LA Trip Ep. 2: Building a Media Brand with AI and Innovation featuring C. Craig Patterson

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Well, welcome to We Built This Brand.

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I'm your host, as always, Chris Hill, and,

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uh, with me today is my co-host is Adhrucia.

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I am the host of Conversations with Curiosity.

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I'm so excited to be here to talk about building this.

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Brand.

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Absolutely.

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We're talking about everyday mischief.

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And that is, is it?

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C, Craig, pat c Craig, see Craig Patterson.

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Um, you are the founder as well.

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I am, yes.

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And we're excited to have you on today just to

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learn a little bit more about your business.

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And this will be really fact finding for me

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'cause I'm just learning about it on the spot.

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Oh, well.

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Like, let's learn together.

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Yes.

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And let's talk about building a brand in, in media.

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So, um, yeah, so tell me what was the.

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What was the inception of this brand?

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Oh, as, as a filmmaker, like, uh, you know,

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normally you start a production company, right?

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Right.

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But, uh, what we wanted to do was make sure that we had, uh, a

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company that could not only do animation and not only do film,

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live action film, but also do, uh, research and development.

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Hmm.

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Right.

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So, uh, at times when like cameras and, uh, need testing and lenses

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need testing and new techniques testing, we also have that side of it.

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So that, that's big.

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And what it does is it allows you to.

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They at the kind of the tip of the spear, right?

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For things.

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And, uh, at the top of everyone, uh, everyone's kind of contact book.

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So when it's time to make a movie or try something out, uh, we get that call.

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So it's a, it's a beautiful

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And do you have infrastructure for that?

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Is that something you built consciously from the beginning?

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Yes.

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Yeah.

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Such an interesting choice.

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Yeah.

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Well, uh, because, uh, I worked a lot with

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the entertainment technology center at USC.

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Right.

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Okay.

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And it was started by George Lucas, uh, at his behest 30 years ago, uh,

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when they were, or I guess 35 years ago, when they were, uh, doing, uh,

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the digital camera versions of, uh, the second three of the The prequels.

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The prequels, yeah.

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Yes.

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And um.

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And from there, what USC and the Entertainment

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Technology Center continued to do was test things out.

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Like they were testing out cloud computing

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in like the early two thousands, right?

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Mm-hmm.

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Uh, and uh, so things like that.

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So what, when I first started with them, the film that we

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did Fathead, uh, we were, we tested out Amazon's new stage

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15 at the time it was new stage 15 volume stage, right?

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Mm. And at the time, it was the biggest volume stage

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in North America, and they needed a, a Guinea pig.

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To like try out their, their tech before the

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big movies and everything rolled in there.

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And uh, and we happened to have a movie to test out.

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Mm-hmm.

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And they were like, Hey, would you wanna do this?

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Uh, but if, if you do it and it goes down, then we

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won't, then you kind of just sacrifice the movie.

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Right?

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Yeah.

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And we're, and my team, like our team is just like the Goonies man.

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We never say die.

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Right.

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So we were like, oh yeah, cool.

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Let's do it.

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And, and we, we just kind of.

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Ran through it and, and had a, an amazing time making films there.

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And, uh, and, and from there I kind of got bit by the technology book.

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'cause before that I was a very, like, traditional filmmaker.

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I had never even used a green screen with anything ever.

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So I went from that to like.

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Straight to the volume stage, straight to ai.

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So what is a volume stage for those who may not know what that is?

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Oh, sorry.

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So, uh, a volume stage is like, imagine,

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um, the largest TV screen you've ever seen.

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Oh yeah.

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Okay.

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Right.

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So like the volume stage that we were using at.

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That time, like how they make the Mandalorian, right?

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Mm. Mm-hmm.

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Um, that you, you create these beautiful assets

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and you display 'em on, on the, the backgrounds.

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And our stage was 28 feet high.

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It was 90 feet across and 60 feet deep, right?

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Yeah.

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And, uh, it was, it was a remarkable experience.

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They built, our film was, uh, based around these kids who

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all lived in a junkyard, and so we built the entire junkyard.

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In on, uh, inside that stage, but it looked like it went

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on for miles and miles and miles because of the screens.

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Right.

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That is fascinating.

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And the,

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yeah.

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I'm sorry.

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Uh, go ahead, finish.

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Oh, so the, the biggest thing about it is, uh, making

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the movie so you don't even know that we did it.

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Mm-hmm.

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Right.

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Like, so it just looks normal.

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If, if you can tell that we're doing it, we've messed up.

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Right.

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Well, your metric stages is now given a way to what we're seeing as the

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AI insurgence into film and TV and into everything in everyday life.

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A hundred percent.

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And you're at the forefront of that with the partnership with hysteria.

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Yes.

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Would you tell us a bit about the partnership and also a little bit about, uh,

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what you see both as the, the peaks and the pitfalls of this new tech invasion?

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Um, uh, well first off, Asteria has been wonderful partners,

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uh, with the film Chileo that we're doing, and we have a second

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film that we're, we're just starting to roll out and figure out.

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Could you tell them a little what Asteria is?

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Oh, yeah.

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So Asteria is, uh, an incredible company that focuses mostly on, uh, ai, right?

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And they.

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Uh, together with Moon Valley, they've

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developed this model called Mary, M-A-R-E-Y.

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Uh, that, uh, is, is readily available now to use.

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Uh, and it is the first clean model, right?

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Mm-hmm.

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So everything that has ever been fed into it,

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they have ownership of or have partnerships with.

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So it doesn't go scrape in any data.

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It, it is everything that is there.

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And like for our film, the only thing that's fed into it are

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the images, the custom images made by, uh, human artists, right?

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So, uh, but.

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As far as, uh, the pitfalls of like utilizing like this new

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tech, uh, of, of generative and procedural, um, I think mostly

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it's, it's gonna sound weird, but when the sky is the limit.

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And, uh, like a lot of times where you could do

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anything you want, it can become debilitating.

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Mm-hmm.

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And you could start going too far.

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And it absolutely, you know, so it's, you still have to have

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specificity Mm. In which, uh, specifically what you wanna make.

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And not just make things, because you can make them right.

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Because you could send your team down a crazy rabbit hole,

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rabbit hole, and, and that, and everything costs right there.

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There's still like, so the more you're spending to try to

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just make something bigger and bigger and more unwieldy.

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Like that, that's at the detriment of your team,

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right?

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Right.

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Yeah, because that generative AI costs money to run the

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servers and to do all of that stuff, the environmental

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costs and all of that type of thing as well too.

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Right.

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So you, you want, you wanna make sure, um, like.

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There's the analogy of, there's like kind of two types of sharp shooters, right?

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There's the, the people that ready set, like, and, and they,

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they aim at exactly what they want to hit and then they hit

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it, or there's the people that kind of go everywhere with it

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and then afterwards walk up and draw the circle afterwards.

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Yeah.

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Spray and pray method.

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Yeah.

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The spray and pray.

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Um, and, and, uh.

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The relationship with hysteria has never been the latter.

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Right.

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We, we come at it in, in a way it's been a, a remarkable partnership.

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Yeah.

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Uh, can you tell us a little bit, like, for the filmmakers who

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are watching, who have tuned in for, to listen to this episode,

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how has, uh, the integration of AI and this partnership with

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Hysteria changed your filmmaker change your process as a filmmaker?

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Uh, you know, we have.

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Our, our normal process as filmmakers.

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How we go through after we have a script, how we break down the script,

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how we set up the, the shots for the script, the shot list, et cetera.

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Now you're going into.

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Now you have this unlimited potential of, in some areas

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of that filmmaking, uh, when you're looking at maybe

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creating some sort of, uh, model that the film is Yes.

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That it's within the film, or when you're creating a extension

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to a scene or you're, how is it changing your process,

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uh, in from, from inception, right?

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Like from, uh, when you get to the deck onward.

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Right.

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So, um.

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It used to be for your deck, you would spend tons of time

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finding like, uh, images that were in the ballpark, right.

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Of what you wanted.

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Right.

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And now you can get to the brass tacks and get to the,

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the specifics of this is what this movie is then like.

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That's a super important part because that's

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the part that gets them on board with you.

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Right.

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And then once you're on board, I've had

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the, the great fortune, uh, undeservedly.

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So to work with people that are far past my ability levels.

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Right.

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And those people command huge paychecks.

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Right.

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So one of the reasons that, that, uh, they're

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able to work with me is 'cause they like the idea.

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Uh, but on top of that, I don't have to have them start at zero.

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Right?

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Uh, like, um, the best way to explain it is there's a, a Oscar winning,

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uh, production designer and costume designer that we worked with, uh,

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like these, these two amazing women, and they were on the way to go.

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Do a much, much bigger feature film mm-hmm.

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Than our little short film.

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Right.

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And they said, look, uh, see Craig, we wanna make this movie.

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We got three months to work with you.

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It's like, okay, cool.

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So we can't start at zero then.

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Right.

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We can't burn a couple of weeks trying to figure out

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for them, trying to figure out what's in my head.

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So I spent a ton of time creating the images so that they

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could start at 60, 65%, and they say, okay, we get it.

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We understand what you're going for.

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And then that way, cost

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saving, time saving, you already

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know.

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And that way we're not, I'm not burning your

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talent on you trying to figure out what I want.

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Yeah.

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Right.

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Like that's, that's a bad way to utilize an amazing teammate.

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What an exciting frontier to be on, man.

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It's, it was a blessing in every way.

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Chris, I wanna hear more about this media brand.

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Yeah, I know, I do too.

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And I was about to ask, so, so everyday mischief, where did that name come from?

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Oh.

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'cause I, I, as a kid I was fairly mischievous.

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So like, it was, it was a, it was a simple thing to go.

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And I, and I believe in like.

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I want my teams and, uh, like we have fun, man.

254
00:10:00,345 --> 00:10:01,965
We enjoy being around each other.

255
00:10:01,965 --> 00:10:04,635
We en enjoy crafting and creating things.

256
00:10:04,935 --> 00:10:08,445
And, um, and I thought that was important to keep that spirit

257
00:10:08,445 --> 00:10:11,655
of like, we're doing something a little kind of crazy here.

258
00:10:12,345 --> 00:10:12,625
Great name.

259
00:10:12,625 --> 00:10:12,635
Right?

260
00:10:12,635 --> 00:10:12,680
Great name.

261
00:10:13,125 --> 00:10:14,325
That is, that is awesome.

262
00:10:14,325 --> 00:10:18,285
How, how has that brand helped you get business or grow your company?

263
00:10:19,270 --> 00:10:22,900
Mostly just off of the fact that we're the people that you call

264
00:10:22,900 --> 00:10:27,220
when you're not sure exactly how something is going to work, right?

265
00:10:27,490 --> 00:10:31,180
Like one of the, the best blessings that we had was, um,

266
00:10:32,140 --> 00:10:35,020
there was a comedy special 'cause a dear friend of mine, I,

267
00:10:35,020 --> 00:10:37,900
I, Aroy Wood Junior, I've shot two of his comedy specials.

268
00:10:37,900 --> 00:10:39,340
I love Wood Jr. He's a friend.

269
00:10:39,370 --> 00:10:41,380
He is a dear friend, right?

270
00:10:41,440 --> 00:10:45,730
Uh, and we were about to shoot his comedy special, but like.

271
00:10:46,435 --> 00:10:48,505
We wanted to play around and test some stuff.

272
00:10:48,505 --> 00:10:53,905
So, uh, the, our dp uh, made a call up there to, to, uh, Ari

273
00:10:54,145 --> 00:10:57,895
and said, Hey, uh, do y'all have some stuff for us to play with?

274
00:10:57,895 --> 00:10:59,515
And they were like, oh, by the, well, we, we

275
00:10:59,515 --> 00:11:01,525
do have the new Super Bowl cameras, right?

276
00:11:01,525 --> 00:11:03,085
We have the ARI 35 live.

277
00:11:03,870 --> 00:11:06,180
Would you mind testing them for us before the Super Bowl?

278
00:11:06,300 --> 00:11:09,510
Ah, and it was like, and they sent us, uh,

279
00:11:09,540 --> 00:11:12,510
seven cameras and seven German engineers.

280
00:11:12,510 --> 00:11:12,750
Beautiful.

281
00:11:12,840 --> 00:11:16,050
With the cameras and, and, uh, and we tested

282
00:11:16,050 --> 00:11:17,880
'em out and it was a remarkable experience.

283
00:11:17,880 --> 00:11:18,150
Right.

284
00:11:18,210 --> 00:11:18,510
Oh, how much fun.

285
00:11:18,960 --> 00:11:19,110
It

286
00:11:19,110 --> 00:11:19,920
was really great.

287
00:11:19,920 --> 00:11:22,710
And, and because of that, uh, because of that

288
00:11:22,710 --> 00:11:24,780
relationship and what we were like, what.

289
00:11:25,305 --> 00:11:27,795
They trusted us with, you know, thankfully, like,

290
00:11:27,795 --> 00:11:29,655
you don't, you don't have to pay for the cameras.

291
00:11:29,655 --> 00:11:29,985
Right?

292
00:11:29,985 --> 00:11:29,995
Yeah.

293
00:11:30,015 --> 00:11:32,745
Like they, they wanted they want the data from that.

294
00:11:32,775 --> 00:11:32,925
Yeah.

295
00:11:32,955 --> 00:11:34,125
'cause you're on that experimental

296
00:11:34,125 --> 00:11:34,365
end.

297
00:11:34,395 --> 00:11:34,815
Yeah.

298
00:11:34,815 --> 00:11:35,115
Man.

299
00:11:35,115 --> 00:11:37,785
And it, it's, it's great to see, and I, and I've been

300
00:11:37,785 --> 00:11:40,425
really fortunate to, to work with people that have products

301
00:11:40,425 --> 00:11:42,435
that 'cause they, they don't want that product to fail.

302
00:11:42,525 --> 00:11:42,825
Mm-hmm.

303
00:11:43,095 --> 00:11:43,485
Right?

304
00:11:43,995 --> 00:11:46,545
Like they know we're going to shoot someone's comedy special.

305
00:11:46,545 --> 00:11:49,245
They want, like, that's why they sent the engineers with the camera.

306
00:11:49,245 --> 00:11:52,245
Each camera had its own engineer there with it just in case wild.

307
00:11:52,505 --> 00:11:52,715
Right.

308
00:11:52,715 --> 00:11:55,835
So, uh, those are, those are beautiful things to, to do.

309
00:11:55,835 --> 00:11:56,990
And it, it's been, um.

310
00:11:58,020 --> 00:12:02,160
I've been incredibly, incredibly grateful and lucky to, to be able to do it.

311
00:12:02,490 --> 00:12:03,870
Tell me the intersection now.

312
00:12:03,870 --> 00:12:05,069
Building a media brand.

313
00:12:05,069 --> 00:12:06,810
In today's day and age, the intersection of

314
00:12:06,810 --> 00:12:10,260
building a personal brand versus a media brand.

315
00:12:10,500 --> 00:12:13,770
Where now, you know, being a filmmaker, I know, I know

316
00:12:14,100 --> 00:12:16,830
personally is such a face forward thing in many ways.

317
00:12:17,040 --> 00:12:19,860
You are giving your vantage point, your viewpoint, and we're

318
00:12:19,860 --> 00:12:22,319
now at this really, I struggle with this, with this really

319
00:12:22,319 --> 00:12:25,470
crazy intersection where building your personal brand.

320
00:12:25,765 --> 00:12:28,855
Building your brand has almost become, in

321
00:12:28,855 --> 00:12:32,065
some cases, one, how are you approaching it?

322
00:12:32,125 --> 00:12:36,025
What are your, it may be maybe you're struggling with it like I am.

323
00:12:36,025 --> 00:12:38,695
What is the, what is the best approach do you think, for

324
00:12:38,695 --> 00:12:40,825
media brands and people are trying to get into media?

325
00:12:41,005 --> 00:12:44,155
Do you see personal, really, uh, elevating and pushing

326
00:12:44,155 --> 00:12:46,795
forward, or do you think that going all in on company

327
00:12:46,795 --> 00:12:49,590
or is it some sort of pairing or matching of the two?

328
00:12:49,955 --> 00:12:53,165
I mean, in, in all honesty, I think the folks that are willing to,

329
00:12:53,165 --> 00:12:57,095
to like really throw themselves out there, get a huge head start.

330
00:12:57,485 --> 00:13:01,565
I, I'm a pretty like, kind of quiet and, and timid person, right.

331
00:13:01,565 --> 00:13:02,675
So I, I stay in the back.

332
00:13:02,885 --> 00:13:06,305
That's the reason I, I direct, I love for actors to be in front of things.

333
00:13:06,305 --> 00:13:06,575
Right.

334
00:13:06,875 --> 00:13:10,175
But, um, because of, um, Eric Weaver and the

335
00:13:10,175 --> 00:13:13,955
ETC, uh, like I, I tend to do a lot of talks.

336
00:13:13,960 --> 00:13:14,160
Mm-hmm.

337
00:13:14,900 --> 00:13:15,640
The more, um.

338
00:13:16,630 --> 00:13:19,270
The more intimate the space, the better for me.

339
00:13:19,270 --> 00:13:22,329
Like I don't, I don't know if I want to talk to a stadium of people.

340
00:13:22,435 --> 00:13:22,595
Right.

341
00:13:23,050 --> 00:13:25,630
But, uh, if it's talking about like, I love film,

342
00:13:25,630 --> 00:13:28,150
man, we've dedicated our, li our lives to this, right?

343
00:13:28,150 --> 00:13:28,209
Yeah.

344
00:13:28,390 --> 00:13:30,760
So I, I'll talk about film with anyone, right?

345
00:13:30,760 --> 00:13:35,260
I'll talk about like this, this medium has given me so much.

346
00:13:35,655 --> 00:13:36,045
Right.

347
00:13:36,045 --> 00:13:40,305
It's, it's helped me, uh, like take care of my family.

348
00:13:40,305 --> 00:13:42,765
It's helped me learn things about cultures and people,

349
00:13:42,765 --> 00:13:45,495
like, I, I would give anything for this, right?

350
00:13:45,495 --> 00:13:48,675
So if it, it means being uncomfortable in front of a camera for a

351
00:13:48,675 --> 00:13:52,125
little bit, then I'm willing to do that because it, it has given to me.

352
00:13:52,575 --> 00:13:52,905
Right?

353
00:13:53,805 --> 00:13:53,925
Yeah.

354
00:13:53,925 --> 00:13:55,125
That's a great way to give back,

355
00:13:56,475 --> 00:13:56,745
you know?

356
00:13:56,745 --> 00:13:59,895
Well, you know, it's, it's honestly like, it's, it's.

357
00:14:00,765 --> 00:14:02,115
It's for the company Uhhuh.

358
00:14:02,145 --> 00:14:04,035
It's for, uh, the industry.

359
00:14:04,035 --> 00:14:05,955
'cause our industry needs, like right now at

360
00:14:05,955 --> 00:14:09,015
a time where there's gonna be less humans.

361
00:14:09,495 --> 00:14:10,755
Objectively, right.

362
00:14:11,235 --> 00:14:14,745
There needs to be as many humans saying things as possible.

363
00:14:14,805 --> 00:14:14,925
Yep.

364
00:14:15,015 --> 00:14:15,855
In that space.

365
00:14:15,915 --> 00:14:16,125
Yeah.

366
00:14:16,125 --> 00:14:16,275
Right.

367
00:14:16,875 --> 00:14:21,225
I, uh, I, I, as a creative, there's very distinctive, uh,

368
00:14:21,255 --> 00:14:23,985
difference between, I'm sure that you come up against this between.

369
00:14:24,210 --> 00:14:27,000
The creative me and a founder, me,

370
00:14:27,005 --> 00:14:27,335
right?

371
00:14:27,480 --> 00:14:28,530
And so it's always

372
00:14:28,530 --> 00:14:32,070
in, in creative industry, it's always like, how do you marry these two?

373
00:14:32,340 --> 00:14:36,780
Because the director, the even the actor, the director, the actor in

374
00:14:36,780 --> 00:14:40,260
you, that is something where you love to disappear into other worlds.

375
00:14:40,605 --> 00:14:44,745
Not necessarily be fa for fa forward facing as a founder.

376
00:14:44,745 --> 00:14:44,834
Right.

377
00:14:45,045 --> 00:14:48,314
And then founder's a very different hat and it's a very different energy.

378
00:14:48,555 --> 00:14:51,735
And so always interesting to hear how, how individuals are tackling it.

379
00:14:51,735 --> 00:14:54,015
'cause I do think that it's challenging for the creative arts.

380
00:14:54,074 --> 00:14:54,285
Right.

381
00:14:54,285 --> 00:14:57,824
And always kind of keeping your eyes open for what's the, the

382
00:14:57,824 --> 00:15:01,425
next part of your industry that needs a little bit of help

383
00:15:01,425 --> 00:15:04,694
that you or your team might be able to like your voice too.

384
00:15:04,720 --> 00:15:05,079
Mm-hmm.

385
00:15:05,920 --> 00:15:06,199
Absolutely.

386
00:15:08,130 --> 00:15:10,410
Well, thank you for coming on.

387
00:15:10,440 --> 00:15:11,070
It's an honor.

388
00:15:11,190 --> 00:15:14,610
As we wrap up, I always like to ask, um, this question,

389
00:15:14,610 --> 00:15:17,400
which is, you know, what brand do you admire the most?

390
00:15:17,400 --> 00:15:19,290
I find that, you know, as you're building your own

391
00:15:19,290 --> 00:15:21,690
business, there's some brands you look towards.

392
00:15:21,960 --> 00:15:23,100
What brand is that for you?

393
00:15:24,285 --> 00:15:25,575
Uh, off the top.

394
00:15:26,475 --> 00:15:31,935
I really, really, it's going to be an odd one, I'm sure, uh, is Anna Perna.

395
00:15:32,175 --> 00:15:32,595
Right?

396
00:15:32,985 --> 00:15:33,015
Okay.

397
00:15:33,195 --> 00:15:36,465
Uh, so specifically because I'm a big gamer.

398
00:15:36,525 --> 00:15:36,915
Right.

399
00:15:36,915 --> 00:15:40,875
And there's a game that they developed a few years ago that

400
00:15:40,935 --> 00:15:44,010
made me proud of them, even though I've never worked with them.

401
00:15:44,145 --> 00:15:45,525
I was very proud of them.

402
00:15:45,530 --> 00:15:46,050
What was the game?

403
00:15:46,245 --> 00:15:46,965
It's called Stray.

404
00:15:46,965 --> 00:15:47,145
Okay.

405
00:15:47,415 --> 00:15:49,305
It's about, it's about a cat, right?

406
00:15:49,515 --> 00:15:51,165
And, and oh and yeah.

407
00:15:51,430 --> 00:15:51,910
Yeah.

408
00:15:51,939 --> 00:15:52,869
And it's a cat.

409
00:15:52,959 --> 00:15:52,989
Okay.

410
00:15:52,989 --> 00:15:54,369
I didn't even know they developed that.

411
00:15:54,400 --> 00:15:55,270
It's incredible.

412
00:15:55,329 --> 00:15:58,510
Not only is it just about, and the cat has no superpowers,

413
00:15:58,599 --> 00:16:01,930
it's a cat, but it, it has, it's an amazing game.

414
00:16:02,109 --> 00:16:06,969
And all I thought was that that's a company that saw that vision

415
00:16:07,420 --> 00:16:10,719
and like when they heard that pitch, they were like, I believe.

416
00:16:11,324 --> 00:16:11,625
Hmm.

417
00:16:11,745 --> 00:16:13,350
I believe in like as as they

418
00:16:13,350 --> 00:16:13,790
took the chance,

419
00:16:13,935 --> 00:16:16,935
they took the chance and we're always looking for people to take

420
00:16:16,935 --> 00:16:21,255
the chance on ideas that we might be able to see very clearly, but

421
00:16:21,255 --> 00:16:24,555
others might need a little bit more like pushing and prodding for it.

422
00:16:24,615 --> 00:16:27,314
And I thought Anna Perna did a, a, a remarkable job.

423
00:16:27,314 --> 00:16:27,465
That's a

424
00:16:27,465 --> 00:16:28,095
great answer.

425
00:16:28,815 --> 00:16:30,225
That is a fascinating game.

426
00:16:30,225 --> 00:16:32,595
I have yet to play it, but I know exactly the one you're talking about.

427
00:16:32,595 --> 00:16:32,925
You should play it.

428
00:16:32,925 --> 00:16:33,345
It's great.

429
00:16:33,345 --> 00:16:34,185
It looks fascinating.

430
00:16:34,395 --> 00:16:36,525
My son loves cats, so maybe, oh, there you go.

431
00:16:36,525 --> 00:16:37,490
Maybe we'll both play together.

432
00:16:37,520 --> 00:16:37,810
He's

433
00:16:37,810 --> 00:16:38,180
gonna love it.

434
00:16:40,035 --> 00:16:41,055
Well, that's awesome.

435
00:16:41,055 --> 00:16:41,325
We'll see.

436
00:16:41,325 --> 00:16:43,125
Craig, thank you for coming out today.

437
00:16:43,605 --> 00:16:44,415
Really appreciate it.

438
00:16:44,415 --> 00:16:47,085
Where can people find out more about you, connect with you and your brand?

439
00:16:47,145 --> 00:16:47,865
Uh, LinkedIn.

440
00:16:47,865 --> 00:16:48,705
See Craig Patterson.

441
00:16:49,065 --> 00:16:49,455
Awesome.

442
00:16:49,510 --> 00:16:49,850
All righty.

443
00:16:49,850 --> 00:16:50,115
All right.

444
00:16:50,295 --> 00:16:51,315
Well, thank you for coming on.

445
00:16:51,465 --> 00:16:52,005
Thank you.

446
00:16:52,155 --> 00:16:52,635
All righty.

447
00:16:52,635 --> 00:16:52,785
Thank

448
00:16:52,785 --> 00:16:52,845
you.