --> 00:42:03,839 Speaker 3: put a car anywhere and do everything. I wanted to 767 00:42:03,880 --> 00:42:07,000 Speaker 3: really show the real action. I really wanted to be 768 00:42:07,160 --> 00:42:09,520 Speaker 3: part of that. So that if you ever pulled back 769 00:42:09,600 --> 00:42:12,360 Speaker 3: on the curtain on it, you actually saw it happen. 770 00:42:12,640 --> 00:42:15,759 Speaker 3: You know, there was a genuine nature to it. I 771 00:42:15,880 --> 00:42:19,440 Speaker 3: was fortunate to be shooting a car that was genuinely capable. 772 00:42:20,200 --> 00:42:22,800 Speaker 3: Let's film it in a way that it's really doing 773 00:42:22,840 --> 00:42:26,000 Speaker 3: those things. And so again it's up to you as 774 00:42:26,040 --> 00:42:29,520 Speaker 3: a filmmaker to put cameras in places. I wanted to 775 00:42:29,560 --> 00:42:33,160 Speaker 3: not just watch a car. I wanted to make you blink, 776 00:42:33,920 --> 00:42:36,440 Speaker 3: to feel like it was going to hit you, or 777 00:42:36,560 --> 00:42:39,840 Speaker 3: defy logic or do things like that. You know. It's like, 778 00:42:39,840 --> 00:42:41,520 Speaker 3: like you said, as a filmmaker, I want to be 779 00:42:41,520 --> 00:42:44,239 Speaker 3: on my toes. As a viewer, I want to be 780 00:42:44,239 --> 00:42:46,520 Speaker 3: on my heels like whoa, you know, this is it? 781 00:42:46,640 --> 00:42:50,520 Speaker 3: You know, so I look at what's happening now, And 782 00:42:50,960 --> 00:42:54,320 Speaker 3: obviously AI is going to be a whole nother category things. 783 00:42:54,360 --> 00:42:59,239 Speaker 3: But there was a moment in time where effects and 784 00:42:59,360 --> 00:43:01,640 Speaker 3: plates that we would shoot and all these kind of 785 00:43:01,680 --> 00:43:06,160 Speaker 3: tedious parts of filming ultimately didn't add up to as 786 00:43:06,280 --> 00:43:10,359 Speaker 3: pure experience of watching a car as I wanted, And 787 00:43:10,440 --> 00:43:13,000 Speaker 3: so my goal was always to put that car on 788 00:43:13,040 --> 00:43:17,520 Speaker 3: the edge. And as a director, I've spent twenty years 789 00:43:17,560 --> 00:43:20,520 Speaker 3: of my life racing up the side of a mountain, 790 00:43:21,320 --> 00:43:25,239 Speaker 3: putting wheels, half the tread on the pavement, half the 791 00:43:25,280 --> 00:43:28,960 Speaker 3: tread touching the edge of the road. You know, putting 792 00:43:28,960 --> 00:43:34,400 Speaker 3: those moments in precision on a mountain with huge consequence. 793 00:43:35,120 --> 00:43:38,960 Speaker 3: You know that perspective plays out in my own filmmaking 794 00:43:39,000 --> 00:43:42,640 Speaker 3: because I'm already looking at things that way. I have 795 00:43:42,719 --> 00:43:48,320 Speaker 3: a funny handoff, like I run the Colorado Hill Climb Championship, 796 00:43:48,760 --> 00:43:51,640 Speaker 3: which is dirt roads up the side of a mountain 797 00:43:51,719 --> 00:43:54,400 Speaker 3: and a Gt. Three Cup car. It's raw, it's pure. 798 00:43:54,920 --> 00:43:57,359 Speaker 3: It's a bunch of old timers who quit racing at 799 00:43:57,360 --> 00:44:00,160 Speaker 3: Pike's Peak because it got paved. They just all want 800 00:44:00,200 --> 00:44:02,360 Speaker 3: to be on the dirt and side. I will pitch 801 00:44:02,360 --> 00:44:05,960 Speaker 3: a car in the corner, rotate the car, drive on 802 00:44:06,040 --> 00:44:09,800 Speaker 3: the throttle. I'll feel that right front wheel just bound 803 00:44:09,840 --> 00:44:12,200 Speaker 3: a little bit over a rock or something corner and 804 00:44:12,239 --> 00:44:14,640 Speaker 3: I feel it go light. I feel it touched back 805 00:44:14,680 --> 00:44:18,360 Speaker 3: down and the attitude is just right. The wheels are set. 806 00:44:18,480 --> 00:44:21,880 Speaker 3: You just can feel the outside wheels tearing at the earth. 807 00:44:22,360 --> 00:44:24,680 Speaker 3: All this stuff's happening, my head will go, oh, I 808 00:44:24,680 --> 00:44:26,600 Speaker 3: hope somebody is out there with a two hundred millimeter 809 00:44:29,200 --> 00:44:34,040 Speaker 3: frames that be right shot, you know, and then I 810 00:44:34,120 --> 00:44:38,400 Speaker 3: do it. And it's funny because lately at Pike's Peak, 811 00:44:39,200 --> 00:44:41,800 Speaker 3: I think about what it looks like on the outside. 812 00:44:41,960 --> 00:44:44,520 Speaker 3: That funny, and I try to put the car exactly 813 00:44:44,560 --> 00:44:48,640 Speaker 3: in those moments, you know, and my perspective is already 814 00:44:48,719 --> 00:44:52,000 Speaker 3: at the edge of the mountain. My perspective is already 815 00:44:52,400 --> 00:44:56,080 Speaker 3: taking something to the ragged edge limit that sort of thing. 816 00:44:56,160 --> 00:44:59,920 Speaker 3: So I almost pick up in filmmaking at that point 817 00:45:00,880 --> 00:45:03,960 Speaker 3: rather than build up to it. So it's it's that 818 00:45:04,520 --> 00:45:07,400 Speaker 3: kind of perspective that I bring to it. And I 819 00:45:07,440 --> 00:45:12,000 Speaker 3: actually think that my racing has fed the longevity to 820 00:45:12,120 --> 00:45:15,960 Speaker 3: my career because if I sit in a client meeting 821 00:45:16,600 --> 00:45:20,839 Speaker 3: and somebody's got some new hot carry about, I can 822 00:45:20,920 --> 00:45:24,600 Speaker 3: put it in perspective of what that car can feel like, 823 00:45:25,200 --> 00:45:29,279 Speaker 3: look like, and be emotional about it. This isn't just 824 00:45:29,320 --> 00:45:32,480 Speaker 3: a job for me. This is a quest to share 825 00:45:32,680 --> 00:45:36,080 Speaker 3: my passion with the rest of the world through filmmaking. 826 00:45:37,640 --> 00:45:43,040 Speaker 1: You know, our friend Brian Scotto, you know, I feel 827 00:45:43,040 --> 00:45:47,280 Speaker 1: like he is really pushing the envelope, or I guess, 828 00:45:47,440 --> 00:45:51,840 Speaker 1: redefining like how cars are shot action sequences, and he 829 00:45:52,000 --> 00:45:54,400 Speaker 1: coined this phrase. I don't know if he coined it 830 00:45:54,520 --> 00:45:57,200 Speaker 1: or he borrowed it or maybe even looked stolen from you, 831 00:45:58,880 --> 00:46:03,040 Speaker 1: but he has he has a phrase called honest angle, right, 832 00:46:03,080 --> 00:46:05,359 Speaker 1: and he's like, and we were talking about because I 833 00:46:05,239 --> 00:46:06,799 Speaker 1: was I always ask people, what do you think the 834 00:46:06,960 --> 00:46:10,480 Speaker 1: problem with fast like action sequences from the Fast and Furious, 835 00:46:10,480 --> 00:46:12,200 Speaker 1: And it's like it's not honest. 836 00:46:12,360 --> 00:46:12,520 Speaker 3: You know. 837 00:46:12,560 --> 00:46:14,840 Speaker 1: It's like, you know, they're cool cars, but when the 838 00:46:14,880 --> 00:46:17,640 Speaker 1: car is like going from like one building to the 839 00:46:17,719 --> 00:46:22,200 Speaker 1: other or outer space, it's like it's that it's not honest. 840 00:46:22,680 --> 00:46:25,120 Speaker 1: And it's like what I'm listening to you is like 841 00:46:25,480 --> 00:46:28,879 Speaker 1: you shoot the car honestly, like because you understand how 842 00:46:28,920 --> 00:46:32,440 Speaker 1: the car would actually perform in reality, you were able 843 00:46:32,520 --> 00:46:35,680 Speaker 1: to convert that, you know, onto screen and then the 844 00:46:35,760 --> 00:46:39,640 Speaker 1: audience it's a it's it is like a visceral reaction. 845 00:46:39,840 --> 00:46:42,839 Speaker 1: I'm so opposed to Oh that's a special effect, right, 846 00:46:42,880 --> 00:46:44,560 Speaker 1: and it kind of just you just kind. 847 00:46:44,360 --> 00:46:45,920 Speaker 2: Of appreciate it less. 848 00:46:46,040 --> 00:46:50,120 Speaker 1: Yeah, it's just it's like it's like it's like junk food, right, 849 00:46:50,160 --> 00:46:51,560 Speaker 1: it's just easy, Like you. 850 00:46:51,520 --> 00:46:52,920 Speaker 2: Know, it's like I don't know, you did see your 851 00:46:52,920 --> 00:47:01,920 Speaker 2: favorite pizza was nominoe. 852 00:46:58,920 --> 00:47:06,839 Speaker 3: Know, you know what, there's a certain that you give 853 00:47:06,960 --> 00:47:07,920 Speaker 3: up inconvenience. 854 00:47:10,440 --> 00:47:12,720 Speaker 1: It's delicious pizza. 855 00:47:13,000 --> 00:47:15,240 Speaker 3: It's good stuff should taste like a pizza. 856 00:47:16,880 --> 00:47:17,200 Speaker 1: Anyway. 857 00:47:19,920 --> 00:47:22,760 Speaker 3: Well, I don't know whether Brian told you, but there 858 00:47:23,080 --> 00:47:27,280 Speaker 3: is a directorial team known as Zwardo. That's Jeff Swart 859 00:47:27,280 --> 00:47:32,800 Speaker 3: and Brian Scotto. We collected. We directed Climb Kana together, 860 00:47:34,080 --> 00:47:39,439 Speaker 3: and so when Ken Block, which makes sense, yeah, we 861 00:47:39,600 --> 00:47:45,160 Speaker 3: directed that together. And fun. It was fun because the 862 00:47:45,200 --> 00:47:47,880 Speaker 3: amount of times I would sit in a client meeting 863 00:47:47,960 --> 00:47:50,600 Speaker 3: in Detroit or wherever, I say, you know, we want that, 864 00:47:50,760 --> 00:47:52,279 Speaker 3: we want to see the kind of like that Ken 865 00:47:52,320 --> 00:47:54,839 Speaker 3: Block stuff, you know, they they would refer to it 866 00:47:54,960 --> 00:47:58,360 Speaker 3: or whatever. And Ken was so good at putting a 867 00:47:58,400 --> 00:48:01,000 Speaker 3: car on the edge and doing all that. So naturally, 868 00:48:01,080 --> 00:48:03,960 Speaker 3: when this project came up and I always asked to 869 00:48:04,000 --> 00:48:07,560 Speaker 3: direct with with Brian, I was just like, wow, this 870 00:48:07,680 --> 00:48:11,440 Speaker 3: is so cool, and I learned so much in it 871 00:48:11,880 --> 00:48:14,880 Speaker 3: to your point of like, you know, this style and 872 00:48:14,960 --> 00:48:19,640 Speaker 3: look and feel of filming, and you know Ken, I'd 873 00:48:19,640 --> 00:48:21,640 Speaker 3: actually I think I'd even raced with him at one 874 00:48:21,680 --> 00:48:24,359 Speaker 3: point or things. But we'd been, you know, certainly been 875 00:48:24,520 --> 00:48:28,000 Speaker 3: around each other and seen all the Jim Kannas and 876 00:48:28,040 --> 00:48:31,319 Speaker 3: everything at that point. But what was super cool was 877 00:48:31,719 --> 00:48:34,560 Speaker 3: Ken would have his opinions about the way we needed 878 00:48:34,560 --> 00:48:37,440 Speaker 3: to film, and you know, it's kind of like in 879 00:48:37,480 --> 00:48:41,080 Speaker 3: your mind, you have a routine and the way you film, 880 00:48:41,120 --> 00:48:43,560 Speaker 3: and this is your process and stuff. And I started 881 00:48:43,600 --> 00:48:46,520 Speaker 3: to understand why things were different in a lot of 882 00:48:46,520 --> 00:48:49,560 Speaker 3: ways with the way Scotto had approached it and the 883 00:48:49,600 --> 00:48:53,239 Speaker 3: way their teams had film Ken and then Ken's ideals. 884 00:48:53,280 --> 00:48:55,960 Speaker 3: And one of the things was interesting because I always 885 00:48:56,320 --> 00:49:00,440 Speaker 3: my office is a Cayenne armed camera car, the arm 886 00:49:00,480 --> 00:49:02,319 Speaker 3: on the roof, and you know, I go, you know, 887 00:49:02,360 --> 00:49:05,839 Speaker 3: that's my world and always tracking and doing moves and things, 888 00:49:05,920 --> 00:49:08,319 Speaker 3: and King goes, I don't like those. I don't like 889 00:49:08,719 --> 00:49:11,040 Speaker 3: camera cars. And I thought, well, you know, this is 890 00:49:11,040 --> 00:49:13,120 Speaker 3: the way I work. You know, we'll have camera cars. 891 00:49:13,400 --> 00:49:17,160 Speaker 3: But you started to realize that the moment the camera 892 00:49:17,440 --> 00:49:21,319 Speaker 3: was traveling with his car, it slowed his car down. 893 00:49:21,600 --> 00:49:25,200 Speaker 3: You know, as soon as you start matching speeds, things 894 00:49:25,239 --> 00:49:29,520 Speaker 3: start to slow down. And I kind of knew that, 895 00:49:29,680 --> 00:49:32,480 Speaker 3: I did know it, but I hadn't really applied it. 896 00:49:32,560 --> 00:49:35,080 Speaker 3: And it wasn't until Ken kind of said, I don't 897 00:49:35,160 --> 00:49:37,359 Speaker 3: like camera cars. I started to put the whole thing 898 00:49:37,400 --> 00:49:41,239 Speaker 3: together and stylistically, that's what I really liked about Timkana. 899 00:49:41,280 --> 00:49:44,439 Speaker 3: And we always have conversations about what was the best one, 900 00:49:44,480 --> 00:49:46,400 Speaker 3: Which is the best one. We all look at different 901 00:49:46,400 --> 00:49:49,360 Speaker 3: ones of which the best, But the first one that 902 00:49:49,640 --> 00:49:52,040 Speaker 3: I ever saw, and this is when I'm well into 903 00:49:52,080 --> 00:49:56,080 Speaker 3: my filmmaking career, I felt like I'd climbed over the 904 00:49:56,080 --> 00:50:00,399 Speaker 3: fence and gotten into something that I shouldn't be there 905 00:50:00,440 --> 00:50:05,239 Speaker 3: for such a way and got to record it and 906 00:50:05,360 --> 00:50:08,560 Speaker 3: see something that like, let's just put that away before 907 00:50:08,600 --> 00:50:11,879 Speaker 3: anybody catches us. You know, is that kind of that 908 00:50:12,000 --> 00:50:14,640 Speaker 3: tension and everything of like I'm in here, I'm going 909 00:50:14,719 --> 00:50:17,040 Speaker 3: to get this, and then I got to get out 910 00:50:17,040 --> 00:50:19,399 Speaker 3: of here because somebody's gonna bust me. You know that 911 00:50:19,840 --> 00:50:23,480 Speaker 3: moment and spontaneity and the way that played out in 912 00:50:23,520 --> 00:50:26,000 Speaker 3: front of you with them just ripping it up at 913 00:50:26,040 --> 00:50:28,320 Speaker 3: El Toro Marine Base, you know, it was like, yeah, 914 00:50:28,360 --> 00:50:30,920 Speaker 3: that was cool. And you know there were times where 915 00:50:31,680 --> 00:50:34,439 Speaker 3: it maybe got too polished or times where it got, 916 00:50:34,480 --> 00:50:38,320 Speaker 3: you know, a little bit of away from that purity, 917 00:50:38,360 --> 00:50:41,520 Speaker 3: but then it kept coming back to that and and 918 00:50:41,640 --> 00:50:45,000 Speaker 3: Ken also just developing as a driver everything about it 919 00:50:45,080 --> 00:50:50,120 Speaker 3: was such a great franchise and without it really you know, 920 00:50:50,320 --> 00:50:54,560 Speaker 3: consciously affecting me. I just know that so much of 921 00:50:54,600 --> 00:50:59,920 Speaker 3: their work played out in influencing me and on a 922 00:51:01,080 --> 00:51:03,200 Speaker 3: you know a little over a year ago, when I 923 00:51:03,239 --> 00:51:05,799 Speaker 3: got the phone call that Can had passed, it was 924 00:51:05,840 --> 00:51:08,480 Speaker 3: when that really kind of all rained down on me. 925 00:51:09,280 --> 00:51:13,480 Speaker 3: This guy was a huge part of my life, even 926 00:51:13,520 --> 00:51:18,640 Speaker 3: though we weren't directly hanging out best buddy friends. The 927 00:51:18,760 --> 00:51:23,120 Speaker 3: effect of my life, my industry, everything about it will 928 00:51:23,840 --> 00:51:26,680 Speaker 3: it really came to me at that moment and still 929 00:51:26,680 --> 00:51:27,960 Speaker 3: affects me in that way. 930 00:51:27,920 --> 00:51:32,000 Speaker 1: Yeah, speaking of that, you know, as one gets older 931 00:51:32,040 --> 00:51:35,279 Speaker 1: in life and you deal with loss. I mean something 932 00:51:35,320 --> 00:51:38,960 Speaker 1: that I'm noticing. It's like every few months now, I 933 00:51:39,000 --> 00:51:43,200 Speaker 1: get a phone call and someone is passing, and it 934 00:51:43,440 --> 00:51:46,840 Speaker 1: scares me. You know, It's like it really really scares me, 935 00:51:47,120 --> 00:51:50,000 Speaker 1: and I still don't know how to deal with it. 936 00:51:50,080 --> 00:51:51,880 Speaker 1: I don't know if I'll ever know I deal with it. 937 00:51:52,000 --> 00:51:54,960 Speaker 1: I mean, how do you deal with loss as you 938 00:51:54,960 --> 00:51:55,520 Speaker 1: get older. 939 00:51:55,600 --> 00:51:59,040 Speaker 3: I got to say that within my family, at least, 940 00:51:59,160 --> 00:52:02,919 Speaker 3: I've been very fortunate that I haven't really had any 941 00:52:03,120 --> 00:52:07,200 Speaker 3: surprise losses. You know, my grand my grandparents were farmers 942 00:52:07,200 --> 00:52:09,960 Speaker 3: and they lived in their nineties. My parents lived in 943 00:52:10,000 --> 00:52:12,960 Speaker 3: the nineties. You know, there were no real kind of 944 00:52:13,000 --> 00:52:17,799 Speaker 3: surprises within the family. I've certainly lost race driver your 945 00:52:17,840 --> 00:52:21,440 Speaker 3: friends along the way, because that's you know, what happens 946 00:52:21,480 --> 00:52:23,880 Speaker 3: in the decades that I've been involved in racing, and 947 00:52:24,480 --> 00:52:27,839 Speaker 3: I've started losing some friends who you know, we grew 948 00:52:27,920 --> 00:52:31,160 Speaker 3: up with together and just lately, and I think that's 949 00:52:31,239 --> 00:52:35,120 Speaker 3: part of it. I you know, having the perspective of 950 00:52:35,920 --> 00:52:38,000 Speaker 3: what you've been able to do in your life and 951 00:52:38,520 --> 00:52:41,560 Speaker 3: be part of and like I said before, being in 952 00:52:41,640 --> 00:52:45,960 Speaker 3: awe of others and being inspired of others and kind 953 00:52:46,000 --> 00:52:51,200 Speaker 3: of keeping that going. I you know, Ken was one 954 00:52:51,239 --> 00:52:54,880 Speaker 3: of the more difficult ones because it was almost like 955 00:52:55,000 --> 00:52:58,800 Speaker 3: you just realized you hadn't spent enough time, you hadn't 956 00:52:59,480 --> 00:53:03,080 Speaker 3: taken it as seriously as maybe you should have of 957 00:53:03,120 --> 00:53:05,840 Speaker 3: what that guy provided, not just for you, but for 958 00:53:05,920 --> 00:53:08,719 Speaker 3: the whole car culture all that sort of thing. So 959 00:53:09,520 --> 00:53:13,440 Speaker 3: it is difficult, but I also savor so much and 960 00:53:13,640 --> 00:53:17,759 Speaker 3: I feel it's so important not to have regrets and 961 00:53:18,680 --> 00:53:22,160 Speaker 3: feel like you've been pure to yourself and chased your 962 00:53:22,200 --> 00:53:26,840 Speaker 3: passions and been able to be constantly invigorated. You know, 963 00:53:26,880 --> 00:53:32,759 Speaker 3: it's like perpetual motion when things feed something and it 964 00:53:32,960 --> 00:53:36,719 Speaker 3: just keeps it going. That's the way I look at 965 00:53:36,760 --> 00:53:42,760 Speaker 3: my career. You know, it's always been interesting. Every element 966 00:53:42,840 --> 00:53:46,160 Speaker 3: has been interesting. Every day of a life has been interesting. 967 00:53:46,760 --> 00:53:49,319 Speaker 3: I love going against the elements, you know. I love 968 00:53:50,200 --> 00:53:53,600 Speaker 3: being provided challenges, even at this age. You know, I'm 969 00:53:53,640 --> 00:53:56,520 Speaker 3: not looking for the easy path. You know, the worst 970 00:53:56,600 --> 00:53:59,680 Speaker 3: day is bright and sunny and perfect conditions. You know, 971 00:53:59,760 --> 00:54:02,440 Speaker 3: that's not the worst day. But you know what I mean. 972 00:54:02,760 --> 00:54:05,360 Speaker 3: I like the challenge. I love that fact that you 973 00:54:05,960 --> 00:54:11,960 Speaker 3: are just going against life and succeeding, you know. And 974 00:54:12,000 --> 00:54:14,960 Speaker 3: I love to see that in other people. And I 975 00:54:15,760 --> 00:54:19,440 Speaker 3: love the underdogs. I love the people that have looked 976 00:54:19,440 --> 00:54:24,360 Speaker 3: at life differently. Those kinds of moments just make such 977 00:54:24,360 --> 00:54:30,960 Speaker 3: a dynamic, engaging world. Because elements in life, whether it 978 00:54:30,960 --> 00:54:35,480 Speaker 3: be life or death, or health or weather or anything, 979 00:54:35,600 --> 00:54:39,160 Speaker 3: it's part of our life. And you love to see 980 00:54:39,200 --> 00:54:43,600 Speaker 3: people succeed in that. And that's the part that really 981 00:54:43,680 --> 00:54:47,239 Speaker 3: kind of motivates me and other people is watching that. 982 00:54:47,520 --> 00:54:51,480 Speaker 3: I love watching new filmmakers and people that haven't even 983 00:54:51,480 --> 00:54:54,680 Speaker 3: been educated in school, you know, they've just done it 984 00:54:54,719 --> 00:54:57,400 Speaker 3: on their own. I love that kind of vibrancy of 985 00:54:58,640 --> 00:55:03,240 Speaker 3: because the only reason for success in that environment is passion. 986 00:55:03,600 --> 00:55:03,880 Speaker 3: It's it. 987 00:55:04,040 --> 00:55:07,800 Speaker 1: We Will said, it's really beautiful. This has been a 988 00:55:07,840 --> 00:55:08,560 Speaker 1: great conversation. 989 00:55:09,840 --> 00:55:11,600 Speaker 2: I feel like I'm going to leave this a better person. 990 00:55:12,239 --> 00:55:15,200 Speaker 3: Well, I agree, it's all for us, and I think 991 00:55:15,239 --> 00:55:19,120 Speaker 3: that's the point of our world is just that we 992 00:55:19,160 --> 00:55:22,319 Speaker 3: can kind of feed off each other and and take 993 00:55:22,320 --> 00:55:25,480 Speaker 3: advantage of the relationships in the best possible ways and 994 00:55:26,160 --> 00:55:29,440 Speaker 3: take away the good and understand the bad. And that 995 00:55:29,520 --> 00:55:32,640 Speaker 3: balance of understanding how important a life is around us. 996 00:55:32,680 --> 00:55:35,480 Speaker 3: To be able to come back to and share in 997 00:55:35,560 --> 00:55:39,200 Speaker 3: it and live in it and give people space to 998 00:55:39,280 --> 00:55:42,799 Speaker 3: be part of that is so important going back to it. 999 00:55:42,800 --> 00:55:45,960 Speaker 3: It's like, you know, you guys are my inspiration. It's 1000 00:55:45,960 --> 00:55:50,680 Speaker 3: a new generation of inspiration, and I just leave those 1001 00:55:50,719 --> 00:55:53,359 Speaker 3: doors open to be inspired by others. But you guys 1002 00:55:53,400 --> 00:55:54,640 Speaker 3: are great. Love it. 1003 00:55:54,800 --> 00:55:55,560 Speaker 1: Thank you so much. 1004 00:55:55,680 --> 00:55:56,759 Speaker 3: Jeff, Yeah, thank you.