WEBVTT - Ep24 Jeff Zwart

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<v Speaker 1>All right, welcome back to Another Car Stories with Sun King.

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<v Speaker 2>And Amelia Hartford. So it's the questions. All right, I

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<v Speaker 2>got a question for you. Would you survive a zombie apocalypse?

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<v Speaker 3>Oh?

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<v Speaker 1>Would I? Wow, that's a great question. Would I survive

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<v Speaker 1>a zombie apocalypse like right now?

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<v Speaker 2>Yes?

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<v Speaker 3>Today?

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<v Speaker 1>If it happened like in five minutes, Well, it depends

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<v Speaker 1>on what kind of zombie? Are they fast zombies? Are

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<v Speaker 1>they slow zombies?

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<v Speaker 2>I'm talking like walking Dead zombies.

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<v Speaker 1>Were they they were slow?

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<v Speaker 2>They were slow?

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<v Speaker 1>Well, I would be yeah.

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<v Speaker 2>I'm not talking the last of us zombies okay, okay?

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<v Speaker 1>Or I am legend zombies that runs super fast.

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<v Speaker 2>The walking dead ones, the ones where they can't run,

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<v Speaker 2>they could walk, but they'll eat your brains.

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<v Speaker 1>I would say that I'm not prepared at home, okay,

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<v Speaker 1>Like I don't have like yeah, sure, actually I do.

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<v Speaker 1>I do have a bag that will last me a month.

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<v Speaker 1>Vin Diesel gave it to me.

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<v Speaker 2>That's awfully nice.

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<v Speaker 1>He gave me a like a survival bag. I don't

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<v Speaker 1>know if it's still good. Wow. So I have that,

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<v Speaker 1>But I don't have any weapons. I don't have guns

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<v Speaker 1>and stuff. But if so, if they were to attack

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<v Speaker 1>my home like there were would I be able to survive?

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<v Speaker 2>I think you're overthinking this a little.

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<v Speaker 1>I would hope, what do you think? Well, how about you?

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<v Speaker 2>Hell yeah, I would survive a zombie apocalypse. You would, yeah,

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<v Speaker 2>I would?

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<v Speaker 1>Well, what makes you say that? Why it's so confident?

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<v Speaker 2>I just it's just my gut instinct. I feel like

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<v Speaker 2>I have those instincts given a life or death situation

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<v Speaker 2>to pull myself out of it.

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<v Speaker 3>I don't know.

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<v Speaker 1>Would you so if there was like two zombies coming

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<v Speaker 1>in and you would be able to chop their heads off,

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<v Speaker 1>because you know you got to if I need it too.

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<v Speaker 1>Sure they're dead, so you would be okay doing that's all?

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<v Speaker 1>To do that, though, how would you do that depends?

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<v Speaker 2>We're here right now the iHeart Studios. Grab a knife

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<v Speaker 2>out of the kitchen.

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<v Speaker 1>Well, there's no knife there. We couldn't even find a

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<v Speaker 1>fork for that.

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<v Speaker 2>I' found a knife. That's how I cut the sandwich

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<v Speaker 2>and have.

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<v Speaker 1>A butter knife.

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<v Speaker 2>I kill.

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<v Speaker 3>You.

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<v Speaker 2>Go upstairs like a lock on the doors. I could

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<v Speaker 2>scale the side of the building. I could park her

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<v Speaker 2>to the next building.

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<v Speaker 1>You would do that.

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<v Speaker 2>I'd climb down to my car, my truck.

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<v Speaker 1>But what about Teddy? You would just leave him behind?

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<v Speaker 2>We can take Tedgi.

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<v Speaker 1>Yeah, no, no, he would be zombie. He would be

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<v Speaker 1>trying to hump that zombie.

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<v Speaker 2>That's true.

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<v Speaker 3>I would hope.

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<v Speaker 1>I would hope I could survive. But I thought about

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<v Speaker 1>this before. I was like, what would happen if zombies

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<v Speaker 1>attacked my house and bit my wife and then she

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<v Speaker 1>turned into a zombie? Would I just leave? Or would

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<v Speaker 1>I wait for her to be a zombie and then

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<v Speaker 1>chop off her head.

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<v Speaker 2>I love that you've thought about that.

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<v Speaker 1>Useless stuff.

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<v Speaker 2>Secondly, why do you have to stay at a chop

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<v Speaker 2>her head off? Why not just leave?

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<v Speaker 1>I don't want her to go around and exist right

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<v Speaker 1>as a zombie.

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<v Speaker 2>But what if they come out with a potion or

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<v Speaker 2>a formula one day?

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<v Speaker 1>Like, yeah, well she still has to go around and

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<v Speaker 1>like eat people. Yeah, eat people, right? I would be sad.

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<v Speaker 1>Like what if like I'm like in the neighborhood, like

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<v Speaker 1>you know, breaking.

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<v Speaker 2>Into casually walking the dog. You see your ambie wife

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<v Speaker 2>running by.

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<v Speaker 1>No, I would have to go get supplies, right, Like

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<v Speaker 1>I would break into someone's house to go get can goods, right,

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<v Speaker 1>you know, during the day, and then I see her

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<v Speaker 1>like walking just like, oh, living dead, right, I would

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<v Speaker 1>be sad. Sure, so I would want to end her misery.

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<v Speaker 2>Okay, I thought this was gonna be a fun Like

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<v Speaker 2>now I'm thinking about what it would take to murder

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<v Speaker 2>a significant other.

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<v Speaker 1>Come on, Like, would you okay, if you saw me

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<v Speaker 1>and I was a zombie and you're like you were

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<v Speaker 1>driving by me, would you just run over me to

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<v Speaker 1>end my misery?

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<v Speaker 2>Would you too?

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<v Speaker 1>I would hope you would.

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<v Speaker 2>Then sure, I'll squish your body so hard to get

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<v Speaker 2>some building with my truck.

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<v Speaker 1>You could do that. Well, yeah, you would do that.

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<v Speaker 2>And put you out a misery if that's what you wanted.

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<v Speaker 1>I appreciate that. Yeah, all right, all right, anyway, Jesus

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<v Speaker 1>speaking of I don't know what, there's no segue speaking

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<v Speaker 1>of kindness, of ending friends misery. One of the kindest

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<v Speaker 1>people I think in the community. And I mean, it

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<v Speaker 1>was just amazing to talk to this wonderful, wonderful hearted

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<v Speaker 1>human being.

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<v Speaker 2>Yeah, Jeff Swart. Swart, Yeah, he is a racing driver,

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<v Speaker 2>he's a director, he's an artiste, photographer, videographer, you name it.

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<v Speaker 1>I mean he was just dropping words of wisdom, all right,

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<v Speaker 1>just his philosophy of people being passionate about what they do.

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<v Speaker 1>That's the beginning and that's the end, you know. So

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<v Speaker 1>it's just a privilege and honor to sit down with them. Yeah,

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<v Speaker 1>be able to just listen to his words.

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<v Speaker 2>So yeah, without further ado, Jeff Swart.

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<v Speaker 1>Now for the listeners that aren't familiar with your career,

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<v Speaker 1>you started in print and then you went into commercial directing,

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<v Speaker 1>and then you went into narrative film directing. So how

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<v Speaker 1>did you get your start in print photography?

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<v Speaker 3>My fourth grade field trip in Delaware we lived in Wilmington, Delaware.

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<v Speaker 3>A fourth grade field trip. My parents gave me an

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<v Speaker 3>instematic camera to actually go take pictures on it. So

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<v Speaker 3>they did that. But funny enough, you know, as you

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<v Speaker 3>grow up, when you stop wanting to be a fireman

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<v Speaker 3>or an astronaut, you know, or at that he's kind

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<v Speaker 3>of all these kind of typical things. My goal was

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<v Speaker 3>to be a veterinarian. I loved animals. I loved that

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<v Speaker 3>whole process, and I always had a dog when I

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<v Speaker 3>was born. My dad, he was a sharpshooter in the Navy.

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<v Speaker 3>When I was born and came home, he took his

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<v Speaker 3>rifle down the street and traded it for a dog.

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<v Speaker 3>Every boy, he and his mind needed to have a dog.

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<v Speaker 3>And so I from that point on, we've always had

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<v Speaker 3>a dog. But so dogs and animals and everything were

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<v Speaker 3>so part of my life and so naturally the veterinary

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<v Speaker 3>part was very interesting.

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<v Speaker 1>Oh wait, wait, wait, why did your dad feel that

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<v Speaker 1>every boy needed a dog?

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<v Speaker 2>And they say dogs are man's best friends.

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<v Speaker 3>Yeah, and that's also it's kind of it's just nice

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<v Speaker 3>to have a non communicating relationship with something where you're

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<v Speaker 3>not a verbal communicator with it so much you just

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<v Speaker 3>sense this wonderful animal is here for you, and I'm

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<v Speaker 3>here for this wonderful animal. And we don't sit down

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<v Speaker 3>and have long talks about things or share, but there's

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<v Speaker 3>a communication and a relationship that develops that is just pure.

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<v Speaker 3>It's like, you know right now, you know, we live

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<v Speaker 3>in Colorado, and it's just wonderful to just watch the

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<v Speaker 3>dogs go out and be dog every day, no fences,

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<v Speaker 3>no anything, and you just sit there and you kind

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<v Speaker 3>of look at that dog and go, what's going through

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<v Speaker 3>his mind or her mind or whatever. I just I

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<v Speaker 3>don't know, I really like that. So the veterinary side

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<v Speaker 3>was really kind of to help dogs, you know, that's

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<v Speaker 3>a whole other level and to be able to do that,

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<v Speaker 3>and I love the fact that, again, the dog doesn't

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<v Speaker 3>come in and tell you what its problems are. You know,

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<v Speaker 3>you need to look at it, you need to spend

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<v Speaker 3>time with it. And even in the days of when

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<v Speaker 3>I was involved in veterinary medicine, it was you know,

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<v Speaker 3>there weren't even a lot of testing, and there weren't MRIs,

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<v Speaker 3>and there weren't all the things that we do for

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<v Speaker 3>our dogs now. It was really more of just like

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<v Speaker 3>looking and listening to the owners and you know, feeling

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<v Speaker 3>things on the dog and just seeing where are the problems,

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<v Speaker 3>what can we do? And it kind of really very

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<v Speaker 3>spiritual to kind of get in the head and the

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<v Speaker 3>body of the dog to decide what to do with it.

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<v Speaker 3>But anyway, my plan was to go to veterinary school

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<v Speaker 3>in the United States, but then all of a sudden

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<v Speaker 3>it looked like, oh, maybe it would be a little

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<v Speaker 3>easier to get in the ventory school in Europe. So

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<v Speaker 3>I went to Germany. Got oh that's a huge Yes,

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<v Speaker 3>yeah it was. It was a bit. It was a

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<v Speaker 3>big deal.

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<v Speaker 2>This was your hold.

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<v Speaker 3>It would have been nineteen years.

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<v Speaker 2>It's just like it's going to be easier to go

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<v Speaker 2>to vet school or become a veterinarian.

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<v Speaker 3>For the It's very hard in California at that time

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<v Speaker 3>one vetinary school you see David ninety spaces. I think

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<v Speaker 3>it was easier for me to be a doctor than

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<v Speaker 3>it would have been to a ventnor. It was very,

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<v Speaker 3>very hard. It was hard and so but there there

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<v Speaker 3>were nineteen foreign student positions. So I thought, well, I'm

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<v Speaker 3>going to do do that. I flew to Frankfurt, took

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<v Speaker 3>a train to Munich, got off the train in Munich,

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<v Speaker 3>I stayed in the youth hostel, and I went around

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<v Speaker 3>Munich going to all the veterinarians showing up and they're saying,

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<v Speaker 3>do you need an assistant? Because I decided that for

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<v Speaker 3>the first year I needed to go there learn the language.

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<v Speaker 3>Really could and the only thing I really knew how

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<v Speaker 3>to do was to be a veterinary assistant because that's

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<v Speaker 3>what I done in the US. Ultimately, somebody knew another

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<v Speaker 3>veterinarian that needed help, and it was a large animal vetinary,

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<v Speaker 3>and I started working for a large, large animal veterinarian

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<v Speaker 3>outside of Munich. But the thing that simultaneously kind of

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<v Speaker 3>happened once I got settled into that was, as you

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<v Speaker 3>can in Europe. On Friday nights, I would get on

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<v Speaker 3>a train and take the train to somewhere else in

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<v Speaker 3>Europe and go to a race because I loved racing,

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<v Speaker 3>and here I was in Europe to get to see

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<v Speaker 3>racing from Formula one, sports car racing to whatever. And

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<v Speaker 3>so I would spend Saturday and Sunday at the races

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<v Speaker 3>and figure out ways to sit, sneak into the pits,

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<v Speaker 3>and do all those kind of things that you could

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<v Speaker 3>do then.

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<v Speaker 2>And during that era. To be able to go to

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<v Speaker 2>races in Europe. Ivote, God, what a what a time

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<v Speaker 2>to be alive?

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<v Speaker 3>Oh it was, And it was Nikki Lauda and James

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<v Speaker 3>Hunt and you know, all those kind great things, which

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<v Speaker 3>I'll tell you a little funny moment relative to that.

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<v Speaker 3>But I was literally, you know, with my little camera

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<v Speaker 3>that I had kind of evolved from that instematic and

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<v Speaker 3>fourth grade. I had a camera with me and would

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<v Speaker 3>photograph the races and be right there in the middle

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<v Speaker 3>of things. And I just came to this realization that,

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<v Speaker 3>you know, this is where I really wanted to be.

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<v Speaker 3>I was allowed to be around cars, the people that

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<v Speaker 3>were closest to the action were the photographers. So I

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<v Speaker 3>wrote my parents a letter from Europe after being there

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<v Speaker 3>for about nine ten months, and I said, you know,

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<v Speaker 3>I don't think I want to be a Venteroran anymore.

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<v Speaker 3>I want to be a photographer. And you know, you

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<v Speaker 3>have to wait for that to come back now. So

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<v Speaker 3>then the letter comes back, and I opened the letter

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<v Speaker 3>and said, well, you know, that's going to be a

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<v Speaker 3>really difficult life because my parents knew nothing about photography.

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<v Speaker 3>You know, as a career, I really didn't know anything

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<v Speaker 3>about photography. But they just said, we'll support you. But

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<v Speaker 3>you know, if you're a veterinarian, you've got it kind

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<v Speaker 3>of made. You know, you will be a doctor and

0:11:03.960 --> 0:11:06.479
<v Speaker 3>all that stuff. But if you want to be a photographer,

0:11:07.160 --> 0:11:08.800
<v Speaker 3>you need to come back to the United States and

0:11:08.800 --> 0:11:10.079
<v Speaker 3>you need to figure out where you're going to go

0:11:10.120 --> 0:11:12.640
<v Speaker 3>to school, because we can't help you in that. And

0:11:12.720 --> 0:11:16.360
<v Speaker 3>so that was my life change. And it was not

0:11:16.559 --> 0:11:20.800
<v Speaker 3>because I love photography, but because photography was the way

0:11:20.840 --> 0:11:24.240
<v Speaker 3>to be around cars. So that was really it. And

0:11:24.280 --> 0:11:27.720
<v Speaker 3>as it turned out, you know, I did eventually really

0:11:27.720 --> 0:11:30.920
<v Speaker 3>love photography. I did all that. I just in my

0:11:31.080 --> 0:11:34.120
<v Speaker 3>head the driving force was this is my way to

0:11:34.120 --> 0:11:34.920
<v Speaker 3>be around cars.

0:11:35.160 --> 0:11:37.880
<v Speaker 1>You know, you think because you love cars and racing,

0:11:38.600 --> 0:11:42.400
<v Speaker 1>you were able to capture in your photography the cars

0:11:42.480 --> 0:11:45.360
<v Speaker 1>in a unique way compared to other photographers that would

0:11:45.400 --> 0:11:46.520
<v Speaker 1>just take a picture of a car.

0:11:47.559 --> 0:11:51.080
<v Speaker 3>That was really true and it still works to this day.

0:11:51.280 --> 0:11:54.800
<v Speaker 3>I mean, there's so many subjects that relate to what

0:11:54.840 --> 0:11:57.960
<v Speaker 3>you just said, is that. You know, it was the speed,

0:11:58.280 --> 0:12:00.560
<v Speaker 3>it was the motion, it was the thing like that

0:12:00.760 --> 0:12:03.600
<v Speaker 3>to it that I was so attracted to. I was

0:12:03.720 --> 0:12:07.880
<v Speaker 3>less interested in just freezing the car. I wanted the

0:12:07.920 --> 0:12:12.480
<v Speaker 3>motion and things. And my highest aspiration was someday shoot

0:12:12.559 --> 0:12:14.719
<v Speaker 3>something for Road and Track magazine because that's what I'd

0:12:14.720 --> 0:12:17.760
<v Speaker 3>grown up with my family, was this magazine that came

0:12:17.800 --> 0:12:20.599
<v Speaker 3>every month. Well, of course, when I got out of

0:12:20.679 --> 0:12:23.200
<v Speaker 3>Art Center, I thought, you know, if I could just

0:12:23.240 --> 0:12:26.320
<v Speaker 3>do something. So the offices for Road and Track were

0:12:26.320 --> 0:12:29.360
<v Speaker 3>in Newport Beach and I went down to those offices

0:12:29.480 --> 0:12:33.440
<v Speaker 3>and my first assignment was a cover with them, So

0:12:33.520 --> 0:12:37.000
<v Speaker 3>it just it took off from there. But also I

0:12:37.160 --> 0:12:41.640
<v Speaker 3>started covering Formula one for Road and Track magazine, and

0:12:41.679 --> 0:12:43.760
<v Speaker 3>I'd go to the Brazilian Grand Prix and shoot the

0:12:43.840 --> 0:12:46.800
<v Speaker 3>Formula one spotters, guide and do all these things, but

0:12:46.880 --> 0:12:51.080
<v Speaker 3>it was always about motion and action and blurred backgrounds

0:12:51.120 --> 0:12:55.640
<v Speaker 3>and kind of creating it maybe more artful and funny enough.

0:12:55.679 --> 0:12:58.320
<v Speaker 3>I mean, who would have ever thought that somebody was

0:12:58.400 --> 0:13:02.520
<v Speaker 3>reading Road and Track magazine and they're at a company

0:13:02.559 --> 0:13:06.280
<v Speaker 3>that builds fighter planes and they call me up and say,

0:13:06.760 --> 0:13:08.560
<v Speaker 3>could you come up to our offices for a meeting?

0:13:08.679 --> 0:13:10.520
<v Speaker 3>And I come up there and they have all my

0:13:10.640 --> 0:13:13.960
<v Speaker 3>Formula one work from Road and Track magazine. They're saying,

0:13:14.240 --> 0:13:17.720
<v Speaker 3>we would like you to shoot our fighter planes like

0:13:17.800 --> 0:13:20.840
<v Speaker 3>you shoot Formula one, And I'm like, how do I

0:13:21.080 --> 0:13:24.960
<v Speaker 3>get in this situation? Ultimately it led to me being

0:13:25.880 --> 0:13:30.280
<v Speaker 3>Martin Baker ejection seat certified, went through all the training

0:13:30.480 --> 0:13:32.680
<v Speaker 3>that you do basically to be a pilot, and I

0:13:32.760 --> 0:13:35.360
<v Speaker 3>flew back seat with this little card I carried with

0:13:35.400 --> 0:13:39.320
<v Speaker 3>me in F eighteen's and almost everything that way, and

0:13:39.640 --> 0:13:43.440
<v Speaker 3>photographed fighter planes the way I did F one And

0:13:43.520 --> 0:13:45.959
<v Speaker 3>it was just kind of a magical moment. But it

0:13:46.080 --> 0:13:48.880
<v Speaker 3>came from Road and Track, came from shooting the Formula

0:13:48.880 --> 0:13:49.760
<v Speaker 3>one cars.

0:13:49.600 --> 0:13:54.000
<v Speaker 1>So came from something that you were passionate. Yeah, yeah, absolutely,

0:13:54.120 --> 0:13:55.000
<v Speaker 1>what a great lesson.

0:13:55.200 --> 0:13:58.160
<v Speaker 2>Absolutely can you look back in your life and see

0:13:58.880 --> 0:13:59.840
<v Speaker 2>everything connect.

0:14:01.760 --> 0:14:06.280
<v Speaker 3>The amount of full circle moments, it still to this

0:14:06.400 --> 0:14:10.560
<v Speaker 3>day gives me chills just around motorsport or whatever. You know.

0:14:11.080 --> 0:14:14.720
<v Speaker 3>I get a call through my office that Ron Howard

0:14:14.800 --> 0:14:18.080
<v Speaker 3>wants to have a meeting about a movie he's working on,

0:14:18.520 --> 0:14:22.200
<v Speaker 3>and it was the movie Rush, and he said, can

0:14:22.200 --> 0:14:24.560
<v Speaker 3>we meet for breakfast? I really like the way you

0:14:24.640 --> 0:14:29.720
<v Speaker 3>approach shooting cars and action and everything. He said, could

0:14:29.800 --> 0:14:32.040
<v Speaker 3>we just have a breakfast one day? And so I

0:14:32.080 --> 0:14:35.000
<v Speaker 3>go down and I'm sitting there and I didn't know

0:14:35.040 --> 0:14:38.520
<v Speaker 3>what he was working on, but I'm sitting there with

0:14:38.600 --> 0:14:44.520
<v Speaker 3>Ron Howard and then to get his perspective that says,

0:14:46.080 --> 0:14:49.520
<v Speaker 3>this is about James Hunt and Nikki Lauda, and I

0:14:49.560 --> 0:14:52.800
<v Speaker 3>go back to I'm a veterinary working for veterinarian in

0:14:52.840 --> 0:14:56.360
<v Speaker 3>Europe in the pits at Dutch Grand Prix and song

0:14:56.480 --> 0:15:00.000
<v Speaker 3>for it shooting Nikki l Loud and James Hung.

0:15:00.920 --> 0:15:04.600
<v Speaker 1>It's like, wow, well, you know, Ron Howard is a

0:15:04.960 --> 0:15:06.560
<v Speaker 1>is a real special human being.

0:15:06.600 --> 0:15:11.800
<v Speaker 3>Huh. Yeah. I loved his diligence in studying it. You know.

0:15:12.000 --> 0:15:14.520
<v Speaker 1>Yeah, I did this table read for a film that

0:15:14.640 --> 0:15:18.160
<v Speaker 1>he was going to potentially do and we never did it.

0:15:18.280 --> 0:15:22.920
<v Speaker 1>And it put things into perspective, like meeting him the first.

0:15:23.000 --> 0:15:25.080
<v Speaker 1>You know, I grew up watching him on Happy Days

0:15:25.160 --> 0:15:29.280
<v Speaker 1>and Andy Griffith Show, right, and Andy griff The show

0:15:29.360 --> 0:15:31.240
<v Speaker 1>is a black and white TV show.

0:15:38.680 --> 0:15:38.880
<v Speaker 2>Room.

0:15:45.280 --> 0:15:48.400
<v Speaker 4>It's great TV. But rn Over was like a little boy.

0:15:49.120 --> 0:15:51.440
<v Speaker 4>He's really the little boy of the local sheriff, right.

0:15:51.560 --> 0:15:58.480
<v Speaker 4>And anyway, so we're in his production office in Beverly

0:15:58.560 --> 0:16:01.640
<v Speaker 4>Hills and and then I went to the bat. I

0:16:01.680 --> 0:16:03.120
<v Speaker 4>was like, hey, can I use your bathroom? And he

0:16:03.120 --> 0:16:04.640
<v Speaker 4>had a bathroom in his office. He goes, hey, you

0:16:04.680 --> 0:16:07.800
<v Speaker 4>can use that one, and I'm using his toilet.

0:16:08.000 --> 0:16:11.520
<v Speaker 1>There was an oscar on the toilet and I was like,

0:16:11.920 --> 0:16:14.600
<v Speaker 1>I guess this is what he thinks of what these

0:16:14.640 --> 0:16:16.680
<v Speaker 1>actually are. I mean, at the end of the day,

0:16:16.720 --> 0:16:20.160
<v Speaker 1>it's really the experience, really, you know that he values.

0:16:20.200 --> 0:16:22.840
<v Speaker 1>It's like at the end, it's just a statue, right,

0:16:23.040 --> 0:16:26.160
<v Speaker 1>And it was like one of those like full circle

0:16:26.280 --> 0:16:28.560
<v Speaker 1>moments to be able to work with this icon.

0:16:28.880 --> 0:16:33.000
<v Speaker 3>Yeah, yeah, no it is. And I think he really

0:16:33.040 --> 0:16:36.520
<v Speaker 3>need to appreciate those moments too, And it really puts

0:16:36.520 --> 0:16:40.800
<v Speaker 3>things in perspective. Even for like fun I shot the

0:16:40.840 --> 0:16:44.040
<v Speaker 3>first I think I shot four seasons of GT Academy,

0:16:44.400 --> 0:16:50.120
<v Speaker 3>the real, real GT Academy. Yeah, so you know, so

0:16:50.240 --> 0:16:52.760
<v Speaker 3>here we are, you know, a million I think about that,

0:16:52.840 --> 0:16:55.320
<v Speaker 3>you know, then the movie comes along. But you know,

0:16:55.400 --> 0:17:01.000
<v Speaker 3>it's like I was living four years with a group

0:17:01.040 --> 0:17:05.160
<v Speaker 3>of kids that basically had qualified by gaming, and then

0:17:05.200 --> 0:17:08.280
<v Speaker 3>we'd put them literally on day one in a GTR

0:17:08.920 --> 0:17:14.840
<v Speaker 3>you know, on Silverstone, and it was to watch the

0:17:15.600 --> 0:17:21.520
<v Speaker 3>mental load, the physical load, the the racecraft developed, all

0:17:21.560 --> 0:17:24.080
<v Speaker 3>these things that would have to kind of all come

0:17:24.119 --> 0:17:27.800
<v Speaker 3>together to succeed in that. It was a fascinating process.

0:17:27.840 --> 0:17:30.639
<v Speaker 3>And then here you are coming off the movie. It

0:17:30.680 --> 0:17:34.399
<v Speaker 3>was just again a really fun, you know, circle moment

0:17:34.480 --> 0:17:38.000
<v Speaker 3>of watching that evolve into something that was bigger than

0:17:38.000 --> 0:17:39.680
<v Speaker 3>we ever imagined in the beginning.

0:17:40.160 --> 0:17:42.879
<v Speaker 1>What were some of the characteristics that stood out of

0:17:42.920 --> 0:17:47.320
<v Speaker 1>the individuals that excelled you know, I mean that's a

0:17:47.400 --> 0:17:48.680
<v Speaker 1>question through life, Yeah.

0:17:49.800 --> 0:17:51.840
<v Speaker 3>It really is. It was. It was kind of hard

0:17:51.840 --> 0:17:56.119
<v Speaker 3>to watch sometimes because people were so serious there the

0:17:56.160 --> 0:18:00.679
<v Speaker 3>competitors that were so serious and tried so hard, and

0:18:01.240 --> 0:18:05.160
<v Speaker 3>you know, it wasn't you know, racing is so much

0:18:05.200 --> 0:18:08.159
<v Speaker 3>a part of economics in a lot of ways today

0:18:08.240 --> 0:18:11.560
<v Speaker 3>is racing, and there was no economics in there. You

0:18:11.600 --> 0:18:15.840
<v Speaker 3>know you qualified or you didn't. It wasn't you know,

0:18:15.880 --> 0:18:19.600
<v Speaker 3>how you were bankrolled or anything. So for them to

0:18:19.800 --> 0:18:24.320
<v Speaker 3>arrive there, it was really kind of multiple great human

0:18:24.400 --> 0:18:29.360
<v Speaker 3>interest stories of guys that are just living, breathing. Everything

0:18:29.400 --> 0:18:33.719
<v Speaker 3>about it was, you know, basically in the hands of

0:18:33.760 --> 0:18:38.240
<v Speaker 3>this one week long event, and the problem in the

0:18:39.080 --> 0:18:41.960
<v Speaker 3>not the problem because the game prepared them so well,

0:18:42.000 --> 0:18:45.920
<v Speaker 3>but there was no consequence in the game for them

0:18:45.920 --> 0:18:50.479
<v Speaker 3>to get there. And I couldn't believe how fast the

0:18:50.520 --> 0:18:54.840
<v Speaker 3>competitors would ramp up. They would go quick right away

0:18:55.800 --> 0:18:59.720
<v Speaker 3>because they'd race with no consequence to get there. And

0:19:00.720 --> 0:19:03.360
<v Speaker 3>then the other side of it, too, was is that

0:19:03.400 --> 0:19:08.160
<v Speaker 3>they would they would be able to manage the cars

0:19:08.800 --> 0:19:11.679
<v Speaker 3>so often because some of this part of this. I

0:19:11.680 --> 0:19:14.200
<v Speaker 3>would ride with them sometimes in film and do thing

0:19:14.720 --> 0:19:17.760
<v Speaker 3>and you just, you know, knowing what I knew, their

0:19:17.800 --> 0:19:20.120
<v Speaker 3>car control was so good, and a lot of times

0:19:20.200 --> 0:19:22.560
<v Speaker 3>it would come back to saying, well, I have so

0:19:22.880 --> 0:19:27.000
<v Speaker 3>little physical feedback in the game, but now that I'm

0:19:27.000 --> 0:19:33.040
<v Speaker 3>in a car, that extra feedback I have actually really helps,

0:19:33.160 --> 0:19:36.280
<v Speaker 3>you know, I really understand it. It's it's obviously something

0:19:36.320 --> 0:19:39.280
<v Speaker 3>you have to adapt to, but the ability to kind

0:19:39.280 --> 0:19:41.760
<v Speaker 3>of ramp up and go quickly right away was always

0:19:41.760 --> 0:19:45.360
<v Speaker 3>surprising to me because I remember in some of the beginnings,

0:19:45.359 --> 0:19:47.000
<v Speaker 3>you know, some of these guys had never even driven

0:19:47.000 --> 0:19:49.960
<v Speaker 3>a manual transmission. You know, they qualified in the game,

0:19:50.000 --> 0:19:52.280
<v Speaker 3>but they never had driven a manual transmission, and the

0:19:52.320 --> 0:19:55.680
<v Speaker 3>things that they'd have to deal with was really fascinating.

0:19:55.720 --> 0:19:59.920
<v Speaker 3>And and it was interesting because it became more entertainment

0:20:01.080 --> 0:20:03.760
<v Speaker 3>in this as we went through the seasons, rather than

0:20:03.920 --> 0:20:08.359
<v Speaker 3>pure racecraft and everything that you needed to do to

0:20:08.400 --> 0:20:10.879
<v Speaker 3>be a racing driver. It needed to be a little

0:20:10.880 --> 0:20:13.120
<v Speaker 3>more entertaining season after season, and I think that.

0:20:13.440 --> 0:20:14.480
<v Speaker 1>Like a reality show.

0:20:14.560 --> 0:20:19.080
<v Speaker 3>Yeah, yeah, and it became probably the results were less

0:20:19.200 --> 0:20:21.479
<v Speaker 3>pure to what it took to be a racer.

0:20:36.680 --> 0:20:38.880
<v Speaker 1>I mean, when you bought that nine fourteen six, it

0:20:38.960 --> 0:20:42.760
<v Speaker 1>was the affordable Porsche. Yeah, but today that's not a fortune.

0:20:42.800 --> 0:20:48.920
<v Speaker 3>No, I is really, but yeah, it was my cheapest

0:20:48.960 --> 0:20:51.200
<v Speaker 3>way to get into a six cylinder porschew How much

0:20:51.320 --> 0:20:54.280
<v Speaker 3>was that when you bought it? I think thirty eight

0:20:54.640 --> 0:20:56.720
<v Speaker 3>dollars or something like that.

0:20:57.040 --> 0:20:57.800
<v Speaker 1>Oh my god.

0:20:57.640 --> 0:21:00.199
<v Speaker 3>The story, you know, we can get into it. The

0:21:00.280 --> 0:21:03.719
<v Speaker 3>story of getting that car is kind of very defining

0:21:03.920 --> 0:21:08.199
<v Speaker 3>for my whole kind of world. So I had a

0:21:08.240 --> 0:21:12.480
<v Speaker 3>paper out, like at thirteen years old, and so my

0:21:12.720 --> 0:21:17.080
<v Speaker 3>dad my parents. My dad was a mechanical engineer who

0:21:17.119 --> 0:21:21.240
<v Speaker 3>specialized in plastics, and my mom was a school teacher.

0:21:21.920 --> 0:21:24.800
<v Speaker 3>So it's kind of the environment. I was the only child,

0:21:24.960 --> 0:21:29.080
<v Speaker 3>and so I kind of just you know, grew up

0:21:29.119 --> 0:21:31.560
<v Speaker 3>in that kind of environment. But I had a paper out,

0:21:32.080 --> 0:21:34.840
<v Speaker 3>and his deal was I had to invest half my

0:21:34.960 --> 0:21:38.359
<v Speaker 3>money in the stock market. Wow. And it was just

0:21:38.440 --> 0:21:40.679
<v Speaker 3>kind of like you know, in retrospect, I gets just

0:21:40.720 --> 0:21:43.080
<v Speaker 3>teaching you to be conscious of your money and not

0:21:43.240 --> 0:21:46.440
<v Speaker 3>just like you every month getting my little paycheck from

0:21:46.480 --> 0:21:50.320
<v Speaker 3>my paper out, I was spending it. So it also

0:21:50.520 --> 0:21:53.280
<v Speaker 3>allowed you to kind of research and what would I

0:21:53.359 --> 0:21:55.800
<v Speaker 3>be interested in investing in and things like that. And

0:21:55.840 --> 0:21:58.480
<v Speaker 3>then when I graduated my school, deal was I could

0:21:58.720 --> 0:22:04.040
<v Speaker 3>buy my first car. And my dad had a early

0:22:04.119 --> 0:22:06.720
<v Speaker 3>nine to eleven and which is kind of a fairly

0:22:06.760 --> 0:22:10.560
<v Speaker 3>well known story, but it was actually chassis number thirty five,

0:22:10.680 --> 0:22:13.320
<v Speaker 3>nine eleven. It was a nine oh one, So like

0:22:13.920 --> 0:22:18.000
<v Speaker 3>this would be a revered amazing car to own today.

0:22:18.520 --> 0:22:20.680
<v Speaker 3>It just for my dad happened to be the oldest,

0:22:20.760 --> 0:22:23.160
<v Speaker 3>most affordable nine to eleven. He could buy at the time,

0:22:23.240 --> 0:22:26.520
<v Speaker 3>which was also a used car at the time when

0:22:26.560 --> 0:22:30.480
<v Speaker 3>he bought it, And so I love the sound of

0:22:30.480 --> 0:22:34.879
<v Speaker 3>a six cylinder motor and a nine to eleven. I

0:22:34.920 --> 0:22:37.720
<v Speaker 3>couldn't get a very new nine to eleven at the

0:22:37.760 --> 0:22:39.960
<v Speaker 3>time for the same amount of money, but I could

0:22:40.000 --> 0:22:43.760
<v Speaker 3>get an almost brand new nine fourteen six, and so

0:22:44.400 --> 0:22:46.919
<v Speaker 3>that's what I bought. So I bought a nine fourteen

0:22:47.040 --> 0:22:49.400
<v Speaker 3>six and I still have it to this day. It's

0:22:49.440 --> 0:22:54.359
<v Speaker 3>on display at the Peterson Museum. But the cool things too,

0:22:54.520 --> 0:22:58.359
<v Speaker 3>is that that car. You know, who would have ever

0:22:58.600 --> 0:23:03.680
<v Speaker 3>thought that car kind of provided so many life experiences

0:23:03.720 --> 0:23:06.320
<v Speaker 3>along the way because I went off to college in it.

0:23:06.480 --> 0:23:09.600
<v Speaker 3>You know, people who went to Art Center College Design

0:23:09.680 --> 0:23:12.760
<v Speaker 3>where I went to college, they still remember, oh, you

0:23:12.840 --> 0:23:15.000
<v Speaker 3>drove that yellow nine fourteen six in those days.

0:23:15.000 --> 0:23:16.720
<v Speaker 1>The color of my nine fourteen is it? I have

0:23:16.760 --> 0:23:17.200
<v Speaker 1>a nine for it?

0:23:17.560 --> 0:23:20.440
<v Speaker 3>Yellow? Yeah? Oh really, yeah, well that was the color

0:23:20.480 --> 0:23:22.800
<v Speaker 3>and ex actually made me kind of you know, I

0:23:22.840 --> 0:23:26.520
<v Speaker 3>still really like yellow cars to this day. But but

0:23:26.560 --> 0:23:28.720
<v Speaker 3>the thing was is, you know, like if you look

0:23:28.760 --> 0:23:30.600
<v Speaker 3>at back to the life, it's kind of been the

0:23:30.640 --> 0:23:34.040
<v Speaker 3>common thread in so many ways. And you know, I

0:23:34.080 --> 0:23:36.879
<v Speaker 3>went to college in it. I met my wife in it.

0:23:37.000 --> 0:23:40.520
<v Speaker 3>You know, I was a skateboarder. I was a longboard skateboarder,

0:23:40.560 --> 0:23:42.639
<v Speaker 3>and so I would be up in the hills in

0:23:42.680 --> 0:23:46.440
<v Speaker 3>between classes in Pasadena and at Art Center and skateboarding,

0:23:46.480 --> 0:23:49.199
<v Speaker 3>and I met my wife. She was one of the

0:23:49.240 --> 0:23:52.560
<v Speaker 3>girls giving rides back up the mountain after we'd skate down.

0:23:52.640 --> 0:23:55.440
<v Speaker 3>And you know, I was driving the nine fourteen six then,

0:23:55.240 --> 0:23:58.840
<v Speaker 3>and then if you kind of go years later in

0:23:59.040 --> 0:24:03.560
<v Speaker 3>nineteen already been rallying and doing things in the us

0:24:03.640 --> 0:24:06.440
<v Speaker 3>POR Rally Championship and racing at Pike, speaking different things.

0:24:06.480 --> 0:24:09.720
<v Speaker 3>But I had the opportunity to do a long distance

0:24:09.800 --> 0:24:14.920
<v Speaker 3>event FI Marathon Rally, which was twenty five days, ten

0:24:15.000 --> 0:24:19.080
<v Speaker 3>thousand miles from Panama to Alaska, and trying to decide

0:24:19.080 --> 0:24:21.320
<v Speaker 3>what car to do that in and everything it was

0:24:21.320 --> 0:24:24.679
<v Speaker 3>such a big deal. Well, I decided to build my

0:24:24.800 --> 0:24:27.560
<v Speaker 3>nine fourteen six into that rally car that I could

0:24:27.600 --> 0:24:30.520
<v Speaker 3>do it because that particular event had to be nineteen

0:24:30.600 --> 0:24:33.960
<v Speaker 3>seventy three. In earlier cars, that car being in nineteen

0:24:34.040 --> 0:24:39.160
<v Speaker 3>seventy worked for that. But I entered that car in Panama.

0:24:39.280 --> 0:24:41.679
<v Speaker 3>But the cool thing is you had a service group

0:24:42.320 --> 0:24:44.080
<v Speaker 3>and there were two people in my service crew, a

0:24:44.800 --> 0:24:47.280
<v Speaker 3>guy who we had known from Vasik PULLUK in the

0:24:47.320 --> 0:24:50.840
<v Speaker 3>early days of working with Porsche with my dad of

0:24:51.160 --> 0:24:54.600
<v Speaker 3>having his car being serviced there. He was Spanish speaking

0:24:54.680 --> 0:24:57.000
<v Speaker 3>and English speaking, so it's perfect for an event that

0:24:57.080 --> 0:25:01.840
<v Speaker 3>went through Central America and my dad was in the

0:25:01.880 --> 0:25:06.160
<v Speaker 3>service vehicle. So can you imagine, like the guy who

0:25:06.240 --> 0:25:10.560
<v Speaker 3>made me invest money at thirteen years old with the

0:25:10.560 --> 0:25:12.960
<v Speaker 3>deal I could eventually spend the money when I graduated

0:25:12.960 --> 0:25:16.800
<v Speaker 3>from high school. Here he is following me for twenty

0:25:16.840 --> 0:25:20.800
<v Speaker 3>five days in the car that I had bought with

0:25:20.840 --> 0:25:24.239
<v Speaker 3>that money that I got to invest. It was just

0:25:24.320 --> 0:25:26.400
<v Speaker 3>like it was so cool. And my dad wasn't one

0:25:26.440 --> 0:25:28.639
<v Speaker 3>of those guys who had done a lot of things

0:25:28.680 --> 0:25:32.200
<v Speaker 3>worldly and had done it. He was passionate with cars, yes,

0:25:32.240 --> 0:25:34.720
<v Speaker 3>but he just hadn't done anything like that. He's immersed

0:25:34.720 --> 0:25:39.680
<v Speaker 3>in this full on international event chasing his kid driving

0:25:39.720 --> 0:25:43.280
<v Speaker 3>this car that he'd you know, motivated to invest in

0:25:43.320 --> 0:25:47.000
<v Speaker 3>the stock market, and we finished second overall and had

0:25:47.040 --> 0:25:50.280
<v Speaker 3>an amazing race and everything, and you know, it was

0:25:50.400 --> 0:25:53.680
<v Speaker 3>probably if my dad could share it now, it would

0:25:53.680 --> 0:25:56.439
<v Speaker 3>probably be one of his great moments in life of

0:25:56.480 --> 0:25:58.880
<v Speaker 3>doing that. And so you know, you just don't get

0:25:58.880 --> 0:26:02.080
<v Speaker 3>that opportunity very often, and it was really something special.

0:26:02.280 --> 0:26:05.000
<v Speaker 2>Wow, where do you think you get that drive from?

0:26:05.080 --> 0:26:08.720
<v Speaker 2>You say your father wasn't much of a worldly traveler?

0:26:08.800 --> 0:26:10.320
<v Speaker 2>Did you take that after your mom.

0:26:10.840 --> 0:26:13.600
<v Speaker 3>A little bit? I mean, you know, if you look

0:26:13.640 --> 0:26:16.639
<v Speaker 3>at the racing side of me and uh, you know,

0:26:16.720 --> 0:26:19.520
<v Speaker 3>racing at Pike's Peak, which is, you know, a fairly

0:26:19.600 --> 0:26:23.080
<v Speaker 3>daunting event, and it was some consequence, you know. I

0:26:23.119 --> 0:26:26.520
<v Speaker 3>remember growing up, my mom was the one that had

0:26:26.560 --> 0:26:28.760
<v Speaker 3>to go on the roof of the house to install

0:26:28.840 --> 0:26:34.120
<v Speaker 3>the antenna because my dad was afraid of being the roof,

0:26:34.600 --> 0:26:37.680
<v Speaker 3>you know, up high and heights and things. But I think,

0:26:38.080 --> 0:26:41.159
<v Speaker 3>you know, I think familiar to your point is like

0:26:41.800 --> 0:26:43.880
<v Speaker 3>it's also a little bit of an only child thing.

0:26:44.760 --> 0:26:47.919
<v Speaker 3>I went to a different school every year till I

0:26:48.000 --> 0:26:51.000
<v Speaker 3>was a junior in high school. It wasn't always because

0:26:51.000 --> 0:26:53.359
<v Speaker 3>we were changing houses and moving and things. But my

0:26:53.440 --> 0:26:56.080
<v Speaker 3>dad was in the plastics business, which was like an

0:26:56.080 --> 0:26:59.639
<v Speaker 3>emerging big business and so he was always getting offers

0:26:59.640 --> 0:27:02.800
<v Speaker 3>to do things elsewhere and things like that. But that

0:27:03.240 --> 0:27:08.480
<v Speaker 3>kind of having to do things for yourself and adapt

0:27:08.600 --> 0:27:14.320
<v Speaker 3>to environments and to be kind of very aware of

0:27:15.560 --> 0:27:17.760
<v Speaker 3>you're on your own and you got to do this,

0:27:17.920 --> 0:27:20.879
<v Speaker 3>and my parents were very supportive. It wasn't like I was,

0:27:21.359 --> 0:27:24.000
<v Speaker 3>you know, in my own in that way. But you know,

0:27:24.080 --> 0:27:26.280
<v Speaker 3>you as a kid, you know there's a generation you

0:27:26.359 --> 0:27:29.399
<v Speaker 3>want to be taking command of it. You know, you

0:27:29.480 --> 0:27:32.680
<v Speaker 3>didn't have a lot of friends because you weren't dropping

0:27:32.720 --> 0:27:35.879
<v Speaker 3>into you weren't living a life where you know, you

0:27:35.920 --> 0:27:38.359
<v Speaker 3>had lifetime friends and things like that. I was having

0:27:38.359 --> 0:27:39.680
<v Speaker 3>to constantly make new friends.

0:27:40.160 --> 0:27:44.439
<v Speaker 2>It's so fascinating to hear you say this because I

0:27:44.960 --> 0:27:46.919
<v Speaker 2>doesn't sound like I want to as many different schools

0:27:46.920 --> 0:27:50.240
<v Speaker 2>as you did. But in my high school years, I

0:27:50.280 --> 0:27:52.680
<v Speaker 2>went to a new high school every single year. And

0:27:52.960 --> 0:27:56.240
<v Speaker 2>the traits that you're talking about of like I fortunately

0:27:56.240 --> 0:27:58.560
<v Speaker 2>have the childhood friends who I'm still in touch with today,

0:27:58.560 --> 0:28:02.080
<v Speaker 2>but constantly having to meet new people, almost growing up

0:28:02.119 --> 0:28:05.679
<v Speaker 2>on your own terms in a way, and there's just

0:28:05.720 --> 0:28:08.320
<v Speaker 2>a certain element that at the time I didn't understand,

0:28:08.320 --> 0:28:11.720
<v Speaker 2>but looking back at it really gave me this grounding

0:28:11.760 --> 0:28:13.000
<v Speaker 2>that it sounds like we share.

0:28:13.359 --> 0:28:15.040
<v Speaker 3>And you know, I think also the other thing that

0:28:16.040 --> 0:28:18.120
<v Speaker 3>for me at least, and I mean, this is more

0:28:18.240 --> 0:28:21.560
<v Speaker 3>career oriented, but it really spawned a lot of creativity,

0:28:22.080 --> 0:28:25.560
<v Speaker 3>you know, because you had to. You know, we weren't

0:28:25.800 --> 0:28:30.560
<v Speaker 3>internet bound. We weren't you know, entertained naturally by technology.

0:28:31.160 --> 0:28:33.879
<v Speaker 3>You had to figure out ways to be entertained. And

0:28:34.200 --> 0:28:36.600
<v Speaker 3>you know, for that, since I didn't you know, I

0:28:36.640 --> 0:28:38.560
<v Speaker 3>came home from school, I wasn't really hanging with my

0:28:38.600 --> 0:28:40.520
<v Speaker 3>friends because I was new to the school, you know.

0:28:40.600 --> 0:28:44.760
<v Speaker 3>So I ended up being I think, more motivated to

0:28:44.800 --> 0:28:50.160
<v Speaker 3>be creative and be self self motivated to make something

0:28:50.760 --> 0:28:53.960
<v Speaker 3>on your own because you didn't have that reliance. And

0:28:54.240 --> 0:28:57.040
<v Speaker 3>in a lot of ways, you know, if you look

0:28:57.080 --> 0:29:02.239
<v Speaker 3>at going into ultimately photography and then directing, is that

0:29:02.560 --> 0:29:04.840
<v Speaker 3>it kind of comes back on you. You have to

0:29:04.880 --> 0:29:08.920
<v Speaker 3>own it. Yes, in filmmaking, we have an amazing support

0:29:09.000 --> 0:29:11.400
<v Speaker 3>system and all these departments that work for you, but

0:29:12.440 --> 0:29:16.160
<v Speaker 3>it still comes back to it's got to be your signature.

0:29:16.560 --> 0:29:19.479
<v Speaker 3>It's got to be your vision. Otherwise, you know, your

0:29:20.040 --> 0:29:23.720
<v Speaker 3>your shelf life in the business probably isn't that great.

0:29:23.760 --> 0:29:26.640
<v Speaker 3>And I do remember the first time when I started

0:29:26.720 --> 0:29:31.080
<v Speaker 3>visiting production companies that wanted me to direct, they told

0:29:31.120 --> 0:29:33.440
<v Speaker 3>me flat out, you know this is you know, you've

0:29:33.480 --> 0:29:35.960
<v Speaker 3>got about a seven year shelf life in this world

0:29:36.040 --> 0:29:39.920
<v Speaker 3>of advertising directing because you know, it's a very much

0:29:39.920 --> 0:29:42.920
<v Speaker 3>an on to the next the new guys, the new views,

0:29:43.000 --> 0:29:45.240
<v Speaker 3>things like that. But you know, I'm in my thirty

0:29:45.280 --> 0:29:49.280
<v Speaker 3>fifth year of doing that and it's still just as

0:29:49.320 --> 0:29:51.600
<v Speaker 3>fun and as exciting as it was in the beginning.

0:29:51.600 --> 0:29:52.960
<v Speaker 3>And I think that, like I told you at the

0:29:52.960 --> 0:29:55.680
<v Speaker 3>beginning of this, it's kind of like you know, like

0:29:55.680 --> 0:29:58.480
<v Speaker 3>I said, the good news is I've I've been doing

0:29:58.520 --> 0:30:00.920
<v Speaker 3>this for a long time. Bad news, I've been doing

0:30:00.920 --> 0:30:03.040
<v Speaker 3>it for a long time because I also want to

0:30:03.200 --> 0:30:06.480
<v Speaker 3>always have things evolve, always have things changed, because that's

0:30:06.480 --> 0:30:07.760
<v Speaker 3>what stimulates me the most.

0:30:07.800 --> 0:30:11.200
<v Speaker 1>Now that's really beautiful because a lot of folks, even myself,

0:30:11.240 --> 0:30:14.640
<v Speaker 1>I catch myself being stuck in the old ways, right

0:30:14.720 --> 0:30:17.040
<v Speaker 1>and then it kind of I'm just turning into the

0:30:17.080 --> 0:30:21.320
<v Speaker 1>old guy. I'm like these young it wasn't like that

0:30:21.320 --> 0:30:26.760
<v Speaker 1>when I was young worldwide, and I could take it

0:30:26.800 --> 0:30:29.960
<v Speaker 1>to another generation, you know.

0:30:30.640 --> 0:30:32.880
<v Speaker 3>And it's funny because you know, in the beginning of

0:30:32.920 --> 0:30:36.120
<v Speaker 3>your career, you kind of you just want to be

0:30:36.160 --> 0:30:39.160
<v Speaker 3>so focused and you want to just be you know,

0:30:40.240 --> 0:30:43.040
<v Speaker 3>no outside influences. This is me. This is who I'm

0:30:43.080 --> 0:30:46.280
<v Speaker 3>going to be, and you you have to kind of

0:30:46.440 --> 0:30:50.520
<v Speaker 3>hand it off to being Okay, who around me is

0:30:50.600 --> 0:30:52.600
<v Speaker 3>doing the cool stuff? You know? I got to start

0:30:52.640 --> 0:30:55.240
<v Speaker 3>being aware of that, And I think that that was

0:30:55.280 --> 0:30:57.080
<v Speaker 3>one of the keys. Is I kind of handed that

0:30:57.160 --> 0:31:00.920
<v Speaker 3>off earlier. Maybe I didn't hold on to just this

0:31:01.120 --> 0:31:02.800
<v Speaker 3>like I don't care what anybody else is doing. I'm

0:31:02.840 --> 0:31:06.360
<v Speaker 3>doing this. I really wanted to know what was going on.

0:31:06.440 --> 0:31:09.640
<v Speaker 3>And it's almost like, you know, in the creative process,

0:31:09.840 --> 0:31:12.320
<v Speaker 3>almost like a flip book, like you want to go

0:31:12.440 --> 0:31:16.000
<v Speaker 3>through a whole bunch of images really quickly and take

0:31:16.040 --> 0:31:20.520
<v Speaker 3>what you think you saw, not open up and study

0:31:20.520 --> 0:31:22.400
<v Speaker 3>a picture and say I'm going to do something just

0:31:22.640 --> 0:31:25.840
<v Speaker 3>like that, but like flip through something and see these

0:31:25.880 --> 0:31:28.280
<v Speaker 3>things all flashed by anything. I think I saw something

0:31:28.360 --> 0:31:30.400
<v Speaker 3>kind of cool, and then where's your mind taken? You know,

0:31:30.520 --> 0:31:33.800
<v Speaker 3>it's great so that you don't end up like just

0:31:34.360 --> 0:31:36.400
<v Speaker 3>copying somebody. You know, you don't want to do that.

0:31:36.440 --> 0:31:39.719
<v Speaker 3>I think, you know, one of my greatest compliments from

0:31:39.760 --> 0:31:43.240
<v Speaker 3>my kids a few years ago was she said to me,

0:31:43.280 --> 0:31:45.920
<v Speaker 3>how do you stay so relevant? And I thought, well,

0:31:45.920 --> 0:31:50.120
<v Speaker 3>that's pretty cool, But the reality is, if I am relevant,

0:31:50.280 --> 0:31:52.800
<v Speaker 3>you know, it's from people like you guys, from people

0:31:52.920 --> 0:31:55.880
<v Speaker 3>like you know, the race service guys or the whatever.

0:31:55.960 --> 0:31:58.760
<v Speaker 3>You know, there's so many people in our business that

0:31:59.640 --> 0:32:04.320
<v Speaker 3>I love watching evolve. You know. I think that one

0:32:04.320 --> 0:32:08.160
<v Speaker 3>of the single important things that leaves for me is

0:32:08.280 --> 0:32:13.720
<v Speaker 3>leaving room to be in awe of others beautiful. That's

0:32:14.680 --> 0:32:19.760
<v Speaker 3>to me. I wish so many people, filmmakers and people

0:32:19.760 --> 0:32:23.080
<v Speaker 3>that I see knew how in awe I am of

0:32:23.120 --> 0:32:26.840
<v Speaker 3>what they do. You know, because my crews are sixty

0:32:26.880 --> 0:32:30.200
<v Speaker 3>to eighty people. I mean you've been on features, you guys,

0:32:30.200 --> 0:32:31.960
<v Speaker 3>and you've seen all this, and I mean like when

0:32:32.000 --> 0:32:33.840
<v Speaker 3>you're on a feature, it's one hundred and twenty, one

0:32:33.920 --> 0:32:36.560
<v Speaker 3>hundred and thirty people whatever. But I'm in all of

0:32:36.600 --> 0:32:38.560
<v Speaker 3>the guys that go out with two or three people

0:32:38.880 --> 0:32:43.160
<v Speaker 3>and just do wonderful film. And I take that influence

0:32:43.240 --> 0:32:46.400
<v Speaker 3>into my own life all the time, every day virtually.

0:32:46.680 --> 0:32:49.120
<v Speaker 3>But leaving that room to be in awe is so

0:32:49.200 --> 0:32:52.200
<v Speaker 3>important as opposed to I'm just this. I'm that I'm

0:32:52.200 --> 0:32:54.880
<v Speaker 3>going to go out every day now, you know, got

0:32:54.880 --> 0:32:57.600
<v Speaker 3>to leave that window open. You know, it's like bad weather.

0:32:57.680 --> 0:33:01.600
<v Speaker 3>You know, we're in a business of filmmaking. You got

0:33:01.640 --> 0:33:04.040
<v Speaker 3>to have great weather. You gotta have this. But Honestly,

0:33:04.240 --> 0:33:07.520
<v Speaker 3>bad weather has given me more opportunity than it's taken away.

0:33:07.600 --> 0:33:09.800
<v Speaker 3>You know, the amount of times I've been filming in

0:33:09.840 --> 0:33:12.480
<v Speaker 3>a wall of blacks coming this way and everybody's worried

0:33:12.480 --> 0:33:14.720
<v Speaker 3>that we're going to have this or whatever. The scenes

0:33:14.720 --> 0:33:18.080
<v Speaker 3>it's created, and the opportunities and even the motivation to

0:33:18.200 --> 0:33:22.280
<v Speaker 3>move quicker and get things done, it's all it's just cool.

0:33:22.360 --> 0:33:25.000
<v Speaker 3>You know. It's like, as a director, you want to

0:33:25.040 --> 0:33:27.480
<v Speaker 3>control everything, but you have to respect the fact that

0:33:27.520 --> 0:33:30.720
<v Speaker 3>there's so many elements as you don't have control over.

0:33:31.480 --> 0:33:33.680
<v Speaker 1>I mean, this is I think this is something I

0:33:33.720 --> 0:33:37.680
<v Speaker 1>really needed to hear. Same on a personal level and

0:33:37.680 --> 0:33:40.840
<v Speaker 1>in terms of, like, you know, career as well, because

0:33:40.960 --> 0:33:44.880
<v Speaker 1>as I start getting older, like I go, I wonder

0:33:45.200 --> 0:33:48.120
<v Speaker 1>if you know, I'm going to be like aged out

0:33:48.440 --> 0:33:51.640
<v Speaker 1>of like opportunities. And what you just said is like

0:33:52.120 --> 0:33:54.560
<v Speaker 1>it rings like I mean, it's just great words of

0:33:54.600 --> 0:33:58.480
<v Speaker 1>wisdom that I'll you know, walk away with and it's like, okay,

0:33:58.720 --> 0:34:02.360
<v Speaker 1>being a roof for the younger people, right, And it's

0:34:02.400 --> 0:34:04.800
<v Speaker 1>like I think about it and I'm like, hey, the

0:34:04.840 --> 0:34:08.440
<v Speaker 1>fact that you know I was there early on and

0:34:08.560 --> 0:34:10.520
<v Speaker 1>you can kind of like you know, pave the way,

0:34:11.040 --> 0:34:14.040
<v Speaker 1>and then you see all of these great opportunities that

0:34:14.120 --> 0:34:17.520
<v Speaker 1>other you know, people of color are having, or Asian

0:34:17.560 --> 0:34:20.799
<v Speaker 1>American men are having. It's like being all yeah, right,

0:34:20.800 --> 0:34:25.200
<v Speaker 1>and it's such a beautiful positive way to be present,

0:34:25.640 --> 0:34:29.480
<v Speaker 1>right and still and and and it's not about you anymore.

0:34:29.480 --> 0:34:30.920
<v Speaker 1>It's about like the whole.

0:34:30.800 --> 0:34:35.319
<v Speaker 3>You know, really beautiful. It's a handoff of competing, which

0:34:35.400 --> 0:34:39.120
<v Speaker 3>is important in the beginning, yeah, to collaborating. Yeah, you know,

0:34:39.160 --> 0:34:43.680
<v Speaker 3>it's a simple process that I don't think you realize

0:34:43.719 --> 0:34:45.560
<v Speaker 3>you kind of have to go through, you know, in

0:34:45.600 --> 0:34:49.120
<v Speaker 3>a way. And and I think that that's you know,

0:34:49.239 --> 0:34:54.960
<v Speaker 3>filmmaking is so definitive in so many ways. And interestingly,

0:34:55.719 --> 0:34:58.560
<v Speaker 3>my parallels, you know, if I were to just take

0:34:58.800 --> 0:35:02.840
<v Speaker 3>from my racing side, the event of Pike's Peak, which is,

0:35:03.640 --> 0:35:06.359
<v Speaker 3>you know, a mountain we race up. I've raced over

0:35:06.400 --> 0:35:10.479
<v Speaker 3>twenty years there, I've done well there. I understand the place,

0:35:10.520 --> 0:35:14.920
<v Speaker 3>the place is home. But it's still so definitive. And

0:35:15.600 --> 0:35:19.560
<v Speaker 3>it's one run on race day. It's a finish line

0:35:19.640 --> 0:35:24.200
<v Speaker 3>that is at fourteen and fifteen feet, it's there's no

0:35:24.320 --> 0:35:29.160
<v Speaker 3>pit stops, smiling. I want to do that so bad,

0:35:30.239 --> 0:35:33.759
<v Speaker 3>but yet all those same variables we have in filmmaking

0:35:33.840 --> 0:35:39.799
<v Speaker 3>of weather and crew and you know, budgets and all

0:35:39.800 --> 0:35:43.240
<v Speaker 3>this management goes into you know, I'm under ten minutes

0:35:43.360 --> 0:35:45.840
<v Speaker 3>racing there, one of the few people are under ten minutes,

0:35:45.880 --> 0:35:48.640
<v Speaker 3>and it's like you got to put all into that

0:35:48.680 --> 0:35:51.640
<v Speaker 3>little package in the same way. But it's definitive. Again,

0:35:51.680 --> 0:35:53.640
<v Speaker 3>You've got to get to the summit no matter what.

0:35:53.800 --> 0:35:56.600
<v Speaker 3>And there's no second chances. There's not like you can't

0:35:56.600 --> 0:36:01.879
<v Speaker 3>bring it back in the way in filmmaking, and we don't.

0:36:01.920 --> 0:36:05.560
<v Speaker 3>In my entire career, I've never gotten to a sunset

0:36:05.560 --> 0:36:07.600
<v Speaker 3>and said, you know, we didn't get everything. We need

0:36:07.640 --> 0:36:11.720
<v Speaker 3>to come back tomorrow. That doesn't happen. That's in my world.

0:36:11.719 --> 0:36:14.680
<v Speaker 3>That's a two hundred thousand dollars vault. You know, you

0:36:14.760 --> 0:36:17.640
<v Speaker 3>don't just say, oh, didn't get it all. I gotta

0:36:17.640 --> 0:36:21.479
<v Speaker 3>come back tomorrow. That sunset, that thing the day that's

0:36:21.560 --> 0:36:25.560
<v Speaker 3>managed through your assistant directors and crew and everything else.

0:36:26.040 --> 0:36:29.080
<v Speaker 3>It's all for that moment of being done at sunset.

0:36:29.120 --> 0:36:31.240
<v Speaker 3>You know, we don't just start bringing out the lights

0:36:31.239 --> 0:36:33.919
<v Speaker 3>when the sun goes down. We don't have the chance

0:36:33.960 --> 0:36:36.560
<v Speaker 3>of bringing the sun back up all of things. And

0:36:36.640 --> 0:36:41.040
<v Speaker 3>I love that pressure, and I think that's why my

0:36:41.280 --> 0:36:47.600
<v Speaker 3>racing paralleling with my filmmaking. There is so many things

0:36:47.640 --> 0:36:50.480
<v Speaker 3>in the process that I approach in the same way.

0:36:50.600 --> 0:36:53.520
<v Speaker 1>But when, for instance, like if you need to make

0:36:53.560 --> 0:36:55.880
<v Speaker 1>your day on a film set, or you need to

0:36:55.960 --> 0:36:59.000
<v Speaker 1>get to the finish line and you don't make it, like,

0:36:59.080 --> 0:37:03.960
<v Speaker 1>how do you find peace with that? Because it's add to.

0:37:03.920 --> 0:37:06.759
<v Speaker 2>Your question because we're going on a path of a

0:37:06.800 --> 0:37:09.080
<v Speaker 2>conversation we haven't had yet, you and I personally have

0:37:09.120 --> 0:37:12.560
<v Speaker 2>been not on this podcast is also adding to Song's

0:37:12.640 --> 0:37:16.320
<v Speaker 2>question of what's your relationship with failure when that comes?

0:37:16.520 --> 0:37:21.200
<v Speaker 3>You know, that's a complicated one, I guess because in

0:37:21.239 --> 0:37:24.440
<v Speaker 3>my head, failure is a big deal. You know, I

0:37:25.160 --> 0:37:29.520
<v Speaker 3>don't take it lightly. I want it to work. I

0:37:29.560 --> 0:37:32.640
<v Speaker 3>can think of the moments of failure in motorsport, which

0:37:32.680 --> 0:37:36.120
<v Speaker 3>is pretty definitive, usually because you've crashed or done something

0:37:36.200 --> 0:37:40.560
<v Speaker 3>like that. In filmmaking, it's you know, you fret over

0:37:40.800 --> 0:37:43.680
<v Speaker 3>scenes that you might have missed and you didn't have

0:37:43.719 --> 0:37:47.319
<v Speaker 3>a chance to do it. But experience gives you confidence

0:37:47.520 --> 0:37:49.560
<v Speaker 3>knowing that you have the best people to edit, the

0:37:49.600 --> 0:37:54.000
<v Speaker 3>best people to finish these things. But it's it's hanging

0:37:54.040 --> 0:37:56.719
<v Speaker 3>over you. But in general, you want to be in

0:37:56.760 --> 0:38:02.640
<v Speaker 3>a proactive position, not a reaction of position. Your experience

0:38:02.760 --> 0:38:04.920
<v Speaker 3>is going to give you the opportunity to be reactive.

0:38:05.000 --> 0:38:09.719
<v Speaker 3>But the more you can plan and be proactive, it

0:38:10.160 --> 0:38:16.480
<v Speaker 3>creativity comes out. Creativity is in two areas. Creative pure

0:38:16.600 --> 0:38:23.200
<v Speaker 3>creativity is being aware of the moments you're filming and

0:38:23.239 --> 0:38:27.160
<v Speaker 3>working on to enhance it in the best possible way

0:38:27.360 --> 0:38:32.160
<v Speaker 3>to tell the story, both visual and from an editorial standpoint.

0:38:32.840 --> 0:38:36.399
<v Speaker 3>But there's also creative to the solution. You know, your

0:38:36.440 --> 0:38:41.000
<v Speaker 3>experience of I can creatively make this scene work even

0:38:41.080 --> 0:38:43.799
<v Speaker 3>though I don't have all the right elements there. So

0:38:44.360 --> 0:38:46.920
<v Speaker 3>it's a it's a balance, I guess in that way.

0:38:47.000 --> 0:38:50.120
<v Speaker 3>But I guess to your point, I, you know, fear

0:38:50.120 --> 0:38:55.399
<v Speaker 3>of failure. If you're fearing things in the process, creativity

0:38:55.480 --> 0:38:58.719
<v Speaker 3>has a hard time coming out. It really does. It's

0:38:58.800 --> 0:39:00.520
<v Speaker 3>like a blocker, you know, when you all of a

0:39:00.520 --> 0:39:04.759
<v Speaker 3>sudden have to just be reactive, reactive, reactive, you're kind

0:39:04.760 --> 0:39:06.960
<v Speaker 3>of on your heels, you know, and you want to

0:39:07.000 --> 0:39:08.719
<v Speaker 3>be on your toes. You want to be able to

0:39:09.160 --> 0:39:11.680
<v Speaker 3>move forward and have the big picture of the way

0:39:11.760 --> 0:39:12.279
<v Speaker 3>things go.

0:39:12.360 --> 0:39:18.560
<v Speaker 1>Together, being able to relinquish that control as a creative

0:39:18.640 --> 0:39:21.239
<v Speaker 1>It's very hard, right, I mean we were talking about

0:39:21.239 --> 0:39:25.080
<v Speaker 1>that earlier, Like you know, you know, do you when

0:39:25.239 --> 0:39:28.439
<v Speaker 1>when something doesn't go right then it all comes back

0:39:28.480 --> 0:39:30.960
<v Speaker 1>on you. But if you can relinquish it, you're like, hey,

0:39:31.680 --> 0:39:52.160
<v Speaker 1>you know, it's not just my fault, your fault. You know,

0:39:52.360 --> 0:39:58.560
<v Speaker 1>you started shooting basically it was analog, right, and today

0:39:58.680 --> 0:40:03.719
<v Speaker 1>moving into CG and you don't even yeah, a whole

0:40:03.800 --> 0:40:07.760
<v Speaker 1>other thing. Are you as open minded about that as well?

0:40:07.800 --> 0:40:13.200
<v Speaker 1>Of like that pushing the bar for action sequences with cars.

0:40:13.200 --> 0:40:16.400
<v Speaker 3>It's really interesting. And again it's kind of like I

0:40:16.560 --> 0:40:20.360
<v Speaker 3>started in film and you had four hundred foot magazines,

0:40:20.400 --> 0:40:22.440
<v Speaker 3>you know, and that that ran for a certain amount

0:40:22.480 --> 0:40:24.960
<v Speaker 3>of time. You know, it's like everything was based on

0:40:25.400 --> 0:40:27.360
<v Speaker 3>changing film and things like that. You know, now we

0:40:27.480 --> 0:40:31.640
<v Speaker 3>leave cameras rolling, We have multiple cameras working, and you

0:40:31.680 --> 0:40:34.479
<v Speaker 3>know if when even when I was at Art Center,

0:40:34.560 --> 0:40:38.160
<v Speaker 3>I got into mounting cameras. I was mounting cameras on

0:40:38.200 --> 0:40:41.760
<v Speaker 3>my skateboards, on biplane wings, on all sorts of things,

0:40:42.120 --> 0:40:44.759
<v Speaker 3>and I just love doing that. And my first road

0:40:44.760 --> 0:40:47.600
<v Speaker 3>and track cover was actually a camera rig on a

0:40:47.680 --> 0:40:50.040
<v Speaker 3>car going down a road, and so it was like

0:40:50.120 --> 0:40:54.000
<v Speaker 3>this time tunnel blurry. Look, it really kind of showed

0:40:54.040 --> 0:40:55.719
<v Speaker 3>action and I love that. And you know, now we're

0:40:55.719 --> 0:40:59.440
<v Speaker 3>in the GoPro and all things. Everything's gotten smaller, everything's

0:40:59.480 --> 0:41:02.280
<v Speaker 3>gotten more usable. And you know, there was a moment

0:41:02.360 --> 0:41:07.400
<v Speaker 3>in time too where changing over from film to digital,

0:41:08.280 --> 0:41:11.279
<v Speaker 3>I shot with a different camera system every job. You know,

0:41:11.320 --> 0:41:14.759
<v Speaker 3>it was evolving so quickly, and the way things are evolving,

0:41:15.200 --> 0:41:18.719
<v Speaker 3>it's an opportunity, but in some ways it stands in

0:41:18.760 --> 0:41:23.440
<v Speaker 3>the way. And I was very much a person that

0:41:24.360 --> 0:41:27.600
<v Speaker 3>I felt like I needed to be genuine to filmmaking

0:41:27.640 --> 0:41:31.800
<v Speaker 3>and genuine to the car. I was in an area

0:41:31.880 --> 0:41:36.480
<v Speaker 3>where I was a high action specialist, so generally I'd

0:41:36.520 --> 0:41:41.480
<v Speaker 3>be shooting cool cars, you know, that were truly capable

0:41:41.520 --> 0:41:43.960
<v Speaker 3>of that, and I always felt like if they needed

0:41:43.960 --> 0:41:47.280
<v Speaker 3>to go into special effects and different things at that time,

0:41:48.360 --> 0:41:51.920
<v Speaker 3>it was kind of taking away from the you know,

0:41:52.040 --> 0:41:55.200
<v Speaker 3>believability that that car could really do it. So my

0:41:55.440 --> 0:41:58.320
<v Speaker 3>goal was by working with people like Rees and Tanner

0:41:58.360 --> 0:42:01.000
<v Speaker 3>and pulled all on back these guys as it could

0:42:01.080 --> 0:42:03.839
<v Speaker 3>put a car anywhere and do everything. I wanted to

0:42:03.880 --> 0:42:07.000
<v Speaker 3>really show the real action. I really wanted to be

0:42:07.160 --> 0:42:09.520
<v Speaker 3>part of that. So that if you ever pulled back

0:42:09.600 --> 0:42:12.360
<v Speaker 3>on the curtain on it, you actually saw it happen.

0:42:12.640 --> 0:42:15.759
<v Speaker 3>You know, there was a genuine nature to it. I

0:42:15.880 --> 0:42:19.440
<v Speaker 3>was fortunate to be shooting a car that was genuinely capable.

0:42:20.200 --> 0:42:22.800
<v Speaker 3>Let's film it in a way that it's really doing

0:42:22.840 --> 0:42:26.000
<v Speaker 3>those things. And so again it's up to you as

0:42:26.040 --> 0:42:29.520
<v Speaker 3>a filmmaker to put cameras in places. I wanted to

0:42:29.560 --> 0:42:33.160
<v Speaker 3>not just watch a car. I wanted to make you blink,

0:42:33.920 --> 0:42:36.440
<v Speaker 3>to feel like it was going to hit you, or

0:42:36.560 --> 0:42:39.840
<v Speaker 3>defy logic or do things like that. You know. It's like,

0:42:39.840 --> 0:42:41.520
<v Speaker 3>like you said, as a filmmaker, I want to be

0:42:41.520 --> 0:42:44.239
<v Speaker 3>on my toes. As a viewer, I want to be

0:42:44.239 --> 0:42:46.520
<v Speaker 3>on my heels like whoa, you know, this is it?

0:42:46.640 --> 0:42:50.520
<v Speaker 3>You know, so I look at what's happening now, And

0:42:50.960 --> 0:42:54.320
<v Speaker 3>obviously AI is going to be a whole nother category things.

0:42:54.360 --> 0:42:59.239
<v Speaker 3>But there was a moment in time where effects and

0:42:59.360 --> 0:43:01.640
<v Speaker 3>plates that we would shoot and all these kind of

0:43:01.680 --> 0:43:06.160
<v Speaker 3>tedious parts of filming ultimately didn't add up to as

0:43:06.280 --> 0:43:10.359
<v Speaker 3>pure experience of watching a car as I wanted, And

0:43:10.440 --> 0:43:13.000
<v Speaker 3>so my goal was always to put that car on

0:43:13.040 --> 0:43:17.520
<v Speaker 3>the edge. And as a director, I've spent twenty years

0:43:17.560 --> 0:43:20.520
<v Speaker 3>of my life racing up the side of a mountain,

0:43:21.320 --> 0:43:25.239
<v Speaker 3>putting wheels, half the tread on the pavement, half the

0:43:25.280 --> 0:43:28.960
<v Speaker 3>tread touching the edge of the road. You know, putting

0:43:28.960 --> 0:43:34.400
<v Speaker 3>those moments in precision on a mountain with huge consequence.

0:43:35.120 --> 0:43:38.960
<v Speaker 3>You know that perspective plays out in my own filmmaking

0:43:39.000 --> 0:43:42.640
<v Speaker 3>because I'm already looking at things that way. I have

0:43:42.719 --> 0:43:48.320
<v Speaker 3>a funny handoff, like I run the Colorado Hill Climb Championship,

0:43:48.760 --> 0:43:51.640
<v Speaker 3>which is dirt roads up the side of a mountain

0:43:51.719 --> 0:43:54.400
<v Speaker 3>and a Gt. Three Cup car. It's raw, it's pure.

0:43:54.920 --> 0:43:57.359
<v Speaker 3>It's a bunch of old timers who quit racing at

0:43:57.360 --> 0:44:00.160
<v Speaker 3>Pike's Peak because it got paved. They just all want

0:44:00.200 --> 0:44:02.360
<v Speaker 3>to be on the dirt and side. I will pitch

0:44:02.360 --> 0:44:05.960
<v Speaker 3>a car in the corner, rotate the car, drive on

0:44:06.040 --> 0:44:09.800
<v Speaker 3>the throttle. I'll feel that right front wheel just bound

0:44:09.840 --> 0:44:12.200
<v Speaker 3>a little bit over a rock or something corner and

0:44:12.239 --> 0:44:14.640
<v Speaker 3>I feel it go light. I feel it touched back

0:44:14.680 --> 0:44:18.360
<v Speaker 3>down and the attitude is just right. The wheels are set.

0:44:18.480 --> 0:44:21.880
<v Speaker 3>You just can feel the outside wheels tearing at the earth.

0:44:22.360 --> 0:44:24.680
<v Speaker 3>All this stuff's happening, my head will go, oh, I

0:44:24.680 --> 0:44:26.600
<v Speaker 3>hope somebody is out there with a two hundred millimeter

0:44:29.200 --> 0:44:34.040
<v Speaker 3>frames that be right shot, you know, and then I

0:44:34.120 --> 0:44:38.400
<v Speaker 3>do it. And it's funny because lately at Pike's Peak,

0:44:39.200 --> 0:44:41.800
<v Speaker 3>I think about what it looks like on the outside.

0:44:41.960 --> 0:44:44.520
<v Speaker 3>That funny, and I try to put the car exactly

0:44:44.560 --> 0:44:48.640
<v Speaker 3>in those moments, you know, and my perspective is already

0:44:48.719 --> 0:44:52.000
<v Speaker 3>at the edge of the mountain. My perspective is already

0:44:52.400 --> 0:44:56.080
<v Speaker 3>taking something to the ragged edge limit that sort of thing.

0:44:56.160 --> 0:44:59.920
<v Speaker 3>So I almost pick up in filmmaking at that point

0:45:00.880 --> 0:45:03.960
<v Speaker 3>rather than build up to it. So it's it's that

0:45:04.520 --> 0:45:07.400
<v Speaker 3>kind of perspective that I bring to it. And I

0:45:07.440 --> 0:45:12.000
<v Speaker 3>actually think that my racing has fed the longevity to

0:45:12.120 --> 0:45:15.960
<v Speaker 3>my career because if I sit in a client meeting

0:45:16.600 --> 0:45:20.839
<v Speaker 3>and somebody's got some new hot carry about, I can

0:45:20.920 --> 0:45:24.600
<v Speaker 3>put it in perspective of what that car can feel like,

0:45:25.200 --> 0:45:29.279
<v Speaker 3>look like, and be emotional about it. This isn't just

0:45:29.320 --> 0:45:32.480
<v Speaker 3>a job for me. This is a quest to share

0:45:32.680 --> 0:45:36.080
<v Speaker 3>my passion with the rest of the world through filmmaking.

0:45:37.640 --> 0:45:43.040
<v Speaker 1>You know, our friend Brian Scotto, you know, I feel

0:45:43.040 --> 0:45:47.280
<v Speaker 1>like he is really pushing the envelope, or I guess,

0:45:47.440 --> 0:45:51.840
<v Speaker 1>redefining like how cars are shot action sequences, and he

0:45:52.000 --> 0:45:54.400
<v Speaker 1>coined this phrase. I don't know if he coined it

0:45:54.520 --> 0:45:57.200
<v Speaker 1>or he borrowed it or maybe even looked stolen from you,

0:45:58.880 --> 0:46:03.040
<v Speaker 1>but he has he has a phrase called honest angle, right,

0:46:03.080 --> 0:46:05.359
<v Speaker 1>and he's like, and we were talking about because I

0:46:05.239 --> 0:46:06.799
<v Speaker 1>was I always ask people, what do you think the

0:46:06.960 --> 0:46:10.480
<v Speaker 1>problem with fast like action sequences from the Fast and Furious,

0:46:10.480 --> 0:46:12.200
<v Speaker 1>And it's like it's not honest.

0:46:12.360 --> 0:46:12.520
<v Speaker 3>You know.

0:46:12.560 --> 0:46:14.840
<v Speaker 1>It's like, you know, they're cool cars, but when the

0:46:14.880 --> 0:46:17.640
<v Speaker 1>car is like going from like one building to the

0:46:17.719 --> 0:46:22.200
<v Speaker 1>other or outer space, it's like it's that it's not honest.

0:46:22.680 --> 0:46:25.120
<v Speaker 1>And it's like what I'm listening to you is like

0:46:25.480 --> 0:46:28.879
<v Speaker 1>you shoot the car honestly, like because you understand how

0:46:28.920 --> 0:46:32.440
<v Speaker 1>the car would actually perform in reality, you were able

0:46:32.520 --> 0:46:35.680
<v Speaker 1>to convert that, you know, onto screen and then the

0:46:35.760 --> 0:46:39.640
<v Speaker 1>audience it's a it's it is like a visceral reaction.

0:46:39.840 --> 0:46:42.839
<v Speaker 1>I'm so opposed to Oh that's a special effect, right,

0:46:42.880 --> 0:46:44.560
<v Speaker 1>and it kind of just you just kind.

0:46:44.360 --> 0:46:45.920
<v Speaker 2>Of appreciate it less.

0:46:46.040 --> 0:46:50.120
<v Speaker 1>Yeah, it's just it's like it's like it's like junk food, right,

0:46:50.160 --> 0:46:51.560
<v Speaker 1>it's just easy, Like you.

0:46:51.520 --> 0:46:52.920
<v Speaker 2>Know, it's like I don't know, you did see your

0:46:52.920 --> 0:47:01.920
<v Speaker 2>favorite pizza was nominoe.

0:46:58.920 --> 0:47:06.839
<v Speaker 3>Know, you know what, there's a certain that you give

0:47:06.960 --> 0:47:07.920
<v Speaker 3>up inconvenience.

0:47:10.440 --> 0:47:12.720
<v Speaker 1>It's delicious pizza.

0:47:13.000 --> 0:47:15.240
<v Speaker 3>It's good stuff should taste like a pizza.

0:47:16.880 --> 0:47:17.200
<v Speaker 1>Anyway.

0:47:19.920 --> 0:47:22.760
<v Speaker 3>Well, I don't know whether Brian told you, but there

0:47:23.080 --> 0:47:27.280
<v Speaker 3>is a directorial team known as Zwardo. That's Jeff Swart

0:47:27.280 --> 0:47:32.800
<v Speaker 3>and Brian Scotto. We collected. We directed Climb Kana together,

0:47:34.080 --> 0:47:39.439
<v Speaker 3>and so when Ken Block, which makes sense, yeah, we

0:47:39.600 --> 0:47:45.160
<v Speaker 3>directed that together. And fun. It was fun because the

0:47:45.200 --> 0:47:47.880
<v Speaker 3>amount of times I would sit in a client meeting

0:47:47.960 --> 0:47:50.600
<v Speaker 3>in Detroit or wherever, I say, you know, we want that,

0:47:50.760 --> 0:47:52.279
<v Speaker 3>we want to see the kind of like that Ken

0:47:52.320 --> 0:47:54.839
<v Speaker 3>Block stuff, you know, they they would refer to it

0:47:54.960 --> 0:47:58.360
<v Speaker 3>or whatever. And Ken was so good at putting a

0:47:58.400 --> 0:48:01.000
<v Speaker 3>car on the edge and doing all that. So naturally,

0:48:01.080 --> 0:48:03.960
<v Speaker 3>when this project came up and I always asked to

0:48:04.000 --> 0:48:07.560
<v Speaker 3>direct with with Brian, I was just like, wow, this

0:48:07.680 --> 0:48:11.440
<v Speaker 3>is so cool, and I learned so much in it

0:48:11.880 --> 0:48:14.880
<v Speaker 3>to your point of like, you know, this style and

0:48:14.960 --> 0:48:19.640
<v Speaker 3>look and feel of filming, and you know Ken, I'd

0:48:19.640 --> 0:48:21.640
<v Speaker 3>actually I think I'd even raced with him at one

0:48:21.680 --> 0:48:24.359
<v Speaker 3>point or things. But we'd been, you know, certainly been

0:48:24.520 --> 0:48:28.000
<v Speaker 3>around each other and seen all the Jim Kannas and

0:48:28.040 --> 0:48:31.319
<v Speaker 3>everything at that point. But what was super cool was

0:48:31.719 --> 0:48:34.560
<v Speaker 3>Ken would have his opinions about the way we needed

0:48:34.560 --> 0:48:37.440
<v Speaker 3>to film, and you know, it's kind of like in

0:48:37.480 --> 0:48:41.080
<v Speaker 3>your mind, you have a routine and the way you film,

0:48:41.120 --> 0:48:43.560
<v Speaker 3>and this is your process and stuff. And I started

0:48:43.600 --> 0:48:46.520
<v Speaker 3>to understand why things were different in a lot of

0:48:46.520 --> 0:48:49.560
<v Speaker 3>ways with the way Scotto had approached it and the

0:48:49.600 --> 0:48:53.239
<v Speaker 3>way their teams had film Ken and then Ken's ideals.

0:48:53.280 --> 0:48:55.960
<v Speaker 3>And one of the things was interesting because I always

0:48:56.320 --> 0:49:00.440
<v Speaker 3>my office is a Cayenne armed camera car, the arm

0:49:00.480 --> 0:49:02.319
<v Speaker 3>on the roof, and you know, I go, you know,

0:49:02.360 --> 0:49:05.839
<v Speaker 3>that's my world and always tracking and doing moves and things,

0:49:05.920 --> 0:49:08.319
<v Speaker 3>and King goes, I don't like those. I don't like

0:49:08.719 --> 0:49:11.040
<v Speaker 3>camera cars. And I thought, well, you know, this is

0:49:11.040 --> 0:49:13.120
<v Speaker 3>the way I work. You know, we'll have camera cars.

0:49:13.400 --> 0:49:17.160
<v Speaker 3>But you started to realize that the moment the camera

0:49:17.440 --> 0:49:21.319
<v Speaker 3>was traveling with his car, it slowed his car down.

0:49:21.600 --> 0:49:25.200
<v Speaker 3>You know, as soon as you start matching speeds, things

0:49:25.239 --> 0:49:29.520
<v Speaker 3>start to slow down. And I kind of knew that,

0:49:29.680 --> 0:49:32.480
<v Speaker 3>I did know it, but I hadn't really applied it.

0:49:32.560 --> 0:49:35.080
<v Speaker 3>And it wasn't until Ken kind of said, I don't

0:49:35.160 --> 0:49:37.359
<v Speaker 3>like camera cars. I started to put the whole thing

0:49:37.400 --> 0:49:41.239
<v Speaker 3>together and stylistically, that's what I really liked about Timkana.

0:49:41.280 --> 0:49:44.439
<v Speaker 3>And we always have conversations about what was the best one,

0:49:44.480 --> 0:49:46.400
<v Speaker 3>Which is the best one. We all look at different

0:49:46.400 --> 0:49:49.360
<v Speaker 3>ones of which the best, But the first one that

0:49:49.640 --> 0:49:52.040
<v Speaker 3>I ever saw, and this is when I'm well into

0:49:52.080 --> 0:49:56.080
<v Speaker 3>my filmmaking career, I felt like I'd climbed over the

0:49:56.080 --> 0:50:00.399
<v Speaker 3>fence and gotten into something that I shouldn't be there

0:50:00.440 --> 0:50:05.239
<v Speaker 3>for such a way and got to record it and

0:50:05.360 --> 0:50:08.560
<v Speaker 3>see something that like, let's just put that away before

0:50:08.600 --> 0:50:11.879
<v Speaker 3>anybody catches us. You know, is that kind of that

0:50:12.000 --> 0:50:14.640
<v Speaker 3>tension and everything of like I'm in here, I'm going

0:50:14.719 --> 0:50:17.040
<v Speaker 3>to get this, and then I got to get out

0:50:17.040 --> 0:50:19.399
<v Speaker 3>of here because somebody's gonna bust me. You know that

0:50:19.840 --> 0:50:23.480
<v Speaker 3>moment and spontaneity and the way that played out in

0:50:23.520 --> 0:50:26.000
<v Speaker 3>front of you with them just ripping it up at

0:50:26.040 --> 0:50:28.320
<v Speaker 3>El Toro Marine Base, you know, it was like, yeah,

0:50:28.360 --> 0:50:30.920
<v Speaker 3>that was cool. And you know there were times where

0:50:31.680 --> 0:50:34.439
<v Speaker 3>it maybe got too polished or times where it got,

0:50:34.480 --> 0:50:38.320
<v Speaker 3>you know, a little bit of away from that purity,

0:50:38.360 --> 0:50:41.520
<v Speaker 3>but then it kept coming back to that and and

0:50:41.640 --> 0:50:45.000
<v Speaker 3>Ken also just developing as a driver everything about it

0:50:45.080 --> 0:50:50.120
<v Speaker 3>was such a great franchise and without it really you know,

0:50:50.320 --> 0:50:54.560
<v Speaker 3>consciously affecting me. I just know that so much of

0:50:54.600 --> 0:50:59.920
<v Speaker 3>their work played out in influencing me and on a

0:51:01.080 --> 0:51:03.200
<v Speaker 3>you know a little over a year ago, when I

0:51:03.239 --> 0:51:05.799
<v Speaker 3>got the phone call that Can had passed, it was

0:51:05.840 --> 0:51:08.480
<v Speaker 3>when that really kind of all rained down on me.

0:51:09.280 --> 0:51:13.480
<v Speaker 3>This guy was a huge part of my life, even

0:51:13.520 --> 0:51:18.640
<v Speaker 3>though we weren't directly hanging out best buddy friends. The

0:51:18.760 --> 0:51:23.120
<v Speaker 3>effect of my life, my industry, everything about it will

0:51:23.840 --> 0:51:26.680
<v Speaker 3>it really came to me at that moment and still

0:51:26.680 --> 0:51:27.960
<v Speaker 3>affects me in that way.

0:51:27.920 --> 0:51:32.000
<v Speaker 1>Yeah, speaking of that, you know, as one gets older

0:51:32.040 --> 0:51:35.279
<v Speaker 1>in life and you deal with loss. I mean something

0:51:35.320 --> 0:51:38.960
<v Speaker 1>that I'm noticing. It's like every few months now, I

0:51:39.000 --> 0:51:43.200
<v Speaker 1>get a phone call and someone is passing, and it

0:51:43.440 --> 0:51:46.840
<v Speaker 1>scares me. You know, It's like it really really scares me,

0:51:47.120 --> 0:51:50.000
<v Speaker 1>and I still don't know how to deal with it.

0:51:50.080 --> 0:51:51.880
<v Speaker 1>I don't know if I'll ever know I deal with it.

0:51:52.000 --> 0:51:54.960
<v Speaker 1>I mean, how do you deal with loss as you

0:51:54.960 --> 0:51:55.520
<v Speaker 1>get older.

0:51:55.600 --> 0:51:59.040
<v Speaker 3>I got to say that within my family, at least,

0:51:59.160 --> 0:52:02.919
<v Speaker 3>I've been very fortunate that I haven't really had any

0:52:03.120 --> 0:52:07.200
<v Speaker 3>surprise losses. You know, my grand my grandparents were farmers

0:52:07.200 --> 0:52:09.960
<v Speaker 3>and they lived in their nineties. My parents lived in

0:52:10.000 --> 0:52:12.960
<v Speaker 3>the nineties. You know, there were no real kind of

0:52:13.000 --> 0:52:17.799
<v Speaker 3>surprises within the family. I've certainly lost race driver your

0:52:17.840 --> 0:52:21.440
<v Speaker 3>friends along the way, because that's you know, what happens

0:52:21.480 --> 0:52:23.880
<v Speaker 3>in the decades that I've been involved in racing, and

0:52:24.480 --> 0:52:27.839
<v Speaker 3>I've started losing some friends who you know, we grew

0:52:27.920 --> 0:52:31.160
<v Speaker 3>up with together and just lately, and I think that's

0:52:31.239 --> 0:52:35.120
<v Speaker 3>part of it. I you know, having the perspective of

0:52:35.920 --> 0:52:38.000
<v Speaker 3>what you've been able to do in your life and

0:52:38.520 --> 0:52:41.560
<v Speaker 3>be part of and like I said before, being in

0:52:41.640 --> 0:52:45.960
<v Speaker 3>awe of others and being inspired of others and kind

0:52:46.000 --> 0:52:51.200
<v Speaker 3>of keeping that going. I you know, Ken was one

0:52:51.239 --> 0:52:54.880
<v Speaker 3>of the more difficult ones because it was almost like

0:52:55.000 --> 0:52:58.800
<v Speaker 3>you just realized you hadn't spent enough time, you hadn't

0:52:59.480 --> 0:53:03.080
<v Speaker 3>taken it as seriously as maybe you should have of

0:53:03.120 --> 0:53:05.840
<v Speaker 3>what that guy provided, not just for you, but for

0:53:05.920 --> 0:53:08.719
<v Speaker 3>the whole car culture all that sort of thing. So

0:53:09.520 --> 0:53:13.440
<v Speaker 3>it is difficult, but I also savor so much and

0:53:13.640 --> 0:53:17.759
<v Speaker 3>I feel it's so important not to have regrets and

0:53:18.680 --> 0:53:22.160
<v Speaker 3>feel like you've been pure to yourself and chased your

0:53:22.200 --> 0:53:26.840
<v Speaker 3>passions and been able to be constantly invigorated. You know,

0:53:26.880 --> 0:53:32.759
<v Speaker 3>it's like perpetual motion when things feed something and it

0:53:32.960 --> 0:53:36.719
<v Speaker 3>just keeps it going. That's the way I look at

0:53:36.760 --> 0:53:42.760
<v Speaker 3>my career. You know, it's always been interesting. Every element

0:53:42.840 --> 0:53:46.160
<v Speaker 3>has been interesting. Every day of a life has been interesting.

0:53:46.760 --> 0:53:49.319
<v Speaker 3>I love going against the elements, you know. I love

0:53:50.200 --> 0:53:53.600
<v Speaker 3>being provided challenges, even at this age. You know, I'm

0:53:53.640 --> 0:53:56.520
<v Speaker 3>not looking for the easy path. You know, the worst

0:53:56.600 --> 0:53:59.680
<v Speaker 3>day is bright and sunny and perfect conditions. You know,

0:53:59.760 --> 0:54:02.440
<v Speaker 3>that's not the worst day. But you know what I mean.

0:54:02.760 --> 0:54:05.360
<v Speaker 3>I like the challenge. I love that fact that you

0:54:05.960 --> 0:54:11.960
<v Speaker 3>are just going against life and succeeding, you know. And

0:54:12.000 --> 0:54:14.960
<v Speaker 3>I love to see that in other people. And I

0:54:15.760 --> 0:54:19.440
<v Speaker 3>love the underdogs. I love the people that have looked

0:54:19.440 --> 0:54:24.360
<v Speaker 3>at life differently. Those kinds of moments just make such

0:54:24.360 --> 0:54:30.960
<v Speaker 3>a dynamic, engaging world. Because elements in life, whether it

0:54:30.960 --> 0:54:35.480
<v Speaker 3>be life or death, or health or weather or anything,

0:54:35.600 --> 0:54:39.160
<v Speaker 3>it's part of our life. And you love to see

0:54:39.200 --> 0:54:43.600
<v Speaker 3>people succeed in that. And that's the part that really

0:54:43.680 --> 0:54:47.239
<v Speaker 3>kind of motivates me and other people is watching that.

0:54:47.520 --> 0:54:51.480
<v Speaker 3>I love watching new filmmakers and people that haven't even

0:54:51.480 --> 0:54:54.680
<v Speaker 3>been educated in school, you know, they've just done it

0:54:54.719 --> 0:54:57.400
<v Speaker 3>on their own. I love that kind of vibrancy of

0:54:58.640 --> 0:55:03.240
<v Speaker 3>because the only reason for success in that environment is passion.

0:55:03.600 --> 0:55:03.880
<v Speaker 3>It's it.

0:55:04.040 --> 0:55:07.800
<v Speaker 1>We Will said, it's really beautiful. This has been a

0:55:07.840 --> 0:55:08.560
<v Speaker 1>great conversation.

0:55:09.840 --> 0:55:11.600
<v Speaker 2>I feel like I'm going to leave this a better person.

0:55:12.239 --> 0:55:15.200
<v Speaker 3>Well, I agree, it's all for us, and I think

0:55:15.239 --> 0:55:19.120
<v Speaker 3>that's the point of our world is just that we

0:55:19.160 --> 0:55:22.319
<v Speaker 3>can kind of feed off each other and and take

0:55:22.320 --> 0:55:25.480
<v Speaker 3>advantage of the relationships in the best possible ways and

0:55:26.160 --> 0:55:29.440
<v Speaker 3>take away the good and understand the bad. And that

0:55:29.520 --> 0:55:32.640
<v Speaker 3>balance of understanding how important a life is around us.

0:55:32.680 --> 0:55:35.480
<v Speaker 3>To be able to come back to and share in

0:55:35.560 --> 0:55:39.200
<v Speaker 3>it and live in it and give people space to

0:55:39.280 --> 0:55:42.799
<v Speaker 3>be part of that is so important going back to it.

0:55:42.800 --> 0:55:45.960
<v Speaker 3>It's like, you know, you guys are my inspiration. It's

0:55:45.960 --> 0:55:50.680
<v Speaker 3>a new generation of inspiration, and I just leave those

0:55:50.719 --> 0:55:53.359
<v Speaker 3>doors open to be inspired by others. But you guys

0:55:53.400 --> 0:55:54.640
<v Speaker 3>are great. Love it.

0:55:54.800 --> 0:55:55.560
<v Speaker 1>Thank you so much.

0:55:55.680 --> 0:55:56.759
<v Speaker 3>Jeff, Yeah, thank you.