How to Build Instant Connection - David Razowsky

27:56And then when they're done, the person walks away. Another person will go and say, listen, we just hired Susie. What was your general feeling of her? How did you feel about her? When it's a warm cup, they're like, you know, we felt like she was warm and friendly and connected to us. If it's a cold cup, they're like, we felt cold and distant. Human beings are predictable. There are very specific things you can do. And if you don't believe that human beings are predictable, go to any of your colleges or the library or the internet and look at behavioral science. We're very... I think the lesson there was always carry around a warm cup and give it to somebody when you're talking to them.

28:30I think that that's a rule that we can all live with is never have a conversation with a stranger unless you give them a warm cup of something. But it's, it's funny you bring that up when I, when I'm sitting down and I'm negotiating deals. Um, if I did it, the deal gets stuck and they're all going to know this now, but if the deal gets stuck, I'm like, Hey, you know what foe is and they're like what foe i was like yeah i'm like i'm just can we just stop i need to go eat and i will go take them for this big bowl of foe and the deal will close at the table 90 of the time my team knows when they're like i'm gonna go close the deal now because it got stopped and i need something to break pattern and absolutely it's a simple thing and i think one of the things one of the ways to do that certainly in improvisation is to make sure that it doesn't seem like you're doing that and um and and for me usually there's something where if you're really listening to somebody, you start, you start, you start accumulating inventory.

29:25What is it that we talked about? And the important thing is to go like to make sure that you remember every single thing that the person has been saying and what they got to them so that if you ever need to make a pivot, you pivot with the inventory that you have. But I do like Fah and I will go, I will, I will, if you and I are negotiating, I am going to be a stickler at one point just so that you buy my lunch. Yeah, that's fine. I'll buy you lunch. It'll be one of the things you talk about inventory. Um, I, you know, I know what I think inventory is. I'd love for you to break down kind of what is that inventory when you're, when you're reading someone, when you're trying to be there and trying to meet them where they are, what is the inventory that you're cataloging in your head?

30:06Uh, the inventory would be like, what gestures do they make? How is it that they respond to me? If, if the, if I noticed that they aren't having eye contact with me and every once in a while, I'll go, is that eye contact because they're distracted? Or is that eye contact because they're not confident? Is that eye contact because they're, they've got some kind of chronic disease, like, like that sort of thing. I will also notice how well are they listening? Because very often, I'm just gonna go, if I have a kinesthetic response, and they don't stop, I'm going to go, this is, that is the way that that is who it is that they are.

30:39So each person gets a different way of react. Each person respond. I respond to each person differently because I'm seeing everybody as a clean slate. There's something called tabula rasa, which is really important in improvisation. Tabula rasa means an empty slate. At the beginning of every improv scene, you want to have an empty slate. You don't want to come in with a bunch of different things because the more things that you come in with, the more clogged you are going, I have to say this. I got to do that. I can't do this. I can't do this. And what's happening in all of those things. And this has to do with my book where I'm going, screw the rules, screw the improv rules.

31:11And the improv rules are things like, you've got to say yes, and you can't talk about people who aren't there and you can't ask questions like all these improv rules. So these improv rules, what are they doing? And the same thing happens in business where you can't do this, you must do this, you have to do this. So while we're going through that, while we're listening, nothing that person is saying is coming through to me or very little of it's coming through to me because it's all going through filters that I've brought in because I haven't been to Pablo Rossa. all these filters that are coming in so that i'm not being my authentic self i'm uh i'm i'm i'm uh censoring myself or i'm keeping track of oh i have this amount of time i've got to accomplish this before i leave and i wouldn't have it not them and for those of you i'm sorry say that again please because it's you're making it about you instead of about them and for those of you who are watching the video um go back when you said tabarosa i tilted my head to the side i did the The dog, and immediately was like, he doesn't know what that means.

32:08I need to describe it. Because he was there, he immediately was like, oh, head tilt. I know what that means. He just wanted to give a puppy. He was like, uh-oh, let me explain it because he doesn't know. Because he was here. Right. And you didn't say, wait a minute, Dave. I don't know what this is, Tabla Rasa. I watched you do that, and I wasn't watching you. I won't get that cue. And it's a cue, man. It's a cue. It's like in theater Where you've got In theater In movies In theater In anything You've got a cue I say this You say that But the important thing Another important thing Is to go Let your partner Finish what they're Talking about And that's a major Thing too Are you interrupting Someone in the middle Of their thought Because you assume That what they're You assume you know What they're going to say And the example That I give is There's a difference In two sentences I love eating pears and I love eating pairs of pants.

33:04You know, you're going to want to have somebody put the full stop at the end of that to go, how do I respond to that? Yeah. And it's always like, I eat pairs of pants. I'm like, you okay there? You need a hug? Right. I like pairs. And you stop them there and you go, I like pairs. I like pairs too. It's like, no, you didn't let me finish talking. I like pairs of pants. Right. And then you've got a massive disconnect from that point. And what will be interesting is people listening to this right now we'll see you and I are interrupting each other all the time. And that's our dynamic. We can do that because we feel confident enough to say, Oh, let me finish that.

33:37Let me go back to that. Cause you've already done it a couple times. Let me go back to that. Let me finish that. I have something else I want to say, because it's a, it's the way you and I communicate. I can't do this way of communicating with a lot of people because certain people just, they don't play that way. Awesome. I also think that when you get two people who've done as many podcasts as you and I have done, we understand how to have an interview, how to connect with people, Because if I go back to my podcast that I did and I stopped it when I started writing my book, I had, I don't know, I had 250 guests on it.

34:08And if I really want to embarrass myself, I would go back to the very first interview I had with Tom Dreesen. Tom Dreesen, who was he was a comedian who opened up for this guy. 17 years opened up for this guy called Frank Sinatra. So he was my first guest. My first guest. And I'm listening to him and I keep going. Uh huh. Uh huh. Uh-huh. Uh-huh. And it's like, I'm listening to going, shut up, Rizowski, because every time you go, uh-huh, you're stopping the flow of what he wants to say. So one of the things in terms of business is go, are you going, uh-huh, or are you nodding and giving visual cues that want your partner to go on?

34:45Watch somebody who interviews what watch somebody interviewing someone. Watch. I'm sorry. Watch a news reporter interview someone who just got indicted for some crime. That reporter. I have a background in my I have a degree in journalism. That reporter is not going to nod. They're not going to say, uh-huh, because they want that person to keep talking. you want your you want your client you want your your customer to keep talking to keep the dialogue going i was i was sitting there i was in so people i work with are in the philippines and it's a cultured thing in the philippines they'll say uh-huh yeah uh-huh yeah uh-huh about 15 times in my sentence and i'll stop i'll say what's going on what do you mean like it's a sign of respect i was like no it's not you're breaking my train of thought shut the thing up you're killing me just shut up oh my god you're gonna understand you know again meeting them where they are that culture for them that's how they communicate for us we're seeing as it's massively disrespectful and i just want to walk around just shoot it please because it drives me out of my mind i have i have i have an improv partner and she that i play with and she and i can talk over each other in every single improv scene.

36:07But there's a skill set that you go, can I talk and can I talk and listen at the same time? And that's a skill set. And most people only talk to talk or they listen to talk. They listen for their cue. They listen to when they butt in versus, again, this all comes back to meet them where they are. And you can't meet them where they are if you're not listening. And I'm not talking about listening to what they say. Listen to how they move, how they're breathing. People don't get that. where someone breathes is huge because when someone comes to me and because when our entrepreneurs come to me, most entrepreneurs don't have bad days.

36:39They have days where they don't want to have any more days. They're just, it's, it's one, it's the second highest, um, not wanting to live. Cause I can't say that other word because people get freaked out. I'm not wanting to live in this environment. So they'll sit there and I'll watch their breathing. Are they breathing high up? Are they breathing in their gut? You'll sit there. And if you get to it, you'll get to the point where not only can see their breath, you can see their pulse and you can actually see it on where they're doing and what they're going. And as you've said, These are your cues.

37:01They're giving you bazillions of cues. Just shut up and pay attention. Just sit there and open it up long enough. Get off your train track and get over to it. Right. So then to go back to what you were saying about like, how can the average lay person use these skill sets in say business or something like that in negotiation conversation? And what I'm getting from our conversation is this. It's like, Just be present. Just watch what's going on. Just be excited that there's going to be a pivot. And if you have the confidence and coming in with the confidence, the confidence includes empathy and a skill set of radical listening.

37:50You're going to succeed. And you're not just going to succeed in a shallow way. you're going to establish relationships that have depth, that have depth, not just depth, but width. And the width is, the depth is in your heart. The width is in community. You're going to be able to connect with people who will connect with people. And this isn't about schmoozing, you know, because if you come in with the idea of like, I'm going to schmooze, It's like, I see you coming a mile away, man. Everybody does. If you're trying to sell me something, everyone gets it. So when we're going through this, if we have these things, I'd still love to be able to give some people some tactical stuff.

38:34Like we sat there and we gave them very specific things, meet where they are, you know, learn how to read, learn how to do tactical empathy, learn how to do these things, which are, which are fine. But you've done stuff which most people can't do. You know, I've watched you improv before. I've watched shows. I've seen lessons that you've done. I've talked to people that you've taught. you have a gift of being able to do it radically quickly. So for those of you who don't know what an improv are, first off, go see an improv show. They'll sit there and someone will walk out and they'll say, hey, I need the name of a person and the name of where they are and something that's going on.

39:06And then they're going to build all of that. So the person is on stage. They have no idea what they're talking about. They are the, they are the, they're everything. They're the director. They're the writers. They're the makeup guy. They're everything all at once. And they're doing it live while playing with someone else who's doing it at the same time. that's a skill set most individuals haven't mastered you clearly have when we're doing this and you teach your students what are some of the things that when you're working with your students they're like you know what this exercise when we do this this and this really kinds of move the needle for them when they're sitting in your courses um well there's that one that i just described uh one of the exercises that i that i do uh the very first exercise that I do is, and maybe I talked about it, I've got a lot on my mind, because we also, I live in Los Angeles where there are fires right now.

39:56So what I'll do is, and I'm going to stand up here, and for those people in radio land, I'm five foot six, but let's just say I'm six foot four, and I'm very muscular. That has nothing to do with anything. So what I'm going to do is this. The first thing that I did, and certainly in the class that I did yesterday, and I think we talked about it a little bit, was I'll just stand here like this. Let me just say, in the improv classes that I teach, I don't take suggestions. I don't go, give me a place, give me a thing, give me an activity. I don't do that. What I do is I just have somebody stop and just stand.

40:31And then I'll have the person that's you watching this, I say to them, what do you need to tell me based upon how I'm standing? And I like that you just literally, you just did two different poses. When you first did it, you did super person poach. Your arms are out on the sides, hands on the hips, for those of you who are not watching this. Now you've got, arms are crossed, but there's a holding of an elbow. And this is important. Because there's a difference of your arms cross and folded inside each other versus arm cupping the other hand. I'm going to say this, for those people who are watching it, this, I've got my hand on my arm and I've got five fingers that are visible.

41:12this guy is not this right now what i just said to those who aren't watching is that i tucked my thumb into my armpit this guy if we start a scene like this charles you're gonna have one watching what i'm doing this is a different one right okay now uh so there's this guy which is different than the guy that i just was a moment ago do you know what i did that was differently did you see what i did that was different yeah you're if you're reversed to me Your hand went from open on the side and took it back in. Right. So that guy's not that guy. So the reason I'm saying this is this. We are expressing nonverbal cues in real time.

41:53And so my first exercise with everybody is just to kind of have everybody move around in a circle. This is when I'm doing a class in person. Have everybody move around in a circle. Say there's 15 people in the class. Say everybody move around in a circle. I will tap two people, which means they stay, and everybody else goes away. Now, immediately, we have two people that are in relationship to each other. And I'll ask one of them, what do you what are you compelled to say? Compelled is really important. It's not what do you think you need to say? What's a funny thing to say? What do you compel to say?

42:21And say one person is looking away and the other person is looking at that person. So what do you compel to say? What is this guy compelled to say to the person looking away? And it's like, I didn't mean to hurt your feelings. Oh, my God. Like, what do we have there? We've got a fantastic scene. And what do we want to do? We want all scenes to start in the middle. We don't want to say, thank you so much for coming to prom. This is really a great prom date. I'm so glad that the two of us are like, and that's the problem that you get in when you get a suggestion, as opposed to just what are you compelled to say based upon what's in front of you right now.

42:52So when we're looking at what it is that we're doing in a business meeting, nobody is airdropped in that meeting. People walk through the door in a particular - Their kids and all that coming in. I'm not, I'm not even talking about that. I'm not talking about the, the Mishigas that they have going on in their life. I'm talking about you're sitting in this meeting and it's like, Bob's going to be here in a minute. And then the door opens and you watch Bob come in and you go, which he's walking. Did Bob say hello to me? Is Bob looking at me? Did Bob mention my name? Does it seem that Bob was given information about me based upon how friendly he is with me in this moment?

43:33Every single thing matters. And then when Bob comes in, is Bob aiming his body away from me or is Bob aiming his body toward me? Because if he's aiming his body away from me, that's a different – is that a problem? That's not a problem. That's just something I have to be in relationship to. So all improvisation, I want you to be eager to respond. I don't want you to be eager to talk. Yes, and that's a very different thing. It's very different. And it's funny because in poker, which I'm a horrible poker player, but you'll sit there and you can read who's got a good hand based on when they get their hand.

44:05Did they look at everybody else's chips? It's tell. Yeah, it's an absolute tell. And everyone has these tells. Everyone has. When did I put it in a very cute way that is annoying is we are the Santas of now town. and what that means is we are the santas of nowtown means we are giving gifts every single moment that we're connected that makes sense i don't know santa now top i understand it but you're right we are we're giving away things 24 hours a day all the time with everything we do going like this touching your nose right are you playing with your hair if you have your hands covered in front of your crotch and if i say hey you know let's open up your hands and then you put it behind you and cover your tuchus, you're still guarding something at that point.

44:50There's something that's not resonating and you're creating. So I think, I think what you're also bringing in is this, that, that we've been talking about watching somebody else, but let's also talk about watching ourselves. Cause a major part of this is how are you sitting? How are you standing? What's your gesture? What are you doing with your hands? What are you looking at? How, what's your eye contact? What's your, what, what, what, what gesture do you have on your face? What are your eyebrows doing? What's your tail? because you're telling them and a tell isn't necessarily a bad thing a tell can also be a good thing to your point santa of nowtown and we go into these things and people don't understand that you can't control an entire audience with how you're saying for example if you're talking to the left side of a stage and all and you're focused to the left side of the stage if you want to open up the right side everybody else on the other side just turn your hip to the side open your leg up you can keep talking to the left but now your body's pointing to the right the right has an illusion that they're now part of this conversation again.

45:46A hundred percent. It's so interesting that you talk about that because I have to remember, and it's been several years, many years since I was on the main stage of Second City, but the main stage of Second City is 320 seats and you do eight shows a week and it's packed, sold out every single show. And what does that mean? You've got you've got you you're up there on the stage by yourself, but you've got to make it so that everybody feels like they're up there with you or you're in the audience with them. And how do you do that? And it's like you fake having eye contact with people. You fake it going, you know what I mean?

46:25It's like, I can't see you. He knows what I mean. He knows exactly. Right, exactly. And if he doesn't know what I mean, he's like, you know what I mean? It's like, I don't know what you mean. It's like this guy does not know. So tell me, why don't you? And then then you you pivot to that. to do. And you can also do identity holds, right? You know, really, really smart people. You're a really smart guy. Really smart people buy this. You've now done an identity hold. So now that's the break that goes, well, I'm not, I am smart, but I don't really want this. But if I don't buy it, I'm now stupid.

46:53You've now locked him into it because again, human beings are predictable. So being able to learn these things about human behavior, about influence, about persuasion, about meeting them where it is, because you've got three types. There's influence, there's persuasion, there's manipulation. The first two come down to awareness. Do they know you're doing internet. The last one is about intent. So if you're manipulating someone, it normally is for negative intent. And if you don't think this is real for your audience, and Dave's nodding here, if you're a wine person, go to a wine store. If you walk in, like, I don't know what I want to buy.

47:20And you leave buying 10 bottles of French wine, stop and say, wait, what music are they playing? I guarantee you they're probably playing French music. And they influence you to do that. There's a reason why the stores at a shopping center are laid out the way they're laid out. that all of this makes sense. There's a reason the ice cream and the cookies is at the end because your willpower just blew out buying the other stuff and now it's ice cream cookie time. So people don't understand how predictable humans are. And to your point of being Santa of downtown, they're constantly giving things away.

47:48And if you're in, then it changes the ballgame. It's like when two people are talking to each other, where are their feet pointed? If they're pointing directly at each other, don't interrupt that conversation. Do not get in the middle of that conversation. You lose. But you've got to watch it. And you can't just watch somebody's face or eyes. You've got to watch their entire being. because again, the entire B, and what you just talked about there was, if two people are looking at each other in this way, one of the viewpoints is spatial relationships. Spatial relationship is the distance between you and something else.

48:16It doesn't have to be a person, but that space in between those people is alive. It's not kinetic energy. I mean, it's, you know, it's what's the opposite of kinetic energy. It's not potential energy, it's kinetic energy. It's working, it's happening. There's something going on there. One of the other things that's really important is we talk about where culture, where people are from. You know, we talked about before with the Philippines. When you talk about distance between people, you get yourself in a situation. Facial relationship. Facial relationship. Facial relationship. So where people, if someone is Latin or someone is India from Indian, Indians from, you know what I mean?

48:52Their distance that they're going to want to be next to each other, very different than someone who is from Denmark or Sweden or Finland or even the United States. We, as Americans, we want a very large birth. Will you just give me my space? Don't come close to me. If I'm in a situation down here, because I live in South Florida, if when I'm dealing with the Latin culture, Venezuela, Colombia, all that, it's much closer. If I have someone, because I work with a group of individuals from India, I can count the nose hairs that's in the guy's nose because we're so damn close. You have to understand that as well.

49:21Understanding that you can communicate is huge. Yeah. And again, we keep showing back that you can't go, you've got to go in there with tabula rasa, with an empty slate. Because if you're bringing and you've got to recognize you're bringing your culture into what it is that you're doing. And those of us. But one of the things when so we go back to the idea of failure. And I was the artistic director of the second city of Los Angeles for 11, 10 years or 11 years. And there was a change in management and the change in management. And in the back of my mind, I was thinking, maybe it's time for me to go.

49:53And when the universe wants you to clean out your locker, the locker is going to be cleaned out, whether you're ready to it or not. And I read the writing on the wall and I decided it was time to leave because they were kicking me out for not anything that I particularly did that I thought I did, or they were, they were able to tell me what I did, but they were kicking me out. So at that moment, it was a feeling of what do I do now? This is my livelihood. I don't have a parachute, what do I do? And one of the things that I did was call the people that I know in foreign countries that I've worked with.

50:29And I said, how about I come to you? How about I bring my Mishigas to Turin or to Rome or to England or, you know, to any of these, you know, Belfast. And one of the things, and I got gigs because of who, because of my, my prominence. And one of the things that are really, really important is to read up on these things before I come in, because part of what I'm doing is major part of what I'm doing is communication. And if I come and going, everybody speaks the way and everybody walks the way and everybody has a special relationship the way that Americans do, you know, one of my first gigs was in Berlin and a guy went and at, so I'm hired in Berlin.

51:08I don't really know this person. And I go, how did it go? And he goes, you talk too fast and you're too loud and you get everybody's face. And I'm like, oh, oh, that's my fault. Yeah. That's my fault. 100%. And you've got to debrief it. Like before I went to the Middle East or the sandbox, I was debriefed before this interaction that when a man holds another man's hand, which in the United States, we're like, I'm sorry, what? Why are you touching my hand? When a man holds another man's hand and interlaces the fingers, it is a massive sign of trust. But here in the United States, if you and I were hanging out and I reached over and I held your hand that way, you'd be like, um, excuse me, what's happening?

51:45but because I had debriefed and I was told about this by a handler saying, this is what's going on. This is what you're walking into. When this individual held my hand, interlaced my hands and then walked me around where we were, everyone's like, okay, don't mess with him. He's under this one's protection. There's trust there. If I wasn't debriefed on that in advance, I would have blown it because I would have ripped my hand away, which would have killed rapport. It's on me. It's not on someone else. It's on me to understand because, you know, if I go to work with things that I can do versus things I can't do, somewhere or somewhere else.

52:16And we mess up these things all the time. People will normally give you the benefit of the doubt once. And if you, if you open to say like, everyone hates the French, which I don't understand why everyone hates the French because I've never had problems with the French. But when I was in France, I would say they're like, oh, bonjour, bonjour. And they're like, okay, you're trying. Let's give this a shot. What are you trying to say? Since I made an effort and I'm sitting there with a book, they're like, all right, you stupid American. What are you doing? and I'm like, dude, I just need it. I think a major part here is also the ability to go to say this.

52:54I'm sorry. Yes. I got it wrong. Yeah, absolutely. There's nothing wrong with that. My bad. Right. No matter what it is you're doing. And again, it goes back to fear where it's like, oh, I can't say that because then they're going to see I'm not powerful or strong and it's like I screw up. It's like that's part of improvisation. That's part of being alive. Yeah. Yeah, you said it's a part of being alive because at the end of the day, there's two extremes of this. A, it's the acceptance that's part of life. And I also think B, at the end of the day, the person you roll over in the morning with doesn't care that you screwed up.

53:26They don't care. Whatever. Fine. Because that person is the ones that matter and going through that. So we're talking about reading body language. We're talking about showing up vulnerable. We're talking about, you know, all the things that we've gone through. When people mess up the worst in your environment, where there's completely just, God, I've tried this. I'm not doing well with this. How do you help them pivot back out? Like, listen, I'm so collapsed by fear. I'm so, you know, how do you get them to do this in a way that's joyful for them? Because there's tactics and then there's joyful, hey, I want to go experience.

53:57I want to go play again because this was entertaining. How do you get them to come back after failing so far? My first question is, what are you getting out of this? What joy are you getting out of this? What is it that you enjoy doing? And then let's do more of that. And if you can't, you know, because I'm, for me, this is a fault that I have and most people accept it. Some people would see it as a fault. It's like if I'm going to see if I'm teaching somebody and I'm looking and going, they are having an awful, awful time. I will take the time with them. People want you to take the time with them and to go, what is it that you're getting out of this?

54:42And let's talk about that. And I also will say this to them. Everything that you've gone through, I've gone through. And the only reason I'm telling you that is you're not alone. you're not isolated i'm watching you and i'm here for you and i will never ever let you go and if it gets intense i will say and if somebody goes well i really suck it's like i want you to stop talking to my friend that way what if i told you that you suck and he goes i'd be really mad then why are you telling you that and what what it now please note what did i do i leaned in my tone got lower my volume got lower and right um i was teaching a class i was co-teaching a class with this wonderful teacher alex alexander billings and it was intense it was really really intense it was a bunch of college students and they were really like they had a lot of energy and they had a lot of emotion And one guy was having a nervous breakdown.

55:47And what Alex did was she stopped everybody, turned the lights down, said to this guy, what's my name? And he goes, where's my shirt? It's burgundy. What does the clock say? It's two o 'clock. What do you have on your feet? Shoes. What kind of shoes? They're converse. Great. Bring everybody back to the now. take the moment and bring it back to the now let them decide let them decide if this is right for them and if it's not you know what you want to go go it's okay i also think you know collectively if there was anything that we wanted to talk about with all of this if we had if we had to recap it up on one thing showing up with purpose and showing up present to this moment not with the idea that I'm bringing you where I want you to go.

56:38I'm going to show a present where you are here. Yes, I've got my purpose. Of course, my goal is to monetize or my goal is to do whatever it is. The only way I'm going to get there. And this is something I think people fail, not only just in business, but in life. And so I'm making it about me. If I'm trying to show up in your life as the leading actor, I have failed. For the old people out there, be Obi-Wan Kenobi. For the young people out there, be Hermione Granger. I don't know. Don't try and be Harry potter trying to be luke skywalker that's not your joke you want to be the best supporting actor in the scene and the only way you can do that to what dave's been saying this entire time is being there reading them being aware of things being aware of yourself and meeting them where they are there's there's so much of this that's it's just not taught and i wish it was taught you're the only person i know who teaches the kind of the entire ecosystem and yes they're like oh oh, it's just improv.

57:30It's not fucking improv. It's collectively everything, how we interact in our lives. If someone wants to get ahold of you and someone wants to take these classes and they want to be part of this idea and this concept and start learning these skills, which are not taught in school, that are not taught in this way to be dynamic and to be able to read body language and do all these things. If someone's like, listen, I don't want to be on improv, but I do want to learn how to do this. I want to master these communication skills so I can be successful in my life on every aspect. How do people hunt you down?

57:58How do people get ahold of you? What's the best way? Uh, I go to my website and, uh, and, uh, everybody's website, go to my website on my website. There's a lot of material that you can have. There's a lot of connection that you have, and there's also a contact to send me an email and I will send you an email. I do. Most of my work is done, uh, online. I've got classes Monday. I got classes, Saturday, I got classes for about five, six days a week. And that's the way to connect to me. But certainly through my website, just do contact there and talk to me. I also have a book, my book, you know, here's the thing about the book.

58:40You read the book, you don't read the book. One of the things about the book when you first read the book is a lot of the skill sets that we have in that book are about connecting to yourself, listening to yourself, being a human being, and when you're talking to people, being a human being, being human. And there's a lot of Buddhist stuff there without being too Buddhist-y. It's about dealing with yourself with humor and compassion. But certainly the book has really proven to be something pretty phenomenal. If anybody ever just wants to chat, I'm always willing to talk about what it is that I'm doing beforehand but I'm a communicator and the way that I communicate is the door has to be open I don't go fishing the door has to be open and anybody can walk in and talk to me about it but that's the bottom line If someone was trying to track down where your door is what is your website and what is the name of the book?

59:39I don't have to do that It's davidrozowski.com That's davidrasowski, S-K-Y at the end,.com. And my book is called A Subversive's Guide to Improvisation. It's available on Amazon. Or if you're interested in a signed copy, go to my website and look for signed copies of the book. Those are the two ways of doing it. And that's it for now. It's in several bookstores as well. But the easiest way to get it is online. I think what I would encourage everybody who's listening to this, say, oh, well, I don't know improv. This isn't about improv. This is about communicating in a way that most people haven't mastered.

1:00:16And it'll give you such competitive advantage on so many different levels. And these are proven things. These are things that I use. This is a reason because we didn't debrief on any of this. Like we're going to go into body language. We didn't do that at all. It's just something that it has been a massive part of my success. Clearly, it's a massive part of your success and the people you've trained who have gone on to be just a little successful, just a little bit. So being able to do that, Dave, I can't, I can't thank you enough for coming on. I really appreciate it. What a joy. And thank you for spreading the word, not just what I'm doing, but what everybody else is doing.

1:00:46Because having listened to a few of your podcasts, the takeaway is this. You're kind, you're connected, and you just want people to be happy. And that brings success in its very exercise. So that's great. Dave didn't theorize about human connection. He mastered it through decades of stage work and real-world application. The science is clear. Humans are predictable. Body language reveals everything. And authentic presence beats performance every time.