Entertainment Series 3: Eric Kline

0:01 Welcome to another episode of Come Together and we are live with Eric Klein. Eric, welcome to Mr. Klein. Rather, thank you so much for joining me. I really appreciate it. Thanks for making the time. How are you today? I'm great, thanks for having me on the show. Of course, of course, I'm so happy to have you here. So you, I, I did some, I did some homework on, on your, on your pretty illustrious career, I guess over the last 35 years. And one thing that I, that I really found to be so impressive and so creative and so entrepreneurial is that it, it looks to me at least that you've got this amazing skill of storytelling and particularly behind the camera. And then and you, and then, and then there's actual application of however anyone wants a story to be told, right? And story time can be done in a ton of different ways. We've done the marketing can be done as music videos. It can be done as a documentary or as a film. And so I just wanted to ask, I guess when you got started off in this industry, was there a particular, was there a particular passion that you had, a particular direction you wanted ahead and how did you get to be, how did you get to wear so many hats?

1:28 Yeah, Well, yeah, Thank you. First off, you know, I definitely was enamored with music and music videos. I was sort of influenced by, you know, one of my older cousins who was a singer-songwriter and veterinarian out in LA named Doc Lawrence. And he gave me a guitar when I was 17. And so it turned me on to Springsteen and Bon Jovi and all that. So I was really, I was really into the singer-songwriter. And when I got into college, I started to pursue doing visuals to augment, you know, MTV was, was sort of a fever pitch in the late 80s, having started in 81. So, you know, I started doing a lot of music videos for college and whatnot.

2:14 And my senior project was, was one of my cousin's songs, Go, Where did the sound go? And it was, you know, we were at FIU at the time. And so we were down in Miami and it lended itself. It was a homeless themed video. You know, you're a little young, you may not remember, but the Camillus House, which is still there, but it's a much bigger building. It was for homeless that people would come in and literally across the way from the old Miami Arena. So we went down there, I don't know, 7 or 8 times during the course of the semester and shot hours and hours of just B roll of, you know, the homeless flight of the homeless and dot dot dot became a music video and, and that, you know, started.

3:00 I was like, wow, this is, you know, it's a great feeling to to take someone's song and, and create visuals for it. And so I started to pursue that path pretty passionately. And then, you know, that led me to meet Max Goose, who was at FIU at the time and, and Max introduced me to Video Jukebox Network, which became the box. And that was sort of the beginning of my career in 1991. Wow, wow, wow, wow. There's a whole lot to unpack over there. First of all, I love the, I love the, what do you call? I love the, the music influence first, especially because, and I mean that while you were speaking once.

3:43 I'm a massive Springsteen fan myself. Yeah. I could say safely that he had changed my life when I was 21. I was, I graduated college. I was lost. I had no idea what I wanted to do with myself. I had a quid writing and literature degree. And my uncle had passed away and my grandfather giving me a bunch of his records, his old vinyls, and I got my hands. I'm born to run. There you go. And one of the first things that I, oh, yeah. And one of the first things I and that I, that I would look at, look at while I was reading the book. I was reading the, the lyrics, you know, on this, on the record sleeve while I was playing. It was how cinematic the entire album was and how all his how all his lyrics and poetry would just create this, you know, these scenes and vibrant images in my head and and, you know, and, and I really, and then, you know, I really felt that he was, I felt that he could have been a movie, you know, a screenwriter.

4:36 I felt like he could have really come up with some, you know, the whole Born to Run album could have really been a film, you know, and it would have been amazing. Yeah, no, I mean, that's, that's such a, it's an interesting point. I mean, born to run, it was like a Seminole moment in his career for me. It's like, you know, the river born to run or born in the USA. Those are my, you know, I mean, Bruce was like you, you know, just such an incredible inspiration to me. You know, just the messages of of what he was, you know, illustrating. I got into him in the Born in the USA era and I sort of went back and, and now, you know, now he's, you know, he's always been a socially conscious guy.

5:18 And that really fed into, you know, what I was trying to do as well as a younger kid, you know, with like we are, if you remember, we are the world, which again, was sort of before your era, but I was really influenced and that was right around the time, you know, I was in high school. So Bruce has been much like yourself, just an, you know, an immeasurable influence to me. Yeah, that was he watched that documentary that was released on Amazon recently, about maybe a year ago. About yeah, the road, the world. I thought that was yeah, Rd. Diary was great, yeah. And then now in October, they've got really the first biopic, you know, depicting the, you know, the Nebraska and what would be the Born in the USA sessions coming out.

6:04 Deliver me from nowhere. So yeah, incredible. Yeah, I'm very excited about that. Oh yeah, I'm very. Excited. Oh yeah, me too. What's what's the gentleman's name that's starring? I forgot his name. He he was great in the bear. Great actors. An iron claw. Jeremy. Jeremy Allen. White Yeah. Jeremy Allen White. I just saw the first trailer to it yesterday. It's incredible. Awesome. I'm very excited about it. Yeah, I'm very excited about it. What kind of what kind of homework do you do? I know obviously based on the project it, you know, because I know I want to talk to you a little bit about two heads or better than one also. But in terms of the, I mean, you know, whether you're making a music video or a documentary or, you know, you're just trying to think about a project, you know, what kind of what kind of homework do you have to do based on each assignment that you do?

6:55 And you know, is it is it, is it research? Is it interviews? Is it like what you did with your first, with your first, you know, music video where you kind of just camp out and get a lot of footage? Yeah, no, it's a good question. I you know, it depends on the situation. I mean, and you know, 30, you know, 36 years later, you know, after doing that music video and you know, just it's a different universe today, but you know, we have access to more information. Sometimes it's not all real information, of course, with the Internet. But no, I absolutely try to do a lot of homework on on everything I do. You know, if I can meet the the artist or the individual, the subject, you get really a better sense, you know, in person to me with everything, whether it's this or, you know, going the other extreme of, you know, dating people or, you know, business partnerships that people do virtually. It's it's almost, you know, if you don't have that sense of who they are as an individual or what they're trying to communicate, you know, that that to me is paramount. And then, you know, research is, is obviously important, looking at their prior work and, and what or music or whatever the situation would be.

8:08 And sometimes it's a little tougher if they're not in your state. So I tend to be more fluid as to, you know, being able to travel these days. Now that we're, you know, I mean, it's great to, to do stuff like this, which, you know, I mean, you and I are based in the same state, even though I'm all over the place. But you know, we're going to hopefully get a high quality product for your podcast and, you know, just doing audio. So it's, I think flexibility is the key. You know, in, in, in this day and age and different, different generations, you know, my parents generation, your parents generation, you know, my generation, yours, you know, everything's a little different. So having flexibility, I think is really the key. But I pretty much do whatever I have to do to get a sense of, you know, inside the artist's head or inside the subjects, you know, mind at that point.

9:01 Right. And when you look at these projects, do you look at that, for example, if someone hires you to do a music video, you know, are you looking at this typically? I have you found often that they want creative control over, you know, the, I guess the cinematography or they, you know, they tend to just be kind of hands off and just want to see the final product that you come up with. Yeah. Because I can imagine that. Yeah. Yeah. You know, it's a good question. I think back in in the 90s when I started, you know, the budgets were significantly large and they are now course technology is is driven it down in terms of the cost to do these things.

9:42 Still though, you can, you can look at, you know, a music video today and you can see the quality on the camera or on screen. Excuse me or or not, but yeah. I mean, it's like back then you would deal with the artist and then you would deal with the record company and vis A vis the, you know, the manager. So whether it's like Mariah or Bon Jovi, it's like, you know, I'm dealing with the label and then I'm sitting with the artist, working with the artist and you know, they would feed through, you know, their manager in some cases. Call me. Hey, Eric, you know, let's chat about this and you know, it's, it's a, it's an integration of, of everybody's ideas. You're there to help execute against an idea with which you pitched. So you're basically submit a pitch to the cons for the concept.

10:28 The the label first looks at a manager artist and and then they say, Hey, we like this. Let's let's work around that. And you know, it's and then it becomes, you know, first first cut, second cut, final cut. You know, when you're a director, producer for an artist is always that process. When you're doing a documentary, most of the time you know the subject is not really involved other than you know, they're talking, you're getting information background and then they're them or their representative will have and you want them to have an input as things you know, you start editing and what not. So it's always a, it's a collaborative process and I like that.

11:16 I'm not against that. I think artists today have more artists on the music side have more creative control because a lot of the times they're paying for the music videos directly and certainly indirectly as a recoupment of, you know, the money that say, Columbia Records or Sony's going to put out. So it just depends on the dynamic when you're dealing with the streamer streaming situation like Amazon, Netflix and Hulu. If you go to them with a project and you sell it to them, it's one thing. If you they pay for it, they are absolutely integrated into the entire process. Sure, and they're going to do whatever they want with well.

11:57 I don't know, whatever they want, I think it's, again, you know, they're going to have final say unless there's a, you know, big name attached to it, you know, say an artist attached to it. It just depends on the situation. But you know the old saying, whoever you know, whoever's paying the bills has the final say so. Oh, yeah. Oh, yeah. Money talks, Lenny. Lenny certainly talks when it comes to documentaries. I feel like, you know, and I guess you made that point. I even think about it while you were talking about it, but when it comes to documentaries, I guess there would be some kind of conflict of interest, right? If someone's getting them, you know, especially if the individual is alive or if they're fit, if you're dealing with their estate, then, you know, there might be something that makes them, you know, not look as great as they would have wanted.

12:46 Or maybe they, you know, misunderstood or misrepresented. You know, how do you deal with with, do you ever have to deal with those kind of conflicts? And if you do, how do you work? How do you work with them around? That, you know, back in the in the 90s, I would do, you know, these shorter documentaries like, you know, again, you know, there's their layers of people with an art with a big name artist, say like Mariah Carey, we did a documentary on her in Japan. And so there were a lot of layers to that, but it was pretty seamless ultimately because it's. Yeah, we all had the same goal in mind, really no conflict of interest. Like you said, if someone passes away, are you doing something on somebody that has passed away, let's say like Tupac or, and you know, whoever it may be, you know, then you deal like you're saying with their estate and they're the legal people with the estate or the, you know, the, the, the parents or the siblings or, you know, the descendants of the individual.

13:46 But I haven't really had to deal with that per SE, you know, at this point. But you know, we have a, a big project I'll share with you once. We'll maybe we'll do another one of these when it comes out, But I'm going to be dealing with, with a mix of, you know, yesterday, today and, and tomorrow's artists. So you know, it, it's you have to sort of be cognizant that, you know, people's images are there and you have to respect it. Unfortunately, we're in a climate now where you know, most of the the news driven things are the social media driven things. And I'm on social. So I'm not one of these guys that go out, you know, I'm in my 50s. I'm not going to be on social media now I'm on, I'm in engaged. I work it, I use it, you know, and and I network on you network on it, and but I see, I also see what you know, algorithmically. It's very difficult to, you know, say that things are positive out there, but you know, there's there's some some interesting dynamics.

14:45 I mean creative, you know, people today have more outlets than ever, but when you get to the right, like your question, you know, is illustrating, you get to the rights of someone that passed away. It's a whole nother legal dynamic. Yeah, yeah. And one that's pretty complicated, I'm sure. So it must have been a pretty big pivot, I imagine. I mean, it's interesting because it looks like you got a really wide range of, you know, I guess emotionally charged or I guess, you know, there's different types of projects that you've done, ranging from music videos, documentaries, and, you know, and I want to talk to you about the Holocaust in the, in the projects that you're working on now, because one thing that I've noticed actually, so I, I actually teach part time, I teach high school English part time.

15:35 OK. In a Jewish school in North Miami Beach, Nice. And and my grandfather who just passed away, I think two years ago now at 92 or 3 was, was a was a Holocaust survivor. He was in the he was actually in the Soviet labor camps during the war. And my grandmother had passed away a long time ago, maybe 25 years ago. She was actually, she was actually in some of the concentration camps and she, you know, she was passed around through there and ultimately ran away and was living in the forest. But I've what I've found is that it feels like even in the last decade, and I'm sure that's my parents and for, you know, my mom and for, you know, that, you know, my generation, it feels like something slipped where people kind of just either forgot about the Holocaust or it went straight into ancient history. You know, like you may as well say Christopher Columbus in the same sentence to a lot of these people, a lot of kids today, you know, and I think that, and I'm curious what your thoughts are and you know, what the research was like in your, in your newest, in your newest project.

16:36 And, you know, I mean, I, and one of the biggest challenges, I'm sure, you know, just in terms of logistics is that the generation of survivors are pretty much all extremely, extremely old. And they're, you know, mid to late 90s are passed away already. So you want to tell me a little bit about that? Yeah, well, you know, I started working. I had a client that I developed, I had a friendship with here in, in, in Florida. He was in South Florida. I'm not in South Florida right now, but I'm based there. And Yaakov Heller, who's a, you know, at that point, he was like 75 in or so and he was still a globally renowned artist and started working with him, got hired to create.

17:21 He had no video, no visual representation of, of his work other than pictures and whatnot. You know, he'd been doing it at that point since he was a young kid. And he was, you know, world renowned, but very, very few people outside of, you know, I would say his, the people that already knew him, we're going to find out about him. But he had a big, big social media following. So we started working together and and he had, you know, several being he was actually born in Cleveland, but he, you know, made his name for himself to being an Israeli artist, even though he's not technically Israeli. So interesting. And so I started developing some ideas to do short documentaries on his items, the making of his items. And yeah, so he would we'd go back retrospectively and, you know, things that were made and he talked about it. And I noticed, you know, not and not everything was Holocaust related.

18:17 But the big thing was this garden of humanity that he was commissioned to create, which is really not just about the Holocaust, but, you know, dealt with the all the atrocities of the 20th century mixed into one beautiful garden, if you will. And they had different benches with different sayings on them and from world leaders to pop culture fig figures. And then Benjamin Ferenz, who I had no idea who he was. And so Yaakov had had sent me some information about Ben. I started researching Ben to your question from a few a few questions ago. And I was, I found like a video of him. It looked like it was a Ted video, Ted X video. And he'd, he'd done it like in his in his living room and, and it was, it was incredible.

19:07 This guy was like 95 or whatever he was at the time when he did it. And I was like, you know, and he's talking about the Holocaust and what he lived through. And he tried the Nazis. And I was like, wow, this guy's, you know, incredible. So I said to Yaakov, I said, well, we should, you know, bring him down here to the Garden of Humanity. And because while he was here once before, when, you know, we unveiled it and I said, I know, but now we can talk about with you and him. And so I, we brought him down. He was living in Delray at the time and came down with his, with his son had come into town and I'm here he is. He's little man, 4 foot 11. But he was like, you know, such a giant in the world if you, if you research him. And again, I hadn't didn't know much about him, but I'll tell you just the 2-3 hours we spent with him. You learn so much about history and he's sort of reflecting, looking back as we're going through the garden of humanity. There's, you know, the all the different things that Yaakov created in the garden that you talk about, you know, the flame and, and.

20:11 The busts and the things of nature that, you know, reflect what happened during the Holocaust and, you know, the signatures that never again and, and things of that nature. It's not all about the Holocaust. But then you really open my eyes, you know, even being a Jewish person in this era still, you know, the denial not within the Jewish community, but the struggle to people like yourself who had grandparents that lived through the Holocaust or Yaakov, you know, that had family that lived through the Holocaust or Ben, who at 27 tried the Nazis. He was the youngest, came right out of Harvard and and General Patton tapped him to try the Nazi. So he he was, you know, the Einstein group in trial, which was one of the 11 trials that were going on simultaneously to try the Nazis.

21:04 But I don't know, I just sort of, I got sucked into it in a good way. And I was like that we got to tell this story. So actually I did this whole series of Q&A with both of them, and I went back to Yaakov's investor. I said, you know, I think we got something here. And and, you know, Yaakov said, you know what, I don't know if you heard this, but I asked Ben if I can make a bust of him. And I said, no, I didn't hear that. He goes, yeah. And he said, yeah, go for it, 2 heads are better than one. I said, oh, OK. And I, And so that's sort of sat in my head and we got the approval and I sort of went back in time. But then I, I followed Yaakov to make this bust over 12 days. I just on my own, I didn't have my videographer with me or just because he would work in different stages. And so we we then went to Ben's home and he would, you know, talk about what happened and final finishes of his face. And so it became, you know, the short documentary that came out of just conversation about, you know, peace, tolerance, humanity and, and what Ben went through and what Yaakov's mission is to, you know, keep those memories of alive, not just the 6,000,000, but the people like your grandparents, who, you know, struggled to get out, made it out in some cases, in some cases where little kids don't have the, you know, in the the memory that, you know, an older person would have. But to your point, you know, that was that became like a driving mission.

22:35 And so it took a long time because we're dealing with the pandemic and and editing, you know, virtually and whatnot. But bottom line is we create this little half hour piece of history. And the the bust that that created that was created by Yaakov now sits in the International Criminal Court in The Hague, which, you know, I was the 1:00 to be able to tell him that, which was a very nice, you know, feather in his, you know, extremely Yakko's not an emotionally charged man visibly, but he was just so he was very he's very excited about it, obviously. And it's like he loved, you know, what Ben represented.

23:19 And, you know, I think the more people that get exposed to not just my film, but other films about Ben, there's been a few others that are incredibly well done. But two heads are better than 1 is really, you know, this, this, you know, magical thing that had transpired between the two of them. And I was able to, you know, sort of be the the buffer between them in a good way to, you know, capture these moments and tell the story. So storytelling, you know, sometimes is very innate. You feel it like there's a story here has to be told. Or you go in, you know, upstream and you say, I want to tell this story. So this case it was, it was like really a bizarre situation because we're just there to talk about, you know, the the garden of humanity and bends, you know, history. And we were going to just put some videos together and now, you know, 2 heads are better than one. The Making of the Benferent Bus, which is an interesting title. I, I really wanted to capture what, what, what it's about 'cause it's, there's, you know, I don't know if you've seen it yet, but it's literally not, there's not one image in the entire thing that that has any negative connotation. In other words, there's no Nazis, there's nobody's dying. It's all, you know, present day.

24:38 And then a little retrospective on Ben's history. And I did that so that, you know, people would, would obviously have their own imagination. We all know which Steven Spielberg was able to accomplish with Schindler's List. But, you know, this is a guy that, you know, stood, he was the last living chief prosecutor from the Nuremberg Trials. And so he just passed away. So, you know, it's just an incredible moment for for me to, you know, to be able to do that and to honor Ben and Yaakov, obviously simultaneously. And then, you know, Yaakov's bust is just, you know, it's emblematic of what Ben did in his life. So it was a very gratifying thing to do. And you know, you don't get to do those things too often. Definitely not, Definitely not.

25:30 You know, and I mean, it's, it's, it's so it's so beautiful. It's so emotional too. Also because I saw that much of the emphasis is, you know, this is something that obviously takes a really special type of human. And, you know, my grandfather, for example, you know, I love him and he loved nothing more than his family and, you know, Jews and Israel and America, you know, like, those were like the priorities in his life. But he has some, you know, like he had some vehemence. You'd push back if, you know, if anyone tried to kind of make any kind of light or like, you know, you wouldn't be afraid to emphasize that, you know, the pain or the struggles that he went through. But I think it's something else entirely.

26:11 It's a different type of human being. And I don't even know if I would be the same kind of person that can kind of look back. I choose to make a documentary about this and choose to like only look at the unifying factor that arise from it as opposed to avoiding all the, you know, all the all the negativity, especially that they've gone through personally, you know, all the trauma and all the I mean, this is the work with some of the some of the worst crimes in human history, you know, And I can't even imagine a 27 years old, you know, that you're going to be like, I'm 30, you know, and I cannot imagine standing in front of my, you know, my greatest enemy. Forget about, you know, you know, some of these, not some of these Nazis and some of the, you know, some of the leaders of the Nazis. I can't imagine sitting in front of them today and and going after them. You know, it's probably it takes such a different type of human being.

26:57 Yeah, it's really, really, you know, it's. Moving. I mean, Ben. Ben was a different type of human being. He came from nothing, rose up, you know, went to, went to school. It grew up in New York. I went to school that, you know, was, was so smart that he got a, you know, full scholarship to Harvard and went to Harvard and then went into the service and came out of the service and and I said Patton tapped him to be one of the the chief prosecutor. So, you know, he obviously was so intelligent and having the, the unique history that he had. And then what was sort of interesting and it was it kept very emotional for him.

27:41 And I captured a little bit of it in the in the documentary is, you know, after the war. In other words, as he was preparing for the trial, he actually went into the camps. And so he was seeing the aftermath OK, not just of of. Have you been there? Not, and I, you know, it's like one of those things I, I don't have a desire to go because I just to your point, it's such a, there's a painful part of it. But having done what I've done, you know, I feel like my contribution is there, but I, I don't know if I could, you know, have any, any emotion, any more emotion to it.

28:22 On a positive side, it would just be like, I think non Jews, every non Jew that you can get to go there and, and watch these things because that, you know, look at large Jewish, Jewish people understand that this is history. There's a there's a faction of society and you know, it's getting louder. You know, they're denouncing the Holocaust as as we've chatted about. And that to me is the danger. And that's why these things, permanent fixtures, art documentaries, conversations, it needs to have a louder voice. So to me, you know that that you know that that's that's most important.

29:03 But we've got leaders of the of the world, some of them here in the United States and some of them abroad that, you know, don't necessarily denounce the Holocaust, but they denounce Israel, they denounce the United States. And so, you know, this, this, it's a scary moment and, you know, you have to rise up and, and speak out. So I think that's why, you know, a lot of a lot of the, you know, that generation that is, you know, fading away, unfortunately. I mean, I'm, I'm really excited about on the other side, there are people that are capturing, you know, interviews with the, you know, Holocaust survivors. I've an associate in New York and she's done close to 200 interviews with survivors over the last five or ten years.

29:45 So I'm going to work with her on getting that out. And you know, this is the problem is, you know, the mis education of the world. And so, you know, you know, one and one is not 3 globally, but yet, you know, when you look at the history of the Holocaust and people say there there was no Holocaust where they change the history books that the next generation is is reading and coming up with. This is the danger. Thankfully, we've got enough video in film. And so if people are really, you know, interested in exploring it, they have no, no shortage. So I was able to get this short film on several platforms, which to me was exciting. And we're we're, we're just really, I mean, it took a long time to get there, but we're, we're now going to have a pretty big campaign to get this word out. And, you know, Yaakov's going to make more busts available for those who want to honor Ben.

30:42 So it's, you know, to me, you know, that that's makes it all worthwhile. That's awesome. It's really awesome. I agree. I think that that's such a beautiful. It's such a beautiful. It's endeavor. The last question I'll ask you and then I appreciate your time and you know, I'll let you go after that. Just in terms of logistics, out of curiosity, when you when, now that this film, short documentaries, documentaries filming on all those platforms that you mentioned, Amazon, Netflix, what else? It's Amazon, Apple, Apple TV Plus. Yeah. So, so did you, did you have to, so you, you've, you've basically shot the documentary, edit it, wrapped it up and then went to each platform and said, hey, I'd like to distribute this on this.

31:30 Or did you go to them with the concept and then they and then they want to do? How does that work? No, no, it was it, you know, this thing was done privately and then, you know, it's it's an interesting question is to get to that level. It's it's all about, you know, making the right connectivity to a distributor, Apple, Google, you know, Netflix, which is not on Netflix, but you know, Amazon, these these are, you know, the giant platforms as we all know, it's it's ubiquitous. So you either. But do they? But do they not want the? They don't want to be the exclusive.

32:11 Platform that it's you know. How do they? How do you get across multiple platforms? The the short answer is through a distributor. So I pitched this to 1 distributor. They loved it and we moved forward accordingly. The X Factor for me was I didn't really want to have to charge people. It's only a few bucks to watch it, but they sort of required me to do it to be honest with you. But aside from that, I mean, truthfully, I, I, I said I want many people to watch us as we can. I I, I don't want to make any money off of it for you know, so in other it's also like a psychological thing. I think if you charge people to watch it, you know that you can have a fewer eyeballs, but sure, sure.

32:57 The answer that that's sort of the what on YouTube, but typically, you know, if you, you have a distributor, you have an agent, you have a lawyer, those three things sort of work synergistically. But projects I'm working on now, we're in that stage now as well where we're we haven't done it yet. We have a sizzle reel, so we, you know, that always helps people can see what the project's going to be about, who's going to be in it. And then you can pitch it with those those entities to the bigger platforms. And to your point, typically they will buy it or they will license it and it'll just be on that platform. If they license it is for a finite period of time. And then you can go to another platform or you can do what I did where if it's independently produced and financed and you can get it on as many platforms as you, you can or you want. But typically if you're, you know, it's a, if it's a monetary venture, money making venture, then you're going to go with one and you'll hopefully get enough interest where they bid on it. And, you know, you could have a, you know, a little bidding war going on depending upon what the subject matter is. Gotcha, gotcha.

34:14 And what about if you want, would would you have any interest? I know that and that that YouTube actually gets by far the most eyeballs these days. Would you ever put any of? These documents, this one's on YouTube as well. It's it's on YouTube, but again, they it's, it's, you know, you pay the dollar 99299 fee, but it's no big deal. I'm sure it's about working I. Think exactly, you know, absolutely, but it it to me, it's just more of a like I said, a psychological thing. YouTube is you know, you know, when I worked at the box Music network, really we were sort of the precursor to YouTube and and all these streaming platforms. It was the first on demand video network in the world. And so people would call a 900 number to be able to watch a music video.

35:03 And in this case, you know, YouTube, you know, obviously with the Internet the way it is, you can either charge people the way the way we're doing it or, you know, like most people, you're able to just watch it freely. Just throw it up and help you get. Lost. And then, you know, so content creators now you know, the, the barrier to entry is, is nothing. You know, it's, if you, you create good content, create good followers, you'll get good advertisers and you can monetize it. As we're seeing, I mean, most, most of these content creators are in that category. And it's it's an amazing thing in 2025. Yeah, yeah, It's really awesome. Eric Klein, I really appreciate your time. Thank you.

35:45 Thank you so much for this. Maybe we'll be in touch. Maybe we'll watch the Bruce Springsteen document the new making of the. Mask together, that's good. But best of luck with all these new projects that you have coming up. I'm really excited to hear about them and hopefully maybe we'll do another another interview again. I. Appreciate we'll talk about your efforts and thank you and you know good luck. You're you're a sharp young man, I can tell so good luck with your podcast. I'm sure it's going to keep keep growing. I. Appreciate that. Take care. Thank you so much. Have a great weekend. All right, Take care. Thank you. Bye.