 This is Think Tech Hawaii, Community Matters here. Bingo! We're back. Woo! 3 p.m. on a given Wednesday. Exciting show. I'm so happy that you're here. This is Al Damascus. No, there you go again. All right. Okay. I just corrected you. This is Al Dacascos. I did that for your benefit. All right. Okay. Cody Easterbrook. Okay. Al is a stunt man. Look at him carefully. Let's look. Come in a little. You want to see what a stunt man looks like? Yeah, we look normal. I mean, you could be a stunt man too. Anyone can be a stunt man. Thank you for saying that. Anyone can do it. Anyone can do it. I mean, yeah. And Cody is a, well, he runs something called Entertainment Art Studios. Yeah, Entertainment Art Studios I'm the director, and I'm also an actor, so I work to empower our local acting community. What are you acting in these days? Currently, I'm hosting a show for NBC. It's called the Big Fun Crafty Show. It's a kids crafting competition show. It airs weekdays on Universal Kids. All right. Wow. You've got talent. And you've been in a lot of stunts? Yeah. So have I, but it's different kind of stunts. My wife tells me. Uh-oh. You've been a stunt man too, then. You know what? Coming home late at night. I do stunts. Something like that. Yeah. Pulling some stuff. I think that's what she's referring to. So how'd you get to be a stunt man? Actually, in a martial arts, in a martial arts, you know, they always ask, and what the instructor is asking. Hey, anybody come up, be my dummy, and I go up there and be the dummy and take the punch for it. You know, I get the kick here, punch here and everything, and later on, you just know that when your instructor is punching you, you kind of just move in or move out a little bit to just create the distance, because you know that in real life, you know, my nose would be in the back of my head, you see? So when that punch is coming in, you know, I'll just go ahead and move back and just go with it. And he says, you know, I like this. Having fun with it. You know? And then I started choreographing martial arts demonstrations in tournaments and on television and things that way. Then I lived in Europe for a while, and when I lived in Europe, I was involved with the film industry there, you know, doing the Spaghetti Westerns. Oh yeah, in Italy, yeah. In Italy. Okay. And then doing demonstrations at seminars and tournaments and then getting quality info television and movies, you know, just doing it. And I had fun also, you know, being the stunt person, you know, but, you know, I had more fun coordinating. I mean, that was the fun part of it. Supervising other stuntmen. Yeah. Let them get their nose broken, eh? Well, you know, everything is good for safety. Yeah. Safety is a primary thing. Have it get hurt now? Huh? Have it get hurt? Oh yeah. Okay, you're gonna feel that. Huh? Oh. You feel that? Oh. There's all kinds of bumps. And one time that was on this side. Okay? You see? So, you know. I vouched for Al. So, what did it feel like? Tell the audience, is it on what you just saw? It was going in different directions. Oh. Yeah. Personal nerves. Yeah. So, yeah. I mean, so it's like, you know, no more injuries. I know the type of injury you can have, you know, doing it, you know, and stunt is exciting, but you know, it's not only the martial arts, I mean, stunt covers all kinds of things. You've got like the one that we're doing over here, stunt 101, basically concentrated to fight choreography and martial arts type, you know. And if we have like past the stage and people get interested in two other things, then we may go into stunt 102, which would probably be high falls and flyer techniques. Okay, we got a flyer. This flyer. I saw this flyer before. Can you talk about this flyer? Yeah. So, this is what we are doing this coming Saturday, September 29, 2018 in Kaneohe. We're inviting the public out to come and join us for a stunt class with Sifu Al-Dakaskos. Me. You got it right this time. No. We're very honored as entertainment artists studios to have a world-renowned martial artist and stuntman and stunt coordinator. He's worked in the motion picture industry for years. His son is a famous action-adventure star, Mark Dakaskos, so we're very honored to have him to share with our students and share his skills and talent and really empower a local acting community. So what are you going to do in this program? Tell us. Tell us a little bit about it. Well, the program actually is teaching this person, well, basically when anybody comes in, if they had no martial arts training or stunt work, you know, one of the most, first thing on the line they got to do is, you know, they got to be in condition. They got to have at least some skills, and if they don't have the kind of skills for the martial arts, you know, one of it is to learn how to fall, because in almost any type of action, you know, whether you're going to be falling off a car, falling off a building or somebody throwing you, you got to learn how to fall correctly without getting hurt. Yeah. Even a little fall can be dangerous. Even. I mean, a person could get hurt just falling off six inches, you know. Yeah, yeah, yeah. So, you know, we teach them how to fall forward, fall backwards, roll over how to recover. What's the trick? What's the trick? What's the trick? Relax. Ah. And then basically... Well, yeah, you want to learn on your shoulders. Some people learn to land on their heads, which is the wrong way. Some people land on their... Yeah, well, yeah, I've done that several times, but it was all by mistake, you know. But, you know, you learn through the experience, you know. And, you know, in rolling, you know, I mean, one of the secrets is keep your chin on your chest, you know, and just roll on your shoulders. A lot of people just don't do it right, you know. If you got any kind of skills in falling, you know, it normally comes because you've had gymnastics, you know, acrobatics, you know, like judo, jiu-jitsu, or wrestling, you know. These are the ones that would help a person out. As a matter of fact, most of the good stunt people come out on martial arts, gymnastics, you know. Do I need to know martial arts to learn stunts, you know? No. But it helps. Yeah. Well, acting is also going to be very good, and that's where he comes in, okay? Because, you know... Yeah, it is. Yeah, because I'll show you the moves and everything, but then, you know, he'll go ahead and show you the facial expressions, the body language, eye movements, and everything, and how to stay in the right position. Wow. There's a lot of elements to this. Yeah. It's got to be fun, you know. It's fun. I mean, you know, we teach the person that's, you know, doing the techniques to make sure that he's always in frame and make sure that the camera is following him, you know, whether we're going to, you know, wide distance, close or Dutch angle, whatever. You know, stuntman is almost like a director of the stunt, yeah? Well... Because it's like a pilot. You look around the plane before you take off, so you're looking around the stunt scene, making sure that it works for you, you know? Exactly. Well, you know, that too, we have to be able to... You see, the thing is, there's got to be a reason when you're putting a stunt together, especially stunt fighting. There's got to be a reason why you're fighting, otherwise it doesn't make any sense. You know, you go out there with a blank face, but if you have, you know, the intensity, like maybe, bam, somebody slapped me in the face, you want to... Then you have a reason. You're scaring me. That's okay. Okay, because you have that intensity. You've got to have the motivation, right? Right. It's just like acting. Right. You're not going to deliver lines unless there's a motivation for it. Right. You're acting throughout the whole process. Everything. You know, everything. And some people even go home, you know, they even take the character home with them. You know, I've done it a couple of times, you know, and just playing and walking into the walls and pushing the walls. I mean, I got to stay in character, you know, but of course, of course my girlfriend don't like that. Because, you know, that don't work. You see what I mean? So... Don't take your work home. No, no. That's the lesson here. Yeah. So getting involved in that way, you know, there's a lot of things people just don't understand. I mean, I've had it one time when we were working with Slate and the guy came inside and the person was there and they go back right on the nose. Boom! I said, okay, man, pull back. You know, you've got to learn how to stay away from the Slate and all that. So there's a lot of things that people just don't understand. Of course, the stuntman shouldn't move back a little bit, too. But he didn't. He just stayed there. Yeah. He should have seen that coming. That's part of it, yeah? Yeah. So it's fun. So what about the actor? And you hear about this all the time, Al, who says, I do my own stunts. But do you agree with him? Is he nuts or what? Well, there was only a few of them are really, really good. You know, Tom Cruise does his own. Is that right? Yeah. And you have Jackie Chan and Jet Li and, you know, people like, of course, my son, Mark, you know. He does stunts, too. Yes. I mean, everybody, you know, he does his own stunts. I mean, he learned it since he was three years old. Basically, any child that comes out of being born. So I want to be sure that he wasn't the one who taught you that you were the one who taught him, right? No, I think he kind of taught me because, you know, as a child, when a child comes out, you already come up with your hands close-fist and you already scream. That's right. That's why I came out punching him. Oh, he already did. Yeah, I can remember that. You see? I mean, so it's almost innate. So who's the necessity for you to become a stunt guy? Well, yeah. I mean, it's basic self-defense in everybody. You know, it's an innate thing. But, yeah, that's, well, we go from there. Yeah. So if I want to be a stuntman, or if I want to be you being a stuntman, what do I do? I call up somebody in Hollywood? Or I call up Cody. That's what I do. I call up Cody. You guys work together in this way, don't you? Absolutely. We work here in our local Hawaii market to empower local actors to get cast and to be working. There's tons of shows coming to our island, movies and TV shows, and the sad part is not a lot of our talent is getting used. So our goal is to prepare these actors, our local community, to be working on a competitive level. You know, myself, I don't consider myself a stuntman, but there are moments where you have to do stunt-like moves. You know, on Hawaii Five-O, I played a character called Luke Paquale, riding the Hawaiian cowboy, who was on the run from the cops. And so during this scene where they're chasing me, getting ready to take me down and hog-tie me, I had to run in cowboy boots on Lava Rock. That was a stunt. I had to train to actually pull that off and make it look convincing. Without hurting yourself. Without falling overnight. Of course I let the stuntman take the fall for me because he gets paid the good money for that. But I did the running on the Lava Rock. So it's all a process. It's important for our local acting community to learn how their body works because acting is much more than just facial movements. It's much more than delivering lines. Acting is movement. It's motion. It's your body. And so that's where Sifu Al comes in because he teaches us the proper way to take a hit, to take a fall, to throw a punch, and make it believable and convincing. What I'm getting out of this is, if I went back to the movies of the 30s, 40s, 50s, I wouldn't see so many stunts because those movies were not as action as the movies today. They had that. They had it sometimes. Think about Charlie Chaplin. He was such physical humor, physical comedy, even before words came along. Physical, yeah. Everything was physical. And Charlie Chaplin was probably one of those first stunt guys taking falls and ties in the face and doing other stuff. Absolutely. So that physicality has been there since the beginning. And then you had Albert and Costello in the Three Stooges that came along. Physical humor. Yeah, yeah, yeah. Comedy stunts, you know. And during the 1940s, early 1960s or 50s, they were getting into the western cowboys. Everybody was playing cowboy and Indians, you know. So that's where the dangerous stunts come from. But I guess one of the best stunts you will ever see is, was there a helper with Bert Reynolds? Yeah, he died recently, yeah. Right, okay. It was really, really good, you know. He did his own stunts. Yeah, yeah, a lot of it, you know. They all take bruises and everything because there's not, you know, let's see, my son just got off the set working with Keanu Reeve, you know, on John Wick 3. Okay. And he showed me a picture of himself. He said, Dad, look at this. You know, I bought it from my waist-up. Bruise is here. Bruise is there. And everything I say is... It's not just makeup either. No, no, no, no. Because the thing is just that Keanu Reeve is also a martial artist. So both of them are martial artists. And you know, in martial artists, if you don't hit me, you're not doing anything to me. So you can make it look real. And the fight scenes were real. You see, except when you have people that's not a martial artist, then naturally that would be stopped. It would like that. It wouldn't hit, you know, just very close. You know, other than that, you know, most of the guys would just go bam! Just that way. And they'd do it. Because for them to have that agreement, you see, you know, we're going to play it like that. We're going to make the context so I can respond the way it is. Because if you hit me and I don't respond, respond the way I overreact. It's unbelievable at all. It takes two to tango. Yeah, yeah, yeah. It's so interesting. So these days, you cannot have a decent movie without having decent stunts. Yeah. And everybody, including the people who are not stuntmen, have to understand about stunts. Yeah. Well, you know, I've seen a lot of good romantic comedy, you know, and a lot of romantic films. And nobody's throwing any punches or anything, but you know, the guy rushes out the building and bumps into the wall. That's a stunt. Sure. You know, he missed a step. He pulls down this stunt. He doesn't necessarily have to take a punch from anyone. You know, it can be anything. Stunt can be anything. Yeah, it's true. It's acting. And I'm thinking it's like practicing law. To practice law, address a jury, you have to be an actor. And if you're going to be an actor, you have to understand about, you call it physicality. It's really acting is about physicality. It's about putting emphasis, you know, telling a story. You can tell it with your voice. You can tell it with your body. You can tell it with movement. So, it all goes hand in hand. Yeah. So, you know, I want to ask you about Hawaii. You know, Hawaii doesn't have that much going on in terms of moviemaking. I want to see Hawaii have a lot more going on in terms of moviemaking. Where does this fit, you know, in making Hawaii great again? Great to say that. Just steal a phrase. Well, you know, if we can develop really good stunt people, good martial artists that can build a good stunt team, you know, then it's not necessary for the mainly ones to come in, you know. We have here. Yeah, they've got a lot of good talent. It's just that they're not exposed, you know. And naturally, you know, if we have, you know, like with Cody and Billing this up and all the groups that get in together, we can build a really strong team for the Hawaiian community, you know. Because, I mean, we have it. Why do you think there's a lot of good talent here going there? You know, they don't really want to go there, you know. If we can develop from here and bring it here, because I mean, Hawaii is so natural. We've got everything in here, you know. Scenery and the talent. We can do that, you know. And to bring in some of the mainly people now and then, that's okay, you know, okay. But I think that developing the crew here as far as the directing, acting, producing talents and stunts and everything, we have it. You agree, Cody? You know, I absolutely do agree. We have a wonderful indie market. There's a lot of short film festivals that come here, Ohina. There's, we have the HIF, the Hawaii International Film Festival. We have a whole lot of productions that are coming here. And they utilize the scenery and the sights of Hawaii, because it can double for any place on earth. I mean, you look at some of the past productions that were here. When Lost was on Island, they created Africa here. They created London here. Anywhere, South America, Asia, you can produce it right here in Hawaii. So, we have the diverse landscapes. Now we need to convince Hollywood to understand that we have the diverse talent as well. Yeah. So that's kind of our goal, is to really establish these local actors so we don't lose them to LA. So they can stay here, continue working in this market and let Hollywood know that you can come over here and we have talent too. We have stunt people. We have actors. We have entertainers. Utilize our local community. Our local talent is actually cheaper because you don't have to travel them over here. Yeah. You know, it's so frustrating when I work on set, on a TV show, and I see them flying in an actor for one line. And I'm telling you, you flew this person in from LA for one or two lines when you have an incredible, talented team of actors in a community that's so strong right here. So we're trying to empower these actors to develop their reels, to film them doing stunts so they can demonstrate to producers, to give them the capability. I've got the qualifications. You can cast me. So create a market where our local community of actors can be competitive. And that's the goal. So that's what we're working toward. All right, Kody Al. We're going to take a short break. When we come back, I want to talk about Mark a little bit. Okay. I want to talk about how much money a stunt guy makes. Ooh. All right. Get people all salivating about that. Okay. I want to have a short demonstration. All right. Right here in the studio. Nobody gets hurt. I think you're going to take the hit though, right? We'll see about that. All right. You could be wrong. You know, you don't know exactly how strong I am. There you go. There you go. Okay, fair is fair. We'll be right back after this break. Over screen. And wildlife conservation caring for the world's vanishing creatures. But we can't do it alone. Visit kindness 100.org to find ways to teach kids how they can make a more caring, compassionate, and humane world for all of us. Do you want to be cool? If so, watch my show on Tuesdays at one called out of the comfort zone. I sang this song to you because I think you either are cool or have the potential to be seriously cool. And I want you to come watch my show where I bring in experts who talk all about easy strategies to be healthier, happier, build better relationships, and make your life a success. Let's sit with the cool kids at out of the comfort zone on Tuesdays at one. See you there. Hi, I'm Bill Sharp, host of Asian Review here on Think Tech Hawaii. Join me every Monday afternoon from 5 to 5 30 Hawaii Standard Time for an insightful discussion of contemporary Asian affairs. There's so much to discuss. And the guests that we have are very, very well informed. Just think we have the upcoming negotiation between President Trump and Kim Jong-un. The possibility of Xi Jinping, the leader of China, remaining in power forever. We'll see you. Okay. And we go. Two, one. Okay, we're back. We're back alive. And I have to, you know, full disclosure. They were actually rehearsing during the break. This is going to be great, you know. But first, some non-physical stuff. So one is, what do you think of Jackie Chan? You mentioned his name. Is he the kind of guy that will, you know, act while he's hitting and punching or is he just hitting and punching? He's doing everything. You know, he's one of the greatest stunt martial artists. He's done his own stunts. He's done his own acting. Everything done is directing. Done is producing. But he also gets a lot of hurt. You know, he's, if you want to. He takes a lot of chances. Yeah, at one time, I think going back about maybe about 20-something years, he did a show in Budapest. And he actually fell, you know, and ended up in the hospital, you know. And a couple of times he did his own stunts and he ended up in cast. It's because he wants to do it himself. Which makes it more real in January. And, you know, and since then, a lot of people have followed that. You know, a lot of the martial artists try to get into that, what they call, cinemafu. You know, kung fu, you know. Okay, okay. Which is the Hong Kong accent. You know, and using a lot of wires, you know. Because they're like flying, right? They do a lot of flying. So he's done with wires, huh? Yeah. You heard it here on Think Tech, yeah. Now you know, yeah. With wires and then, you know, they'll do a punch. And instead of, normally, when you get hit, you go down. They'll do this and they'll tumble in the air three, four times. And boom, and it looks really good on cinema. Especially for young people. They say, wow, that's fantastic. How'd they do that? Yeah. But in reality, you know, you're not going to do that. You get hit one time, you're just going flat down. Yeah, sure. You see me so, yeah. Well, you know, that's the amazing thing about movies these days. I got to make this one comment. You see in the movie, the guy gets shot with 21 bullets, you know. The next thing you know, he's in the hospital and he's surviving. And two hours later, he's out on the street pursuing his mission yet again. Aren't you worried that people who watch will get to feel that they're invincible just the way the actors are invincible, no? Well, you know, act, you know, when you get into cinema and films, it's all illusions. And when you do choreography, it's a dance. You know, it's basically a dance. We're just doing it in such a way that, you know, we can make it look violent, lovely, comical, whatever way possible. So you understand that in there and coming with the idea that you're doing something fun, you're creating an illusion, you're bringing out all your expression and you're dancing along the way. I mean, yeah, it's fun. You know, so we have a lot of fun doing it. You ever break out in a smile while you're doing it? Only in the comedy ones. Yeah, well, it happens, you know, because I mean, I've done it sometimes when I'm taking the punch and boom, as soon as my head turns, I'm already laughing because I know that thing, the way he did it, man, he says, it sucks. I say, okay, cut, man, we got to do it all over again. It reminds me of those wrestling matches, you know, where nobody actually gets hurt, but it all, all these people are pounding on each other. They make good stunt people. I mean, you know, a lot of them, you know. Well, because they're studying choreography. Yeah, yeah, yeah. It's choreography. So for this choreography, I call you in, forget about the transportation from LA because we're here and I ask you to participate in a stunt scenario all the long till we get it right. What's the size of the check I have to give you? Well, it depends if it's in India or not, you know. All right, all right. You know, I mean, All about what you negotiate. Yeah, well, you know. Negotiable, yeah. Right. And, you know, the context and the job that you have. I mean, you know, some people only make $5,000 a year and the highest average paid was paid almost, I think was about $250,000 just for a jump from a 22-story building in Toronto down, you know. So, you know, I mean, that's pretty chancey because, you know, you're jumping off, even jumping over, you know, a three-story building and get you killed. We've had one. I can't remember it was. I think it was done in New York where it was going on. He was jumping out of the third floor, and it happened two different incidents. One of them was that they overinflated the bag and when he hit the bag, he bounced off and landed on the street. Oh, no. A week later, he died of injuries. Oh, no. The other one they had was underinflated. When he hit, the bag collapsed and he went right down to the ground. Boom! Down. You know, nobody checked it. Just, right? Yeah. I mean, you know, stunt work can be really dangerous, you know, like, for instance, like Brandon Lee, which is Bruce Lee's son, you know. He was shot with a .44 Magnum caliber, you know, but it was something because... On set. On set. It was only because someone didn't check the props right, you know, and left a small piece of fragment from it so when they put the blank in and when they shot, that fragment hit him and that is what killed him. You see, so, you know... It's a dangerous career. Right. So, you know, the person that, you know, you actually call this guy the stunt rigors, you know. They're the one that rig up everything and, you know, it's their responsibility. And for somebody not doing that, then you put somebody else's life on the line. Normally when, even if I have somebody setting up the props for me, you know, I go over there and I take a look. I do it myself. I check it out. I say, man, you know what? I don't want my person getting hurt. Yeah, really. But it leaves a burden on you. I mean, it just seems logically that you're not going to be able to go against the movie company or anything for what happens when you're irresponsible. You're taking a risk. You're getting paid for the danger. Am I right? Yeah. Depending. Again, everything is negotiable. You know what I mean? I mean, there's been stunt people that say, you know, I think I'm going to shift it over to this other guy to do it. Because he's more qualified to land on his head than me. So you have a stunt man and then a stunt stunt man. There's a whole stunt team. Yeah, you've got a whole stunt team. And there's a coordinator who coordinates the whole choreography and paints the picture. So, how do I make the real? Because, you know, I mean, I'm not going to get a job and I can show them I'm up to it and the real is my evidence that I'm up to it. What does a stunt real look like and how do you make it? There's a lot of different elements that casting is looking for. They want to see your physicality. They want to see your athleticism. They want to see your ability to take a hit, to take a fall, to throw a punch. So at our class that we're going to be holding this Saturday in Kaneohe, Al's going to be choreographing different fight sequences. We're going to be choreographing and providing all of our students with that footage that they can use to promote and to book these gigs. Of course, they're not going to jump in as a stunt person after one class. It's a process. But casting wants to be able to see that they have the physicality. That they can do more than what is expected of a normal actor. Are you going to be watching them for that? Are you going to be watching to see who the skill is with the talent? They'll show right off the bat. They'll show right off the bat. Let's ask about Mark. He's taught you a lot of things over the years. Yes, he has too. What's his career like these days? How do you talk to each other? We do. When we do fight choreography, a lot of times because of the distance we do it over the telephone. He'll call me up and say, Dad, I'm on the set and we're going to work on something. I have an idea. What do you think about it? And he would put me into the frame and I would go into that and I said, Mark, that's not going to work. You're going to have to jump off the wall, twist here and do that. And he says, even if it's in the hotel, he'll do it right there and then. He says, you mean like this and I can hear the sound. I say, I'm closing my eyes. I think you got it there. So we do that. You kind of have a consultant when you set these things up, right? Right, yeah. I love the stunt person. And when he and I was working on the film in the Philippines, of course, he was always on hands. He would tell me, Dad, I think this is going to look good. I said, no, Mark, it's not. You've got something else in the front of it and we will change things around. It won't necessarily always go good because he's very athletic. At one time I could do what he could do. When he tells me he's going to jump off the wall and I'm trying to visualize I've got a 37-year-old guy trying to do that, or maybe a 47. I don't think he's going to be able to do it. So we go with the natural skills and the talents and that and making it simple enough but a lot of action so that it's believable. But you have to have a mental condition, a certain state of mind to do this and not to be afraid, right? How do you get into that state of mind now? It's a lot of things. It's like on the way I slap my face and just get going on it or think about something. Like I said, you have to put yourself, you've got to get a reason for fighting. You've got to create the reason. You've got to feel the reason. And then it's easier. Get into the character. Absolutely. Okay, I'm going to ask you guys to get into the character now. Let's see what you can do to hurt each other, all right? Okay, so actually what you want to say is... This is going to be a group project. Okay, so we're going to meet your sound effects. Yeah, you're going to be on sound. Okay, so actually one of the very first things that we show is like how to take a slap. Because you notice that if I'm going to slap him here I'm going to call across. Let me see right there. That looks good right there. But we'll turn it right here so that he can see, right? So you see the spacing right here. So we're going to go here. Oh, wow! I didn't even slap! Sound guy's on it. I'm actually far away, but when I begin to hit him, I'm going to go bam! That way, you see? And he reacts to it. You see what I mean? Even from the punch, you know, I go right in. I said, you know, he looked at me and I said, what are you talking about? You hit him, right? There you go. You see? So, you know, it's all distance, you know? He's got that motion, you know? And of course, you know, he's playing it along. So he's putting the facial expression on too, you know? So on the back of my head, the way he moves around, that carries the character and it brings it up a little bit more town. Naturally, when you put the sounds in, you know, it brings it alive. Otherwise, it will be silent film. Should we try a hand for you? No, no, it's okay. It's not a fix. How are you feeling, Cody? Are you okay? Oh my gosh. His touch is so, so slow. What an actor. Okay, so let's talk about the program you have coming up. So everybody knows how to reach you, how to reach the program and how to get down there and participate. Absolutely. So we are holding the class this Saturday. For those of you who'd like to get further information, you can visit my website at CodyEasterbrook.com, www.CodyEasterbrook.com right there. And click that contact link and you can sign up for the class or get further information. And it's going to be an ongoing course. So if you can't join us for this Saturday, then be sure to drop us a line and we'll keep everyone posted about the ongoing courses and workshops that we're going to have with Sifuao because it's something that our acting community needs to practice, to engage in, to get better at. And it's going to create a level of competitiveness. It's going to create a level where they can be competitive. Let me say it that way. So Al, how much of that do you agree with? All. Okay. Before we close here, I want you to give me your best shot right there. Really? Yeah. Okay. Here you go. And you make sure you move now. Okay. All right. There we go. All right. Thanks very much. Al, Cody. Great to be here. All right. Thank you.