1 00:00:05,760 --> 00:00:10,399 Speaker 1: Ladies and gentlemen, are you ready shuts up bouts that 2 00:00:10,520 --> 00:00:16,320 Speaker 1: hit the fan? Welcome to on sanctioned Thursdays ho Wrestling 3 00:00:16,640 --> 00:00:18,120 Speaker 1: with Ready. 4 00:00:19,000 --> 00:00:19,840 Speaker 2: What's up? Everyone? 5 00:00:19,840 --> 00:00:23,439 Speaker 1: Welcome to unsanctioned Thursday, the show that you demanded and 6 00:00:23,640 --> 00:00:24,240 Speaker 1: you received. 7 00:00:24,680 --> 00:00:25,600 Speaker 2: So see, it's good to. 8 00:00:25,640 --> 00:00:28,680 Speaker 1: Just be demanding and impolite and yell and scream and 9 00:00:28,720 --> 00:00:31,040 Speaker 1: not go hey, could we please have some extra time? 10 00:00:31,680 --> 00:00:34,000 Speaker 1: That doesn't work? You gotta go out. This show sucks, man, 11 00:00:34,080 --> 00:00:36,199 Speaker 1: it's not long enough. And then we listened and we're like, yeah, 12 00:00:36,200 --> 00:00:38,959 Speaker 1: all right, the squeaky wheel gets the grease on this 13 00:00:39,000 --> 00:00:42,680 Speaker 1: podcast with me as always, mister Jeff, I, how are you? 14 00:00:42,760 --> 00:00:44,960 Speaker 2: Jeff? Tell you, well, what's up? Biceps? How you doing? Baby? 15 00:00:45,000 --> 00:00:47,400 Speaker 3: Feeling good, buddy? Happy to be here. 16 00:00:47,440 --> 00:00:51,879 Speaker 4: Great wrestling's been great lately, which means we're in good spirits. 17 00:00:52,280 --> 00:00:56,480 Speaker 1: Not everyone's in good spirits, Jeff. Because contract negotiations are tense, 18 00:00:57,280 --> 00:01:01,560 Speaker 1: sometimes contentious. It's a great word content and they suck. 19 00:01:01,800 --> 00:01:04,240 Speaker 1: And that's why lawyers and agents are important. I don't 20 00:01:04,240 --> 00:01:10,759 Speaker 1: think enough wrestlers have representation. A lot of them negotiate themselves, 21 00:01:10,840 --> 00:01:12,600 Speaker 1: especially when they're young. They don't want to give up 22 00:01:12,640 --> 00:01:14,720 Speaker 1: that five percent if it's a lawyer, ten percent, if 23 00:01:14,720 --> 00:01:17,960 Speaker 1: it's an agent, fifteen percent. Sometimes with the manager, all 24 00:01:18,000 --> 00:01:20,040 Speaker 1: of a sudden, after taxes, you're looking at less than 25 00:01:20,080 --> 00:01:22,720 Speaker 1: half of the money that you got. So young actors, 26 00:01:23,000 --> 00:01:27,360 Speaker 1: young musicians, young artists in general usually get screwed on 27 00:01:27,640 --> 00:01:30,319 Speaker 1: early deals because they don't have the right representation, or 28 00:01:30,600 --> 00:01:33,600 Speaker 1: they have representation that's either inexperienced, or they don't have 29 00:01:33,640 --> 00:01:35,560 Speaker 1: their best interests at heart. They're trying to maintain a 30 00:01:35,600 --> 00:01:38,640 Speaker 1: relationship with the studio, they're trying to maintain a relationship 31 00:01:38,680 --> 00:01:41,039 Speaker 1: with the team. Things like that, you can have the 32 00:01:41,080 --> 00:01:44,759 Speaker 1: wrong representation. That happens too. And the reason we're talking 33 00:01:44,800 --> 00:01:48,680 Speaker 1: about this is because Carrie and Cross and Scarlet Bordeauz 34 00:01:48,760 --> 00:01:54,040 Speaker 1: contracts are up. WWE has moved their their likenesses to 35 00:01:54,120 --> 00:01:57,720 Speaker 1: the alumni page, which means they are no longer under contract. 36 00:01:57,720 --> 00:01:59,640 Speaker 1: I think the word on the street is people believe 37 00:01:59,640 --> 00:02:02,160 Speaker 1: they're free agents and they can sign anywhere. 38 00:02:02,800 --> 00:02:04,680 Speaker 2: I'm going to tell you guys what I think. 39 00:02:05,960 --> 00:02:08,880 Speaker 1: Is probably going on, based on my experience in his business, 40 00:02:09,840 --> 00:02:14,359 Speaker 1: my knowledge of how TKO operates from a certain level 41 00:02:14,360 --> 00:02:16,480 Speaker 1: of knowledge, I don't know exactly how they operate. But 42 00:02:16,520 --> 00:02:18,880 Speaker 1: I know how they do things on the UFC side 43 00:02:18,960 --> 00:02:21,800 Speaker 1: a lot of times, and I know how studios negotiate 44 00:02:22,560 --> 00:02:26,360 Speaker 1: pre corporate and post corporate takeover. So I'll throw that 45 00:02:26,480 --> 00:02:29,280 Speaker 1: out there. Jeff, feel free to jump in a comment 46 00:02:29,440 --> 00:02:32,440 Speaker 1: and ask questions. Are called bullshit on anything you want, 47 00:02:32,639 --> 00:02:33,040 Speaker 1: and we're. 48 00:02:32,880 --> 00:02:33,720 Speaker 2: Going to start right now. 49 00:02:34,200 --> 00:02:41,080 Speaker 1: I don't think he's going anywhere. I think this is 50 00:02:41,120 --> 00:02:44,880 Speaker 1: how WWE negotiates. I think they're very public with the 51 00:02:44,880 --> 00:02:47,120 Speaker 1: things they leak. I think they leak with intent to 52 00:02:47,200 --> 00:02:50,400 Speaker 1: apply pressure to talent. Sometimes I think talent has to 53 00:02:50,480 --> 00:02:52,680 Speaker 1: leak things because they have to get their side of 54 00:02:52,680 --> 00:02:54,520 Speaker 1: the story out there. These things are very public. It 55 00:02:54,520 --> 00:02:57,680 Speaker 1: happens in sports as well. But here's what I think happened. 56 00:02:57,720 --> 00:02:59,799 Speaker 1: And I'm going to go based off the last experience 57 00:02:59,840 --> 00:03:02,720 Speaker 1: that I had in a negotiation pre I know what 58 00:03:02,760 --> 00:03:05,000 Speaker 1: you did last summer. That was a pleasant one, oddly enough. 59 00:03:06,040 --> 00:03:08,639 Speaker 1: But most of the time, the first number you get 60 00:03:08,720 --> 00:03:14,640 Speaker 1: sent is incredibly low, and they'll they'll concrete that by saying, 61 00:03:14,680 --> 00:03:16,600 Speaker 1: and this is the best we can do. This is 62 00:03:16,639 --> 00:03:18,600 Speaker 1: our best offer. There's no more money in the budget. 63 00:03:19,440 --> 00:03:22,920 Speaker 1: That is one hundred percent of the time, complete and 64 00:03:22,960 --> 00:03:26,440 Speaker 1: total bullshit. Never believe that if you're a young artist, 65 00:03:26,680 --> 00:03:29,400 Speaker 1: Never believe that there is always more money. This I 66 00:03:29,440 --> 00:03:32,119 Speaker 1: know for a fact. Corporations have now changed the way 67 00:03:32,160 --> 00:03:36,480 Speaker 1: they negotiate with artists on television shows, on movies, on everything. 68 00:03:36,760 --> 00:03:39,400 Speaker 1: Instead of looking at the quote the artist has earned 69 00:03:39,400 --> 00:03:42,280 Speaker 1: over time, the quote being how much money they're due 70 00:03:43,120 --> 00:03:46,000 Speaker 1: per show, that per episode, or per movie, or per 71 00:03:46,080 --> 00:03:50,720 Speaker 1: year in wrestling, they have now instead of valuing the client, 72 00:03:51,120 --> 00:03:54,840 Speaker 1: they value the position. And they say, this role or 73 00:03:54,840 --> 00:03:58,520 Speaker 1: this position in the company is worth thirty thousand dollars 74 00:03:58,560 --> 00:04:01,400 Speaker 1: an episode, take it, leave it and you go in there, 75 00:04:01,440 --> 00:04:03,720 Speaker 1: you go, who whaha, My salary's one hundred thousand dollars 76 00:04:03,760 --> 00:04:07,000 Speaker 1: an episode, or or a million dollars a movie or 77 00:04:07,000 --> 00:04:09,760 Speaker 1: whatever the quote that's been earned. And they say, we 78 00:04:10,200 --> 00:04:12,560 Speaker 1: know that, and we totally understand that, but this is 79 00:04:12,560 --> 00:04:15,680 Speaker 1: how much role we feel, how valuable this role is 80 00:04:15,760 --> 00:04:17,680 Speaker 1: in the script, and that's all the money there is 81 00:04:17,680 --> 00:04:21,200 Speaker 1: in the budget. This is total horseshit, and we can 82 00:04:21,200 --> 00:04:23,280 Speaker 1: get away even deeper if you want. There's some actors 83 00:04:23,279 --> 00:04:26,480 Speaker 1: that are guilty of this kind of corporate nonsense too, 84 00:04:26,520 --> 00:04:29,040 Speaker 1: because they're taking the majority of the money and everybody 85 00:04:29,080 --> 00:04:30,920 Speaker 1: else is getting treated like a guest star instead of 86 00:04:30,960 --> 00:04:33,480 Speaker 1: a series regular, even though they're working like a series regular. 87 00:04:33,520 --> 00:04:35,479 Speaker 1: There's a lot of shows, and I don't throw people 88 00:04:35,520 --> 00:04:37,400 Speaker 1: under the bus, but you guys can figure it out. 89 00:04:37,640 --> 00:04:40,120 Speaker 1: When one dude's making forty million and everyone else is 90 00:04:40,120 --> 00:04:46,760 Speaker 1: making fourteen thousand, that's not good. So here's what I 91 00:04:46,800 --> 00:04:50,479 Speaker 1: think happened. I think a disgusting offer was made. It's 92 00:04:50,520 --> 00:04:53,280 Speaker 1: hard not to take this stuff personally as an artist. 93 00:04:53,320 --> 00:04:56,159 Speaker 1: But my uncle, who was like Richard Pryor's manager, he 94 00:04:56,240 --> 00:05:00,440 Speaker 1: was my dad's manager. He's Fluffy's manager these days. He 95 00:05:00,520 --> 00:05:04,080 Speaker 1: always said, you have to be too minded in show business. 96 00:05:04,560 --> 00:05:07,320 Speaker 1: You have to have a businessman's mind and an artist's mind. 97 00:05:07,560 --> 00:05:09,640 Speaker 1: And the artist is always going to think the businessman 98 00:05:09,760 --> 00:05:13,960 Speaker 1: is cruel and preventative of making art, and the businessman 99 00:05:14,080 --> 00:05:16,400 Speaker 1: is going to think the artist is a pussy. His 100 00:05:16,440 --> 00:05:19,960 Speaker 1: word's not mine, and you have to allow both those 101 00:05:20,000 --> 00:05:22,680 Speaker 1: things to exist at the end of the day. And 102 00:05:22,720 --> 00:05:27,400 Speaker 1: he said this too, this is show business, which word's bigger. 103 00:05:28,320 --> 00:05:30,440 Speaker 1: And when I was twelve that didn't mean anything to me. 104 00:05:30,520 --> 00:05:32,640 Speaker 1: I was just like, well, business, duh. And then we 105 00:05:32,680 --> 00:05:35,359 Speaker 1: moved on. But when I got into the business. I 106 00:05:35,440 --> 00:05:38,320 Speaker 1: was like, Oh, they're just in it to make money. 107 00:05:38,640 --> 00:05:43,240 Speaker 1: That was true, then post corporate buyouts, it's ten times 108 00:05:43,279 --> 00:05:47,240 Speaker 1: more true. They want labor as cheap as possible so 109 00:05:47,279 --> 00:05:49,880 Speaker 1: that their bonus is as big as possible. It's all 110 00:05:49,920 --> 00:05:52,960 Speaker 1: about a profit margin. It is not about art. TKO 111 00:05:53,080 --> 00:05:55,360 Speaker 1: does not want to make great wrestling. They want to 112 00:05:55,400 --> 00:05:58,640 Speaker 1: make great amounts of money, regardless of how it's earned. 113 00:05:58,800 --> 00:06:00,599 Speaker 1: They want to make great amounts of money. This is 114 00:06:00,640 --> 00:06:03,520 Speaker 1: true in every studio movie now. This is true on 115 00:06:03,600 --> 00:06:06,080 Speaker 1: every television show now that except you know, the A 116 00:06:06,240 --> 00:06:09,760 Speaker 1: twenty fours, the private studios that are still making cool stuff. 117 00:06:09,880 --> 00:06:11,159 Speaker 2: You know, they don't they're. 118 00:06:11,000 --> 00:06:15,280 Speaker 1: Not subject to stockholders notes, right. But that's literally what 119 00:06:15,279 --> 00:06:17,240 Speaker 1: we're dealing with now, and I think that's what we're 120 00:06:17,240 --> 00:06:20,159 Speaker 1: dealing with in the Carry and Cross and Scarlett Bordeaux thing, too. 121 00:06:20,440 --> 00:06:23,000 Speaker 2: Is just gross corporate negotiations. 122 00:06:23,080 --> 00:06:26,280 Speaker 1: Jeff, I'm sure you've had You've negotiated rates and things 123 00:06:26,320 --> 00:06:28,480 Speaker 1: like this on all kinds of stuff. Do you find 124 00:06:28,520 --> 00:06:31,440 Speaker 1: a similar experience or is the comedy won a much 125 00:06:31,480 --> 00:06:32,640 Speaker 1: more unique experience. 126 00:06:33,160 --> 00:06:37,159 Speaker 4: No, you nailed it. You literally if anybody was tuning 127 00:06:37,320 --> 00:06:40,360 Speaker 4: out during that, like you took us to church as 128 00:06:40,400 --> 00:06:42,120 Speaker 4: far as how that stuff works. 129 00:06:42,200 --> 00:06:44,400 Speaker 3: And great advice, very great. 130 00:06:44,160 --> 00:06:48,720 Speaker 4: Little gems of advice in there if it applies to 131 00:06:48,800 --> 00:06:49,520 Speaker 4: your trade. 132 00:06:49,760 --> 00:06:52,159 Speaker 3: But I will say there's a little. 133 00:06:52,440 --> 00:06:56,280 Speaker 4: A little thing when you're a dreamer, right, which wrestlers 134 00:06:56,279 --> 00:06:59,280 Speaker 4: are chasing a dream. These were all young men who 135 00:06:59,839 --> 00:07:02,200 Speaker 4: they didn't want to have regular jobs. They wanted to 136 00:07:02,200 --> 00:07:04,640 Speaker 4: be a macho man, reny savage or a whole color. 137 00:07:04,720 --> 00:07:08,040 Speaker 4: They're chasing a dream now. Sometimes when you're chasing a 138 00:07:08,160 --> 00:07:12,440 Speaker 4: dream and you get sent a crappy offer, you know, 139 00:07:13,080 --> 00:07:15,440 Speaker 4: you know it's a crappy offer. They know it's a 140 00:07:15,480 --> 00:07:19,000 Speaker 4: crappy offer, but it's the only offer you got. You know, 141 00:07:19,000 --> 00:07:21,480 Speaker 4: there's not a ton of wrestling promotions, and who doesn't 142 00:07:21,480 --> 00:07:25,560 Speaker 4: want to be in WB so, WWE and probably AEW 143 00:07:25,680 --> 00:07:28,240 Speaker 4: now and definitely WCW back in the day. They know 144 00:07:28,280 --> 00:07:30,280 Speaker 4: they got you. Buy the balls a little bit. They're like, 145 00:07:30,320 --> 00:07:32,760 Speaker 4: you know what's he gonna do? Okay, this is how 146 00:07:32,800 --> 00:07:34,960 Speaker 4: much we're offering you take it or leave it. And 147 00:07:35,000 --> 00:07:37,480 Speaker 4: you're like, I don't want to take it, but I 148 00:07:37,520 --> 00:07:39,880 Speaker 4: also I'm chasing a dream here, So they kind of 149 00:07:39,920 --> 00:07:42,720 Speaker 4: got you in a weird spot. And it's hard to uh, 150 00:07:42,760 --> 00:07:44,920 Speaker 4: it's hard to kind of know your worth or it's 151 00:07:44,960 --> 00:07:47,680 Speaker 4: even harder to get your worth. Now with the Carrying 152 00:07:47,760 --> 00:07:50,760 Speaker 4: Cross thing, I think what happens is that they're being 153 00:07:50,880 --> 00:07:53,520 Speaker 4: very intentional about it. I think this seth Rawlins thing 154 00:07:53,600 --> 00:07:57,480 Speaker 4: really drummed up some interesting stuff because they know that 155 00:07:57,520 --> 00:08:01,960 Speaker 4: they can move Carrying Across's music out of the Spotify 156 00:08:02,160 --> 00:08:04,679 Speaker 4: things so it looks like, oh, maybe he got released. 157 00:08:05,000 --> 00:08:07,160 Speaker 4: They know that if they move him to the alumni 158 00:08:07,280 --> 00:08:10,360 Speaker 4: section of the WWE website that people are going to 159 00:08:10,440 --> 00:08:14,160 Speaker 4: start speculating and tweeting and sharing that he's must have 160 00:08:14,240 --> 00:08:17,240 Speaker 4: been released, he must have been released. That's all good 161 00:08:17,920 --> 00:08:21,920 Speaker 4: getting attention on Carrying Cross. The only reason people are 162 00:08:22,040 --> 00:08:25,400 Speaker 4: all obsessed with Carrying Cross right now is because they 163 00:08:25,440 --> 00:08:28,240 Speaker 4: feel like he's not getting appreciated or getting the push 164 00:08:28,320 --> 00:08:31,320 Speaker 4: that he deserves. But if he was getting the push, 165 00:08:31,600 --> 00:08:34,600 Speaker 4: would you be buying Carrying Cross shirts? Would you be 166 00:08:34,760 --> 00:08:37,440 Speaker 4: chanting his name? Would you be tweeting about him twenty 167 00:08:37,520 --> 00:08:40,800 Speaker 4: times a episode? I don't know, maybe you would, maybe 168 00:08:40,800 --> 00:08:42,640 Speaker 4: you like him that much, but I'm gonna guess most 169 00:08:42,640 --> 00:08:46,600 Speaker 4: people might not. So you can't have every wrestler being 170 00:08:46,679 --> 00:08:49,960 Speaker 4: pushed this is a great way to grow traffic for 171 00:08:50,040 --> 00:08:52,520 Speaker 4: carrying cross. So I think they probably are have a 172 00:08:52,520 --> 00:08:55,280 Speaker 4: pen to paper contract in I think that that's what 173 00:08:55,640 --> 00:08:58,320 Speaker 4: I think that's what they're trying to get more attention 174 00:08:58,600 --> 00:08:58,960 Speaker 4: on it. 175 00:08:59,559 --> 00:09:00,880 Speaker 3: I don't think he's going anywhere. 176 00:09:01,400 --> 00:09:04,520 Speaker 1: Yeah, I don't think he's going anywhere either. I think 177 00:09:04,520 --> 00:09:08,360 Speaker 1: it'll take longer than what you're saying. But you could 178 00:09:08,360 --> 00:09:11,680 Speaker 1: be right, because they do really try to manipulate social 179 00:09:11,720 --> 00:09:15,280 Speaker 1: media in wrestling more than any other former show business. 180 00:09:15,559 --> 00:09:44,760 Speaker 2: They definitely do that. The corporate thing is weird, man. 181 00:09:46,080 --> 00:09:48,079 Speaker 1: This is always going to be one of the negatives 182 00:09:48,120 --> 00:09:52,120 Speaker 1: when WW sold, and I've seen it now in the 183 00:09:52,160 --> 00:09:55,680 Speaker 1: studios in the movie business on both sides, and I 184 00:09:55,760 --> 00:09:58,000 Speaker 1: definitely prefer the studios. 185 00:09:57,559 --> 00:09:59,760 Speaker 2: When they were privately When they were privately. 186 00:09:59,440 --> 00:10:01,360 Speaker 1: Owned, it was a much better experience. And I was 187 00:10:01,400 --> 00:10:04,079 Speaker 1: there for the transition. My generation was the last generation 188 00:10:04,120 --> 00:10:06,439 Speaker 1: that got to work with private studios. And then Seagrims 189 00:10:06,440 --> 00:10:09,360 Speaker 1: bought Universal and Sony came in, or it might have 190 00:10:09,400 --> 00:10:11,360 Speaker 1: been Coca Cola and Sony bought it from Coca Cola, 191 00:10:12,360 --> 00:10:14,920 Speaker 1: and then AOL bought Warner Brothers. This is a long 192 00:10:14,920 --> 00:10:16,360 Speaker 1: time ago so if I don't get all of them right, 193 00:10:16,360 --> 00:10:18,480 Speaker 1: I apologize, but I think I am and I was 194 00:10:18,520 --> 00:10:21,640 Speaker 1: there for that transition and the whole waste notes got 195 00:10:21,679 --> 00:10:27,719 Speaker 1: delivered to scriptwriters completely changed, completely changed, and everything was 196 00:10:27,760 --> 00:10:30,319 Speaker 1: about a budget, and they were like, yeah, these are 197 00:10:30,320 --> 00:10:32,760 Speaker 1: the locations that you're allowed to shoot in, so you 198 00:10:32,840 --> 00:10:35,199 Speaker 1: now have to rewrite the script to work those locations 199 00:10:35,280 --> 00:10:37,360 Speaker 1: instead of the ones that you want wrote in the script. 200 00:10:37,679 --> 00:10:41,199 Speaker 1: And the writer's like, oh, okay, I have a kid 201 00:10:41,200 --> 00:10:44,240 Speaker 1: that just was born, and a wife and a mortgage payment. 202 00:10:44,320 --> 00:10:47,040 Speaker 1: It's costing me x amount of dollars every month. I'll 203 00:10:47,080 --> 00:10:49,400 Speaker 1: give you what you want. And then the critics shit 204 00:10:49,480 --> 00:10:51,959 Speaker 1: all over the writer because the script all of a 205 00:10:52,000 --> 00:10:56,760 Speaker 1: sudden feels unorganic or inorganic, whichever the word is, and 206 00:10:57,440 --> 00:10:59,680 Speaker 1: they want to know why. And it's not the writer's fault. 207 00:10:59,679 --> 00:11:02,040 Speaker 1: It's not the director's fault. Well, they should have some integrity. 208 00:11:02,160 --> 00:11:05,600 Speaker 1: They do, but they also have bills and just like 209 00:11:05,679 --> 00:11:08,600 Speaker 1: you do. And the artist's life is a life of poverty, 210 00:11:08,679 --> 00:11:11,440 Speaker 1: just like a lot of jobs that are crappy unless 211 00:11:11,440 --> 00:11:14,800 Speaker 1: you get to the top. So I always found it 212 00:11:14,840 --> 00:11:17,960 Speaker 1: funny that critics never had the courage because they know 213 00:11:19,080 --> 00:11:21,679 Speaker 1: how the studio system operates to a certain degree, they 214 00:11:21,720 --> 00:11:25,000 Speaker 1: never had the courage to criticize the executives. And then 215 00:11:25,040 --> 00:11:26,840 Speaker 1: I realized when I was in my twenties, I was like, oh, 216 00:11:26,880 --> 00:11:29,199 Speaker 1: because they won't get invited to the premier stuff and 217 00:11:29,240 --> 00:11:32,040 Speaker 1: that's why they don't gie the executives. So there's a 218 00:11:32,080 --> 00:11:36,599 Speaker 1: whole kind of like crazy circle of negotiation processes that 219 00:11:36,920 --> 00:11:39,720 Speaker 1: the corporate version has done. And like when I worked 220 00:11:39,720 --> 00:11:43,320 Speaker 1: at Netflix, their number was their number, and I was 221 00:11:43,400 --> 00:11:47,200 Speaker 1: just like, well, see it, Like I don't know what 222 00:11:47,280 --> 00:11:48,840 Speaker 1: to tell you, man. I think what I'm giving you 223 00:11:48,880 --> 00:11:50,640 Speaker 1: is a fair number. I'm not asking for what I 224 00:11:50,679 --> 00:11:52,760 Speaker 1: made on my last movie. It's been five hundred years 225 00:11:52,800 --> 00:11:55,559 Speaker 1: since I made a movie. Here's what I think, based 226 00:11:55,600 --> 00:11:57,440 Speaker 1: on your budget and based on what I bring to 227 00:11:57,480 --> 00:11:59,800 Speaker 1: the table, that this is my value and that's my worth. 228 00:12:00,160 --> 00:12:03,080 Speaker 1: And eventually we've found that number and everybody was cool. 229 00:12:03,120 --> 00:12:04,400 Speaker 1: And I remember sitting there at the end of the 230 00:12:04,480 --> 00:12:07,040 Speaker 1: negotiation and my agent at the time was like, are 231 00:12:07,040 --> 00:12:09,400 Speaker 1: you happy, And I was like, nah, man, they lied. 232 00:12:10,720 --> 00:12:13,559 Speaker 1: They said this is all we have, and they lied 233 00:12:14,160 --> 00:12:17,319 Speaker 1: they had more, and when I asked for more, they said, no, 234 00:12:17,480 --> 00:12:19,680 Speaker 1: we don't think you're worth that much. It's basically what 235 00:12:19,720 --> 00:12:22,760 Speaker 1: they said, and we value you at this number, and 236 00:12:22,800 --> 00:12:24,680 Speaker 1: I said, well, I value myself at that number. And 237 00:12:24,760 --> 00:12:27,640 Speaker 1: so it's like, I don't know. It's hard not to 238 00:12:27,679 --> 00:12:29,559 Speaker 1: take it personally as an artist even I have, you 239 00:12:29,640 --> 00:12:30,960 Speaker 1: know what I mean. And then there's times where I 240 00:12:30,960 --> 00:12:34,280 Speaker 1: address it properly. But it's a tricky thing because Netflix 241 00:12:34,360 --> 00:12:38,640 Speaker 1: is all analytics. Man, this actor and this actor equals 242 00:12:38,679 --> 00:12:41,760 Speaker 1: this many eyeballs equals this much money, so we're going 243 00:12:41,840 --> 00:12:43,600 Speaker 1: to hire them. That's why you see the same twelve 244 00:12:43,600 --> 00:12:47,480 Speaker 1: actors in every movie that's ever made, because it's super 245 00:12:47,559 --> 00:12:50,280 Speaker 1: analytics now, and I think that's what they're trying to 246 00:12:50,320 --> 00:12:57,119 Speaker 1: apply to WWE. I would advise any wrestler to always 247 00:12:57,400 --> 00:13:00,440 Speaker 1: bring your merch numbers to the table in any snociation 248 00:13:00,600 --> 00:13:04,400 Speaker 1: you do, because that shows profit for the company. Cut 249 00:13:04,440 --> 00:13:07,360 Speaker 1: together reels of your best work on there so that 250 00:13:07,400 --> 00:13:10,880 Speaker 1: you can remind people of what you do. That's more 251 00:13:11,720 --> 00:13:14,320 Speaker 1: for like the younger wrestlers, not the older ones. You're established. 252 00:13:14,320 --> 00:13:16,720 Speaker 1: That would be for the younger. Here's what I can do, 253 00:13:16,800 --> 00:13:19,160 Speaker 1: Here's where I've gotten better. Here's look you wanted me 254 00:13:19,200 --> 00:13:21,000 Speaker 1: to work on this, Well, look at that I worked 255 00:13:21,000 --> 00:13:23,360 Speaker 1: on that and this I think is better and shows 256 00:13:23,400 --> 00:13:26,600 Speaker 1: my worth. Like you, guys gotta fight for what you 257 00:13:26,679 --> 00:13:30,880 Speaker 1: believe in value yourself, which is really hard for every 258 00:13:30,960 --> 00:13:33,120 Speaker 1: artist to do because you want people to like your 259 00:13:33,160 --> 00:13:35,400 Speaker 1: work before you decide whether you like it or not. 260 00:13:35,520 --> 00:13:38,000 Speaker 1: Most of the time, those are just like the personality 261 00:13:38,040 --> 00:13:40,920 Speaker 1: types alpha, beta, and omega, Like the alpha's already decided 262 00:13:40,960 --> 00:13:43,559 Speaker 1: how they feel. A lot of stand up comics are 263 00:13:43,600 --> 00:13:46,000 Speaker 1: alphas and betas, but you can tell the difference, Like 264 00:13:46,120 --> 00:13:48,800 Speaker 1: Larry David is an alpha personality. If a joke doesn't work, 265 00:13:48,840 --> 00:13:51,400 Speaker 1: he's like, it's the audience's fault. It's not my fault. 266 00:13:51,400 --> 00:13:53,719 Speaker 1: That's a great joke, whereas others are like, fuck, they 267 00:13:53,720 --> 00:13:56,600 Speaker 1: hate me. That's more the beta personality. They're very susceptible 268 00:13:56,640 --> 00:14:00,560 Speaker 1: to criticisms and compliments, and the omega personality is usually 269 00:14:00,600 --> 00:14:02,600 Speaker 1: just wants to know what the motive behind the compliment 270 00:14:02,679 --> 00:14:05,400 Speaker 1: or criticism was. They'll be like, and that's more me. 271 00:14:05,520 --> 00:14:06,959 Speaker 1: Like someone's going I love you in this movie, and 272 00:14:07,000 --> 00:14:08,640 Speaker 1: I'm like, man, they probably have a script they want 273 00:14:08,679 --> 00:14:10,440 Speaker 1: me to read. Or if they go, man, I hate 274 00:14:10,480 --> 00:14:12,640 Speaker 1: your movie, I'm like, oh man, their girlfriend drug them 275 00:14:12,679 --> 00:14:15,960 Speaker 1: to that movie, then I feel bad. So that's more 276 00:14:16,000 --> 00:14:18,080 Speaker 1: how my brain works. But most of the artists that 277 00:14:18,120 --> 00:14:21,240 Speaker 1: I meet are alpha's and betas, and they either don't 278 00:14:21,280 --> 00:14:23,320 Speaker 1: give a shit how you feel, they're not doing it 279 00:14:23,360 --> 00:14:26,560 Speaker 1: for you, or they're totally doing it for you. And 280 00:14:26,600 --> 00:14:29,040 Speaker 1: I think wrestlers are probably in that same boat. So 281 00:14:29,320 --> 00:14:33,720 Speaker 1: be careful out there, wrestlers. Keep your shoulders to the grindstone. 282 00:14:34,120 --> 00:14:36,520 Speaker 1: Push that rock up the hill. You are not sissiphist. 283 00:14:36,680 --> 00:14:36,760 Speaker 4: You. 284 00:14:36,920 --> 00:14:38,640 Speaker 1: It will get to the top. It will not roll 285 00:14:38,640 --> 00:14:40,960 Speaker 1: all the way back down. That was a myth in 286 00:14:41,000 --> 00:14:42,680 Speaker 1: your stories real life, and I love you all. 287 00:14:42,840 --> 00:14:44,040 Speaker 3: Some of them are sifist. 288 00:14:44,360 --> 00:14:48,760 Speaker 2: Some yeah, okay, some are doomed. I'm being too positive. 289 00:14:48,760 --> 00:14:50,960 Speaker 2: You're right, I'm being too positive. I'm trying to bring 290 00:14:50,960 --> 00:14:52,480 Speaker 2: positivity to negotiations. 291 00:14:52,560 --> 00:14:53,960 Speaker 3: Jeff No, I love it well. 292 00:14:54,000 --> 00:14:56,440 Speaker 4: I mean I think as an artist, as a comedian, 293 00:14:57,000 --> 00:15:01,160 Speaker 4: as even as a politician, as a wrestler, as anything, 294 00:15:02,120 --> 00:15:05,600 Speaker 4: whether you're trying to do good or bad, whatever your 295 00:15:05,640 --> 00:15:07,000 Speaker 4: goal is, whatever your art. 296 00:15:06,960 --> 00:15:08,600 Speaker 2: Is, I'm trying to do bad. 297 00:15:08,800 --> 00:15:12,000 Speaker 4: We're all beholding to a system, you know, like that, 298 00:15:12,120 --> 00:15:16,680 Speaker 4: like you're stuck in what the system is and you 299 00:15:16,800 --> 00:15:22,920 Speaker 4: gotta place smart, and and that's that's hard to do well. 300 00:15:23,000 --> 00:15:24,480 Speaker 2: Jeff's out here trying to do good. 301 00:15:25,080 --> 00:15:27,640 Speaker 1: I'm combating that, doing as much evil as I can do, 302 00:15:27,760 --> 00:15:29,720 Speaker 1: trying to keep some balance in the world. So you 303 00:15:29,760 --> 00:15:33,200 Speaker 1: guys don't just have sunshine and rainbows every fricking day. 304 00:15:33,520 --> 00:15:36,080 Speaker 1: You need a little rain, Like they say in Scotland, 305 00:15:36,120 --> 00:15:39,000 Speaker 1: you need a little rain in Seattle. On behalf of Jeff, 306 00:15:39,400 --> 00:15:42,000 Speaker 1: I'm Freddie. Thanks for listening. Hope you learned something, Hope 307 00:15:42,000 --> 00:15:43,840 Speaker 1: you liked it. If you didn't, don't worry. We don't 308 00:15:43,840 --> 00:15:47,240 Speaker 1: talk about this much. We'll be back into wrestling next week. Jeff, 309 00:15:47,680 --> 00:15:49,760 Speaker 1: tell the people you love them. 310 00:15:50,160 --> 00:15:52,680 Speaker 4: I love you boys, I love you girls. I love 311 00:15:52,720 --> 00:15:56,120 Speaker 4: you all the marks and all the all the fans 312 00:15:56,520 --> 00:15:57,200 Speaker 3: See in Houston.