"David Leitch"

24:46Wow. Wow. Chad Stahelski was the other guy. He directed John Wick with me. Yeah, you guys co-directed John Wick. Yeah, that's amazing. We have a mutual friend too, the great Wade Allen, who we both adore. Oh, yes, Wade. And he was around in the early years as well. Oh, just love me, Wade Allen. Love Wade. Stupid question, but what's the biggest injury? You're like, okay, I'm out. I can't do this. This is a great one. So I'm thinking like, you know, the training ground for stunt performers is the live show, right? And so I hadn't even done a movie yet or a TV show, but I was trying out for the Batman live show at Magic Mountain.

25:23I was, by the way, trying out. I wasn't even the guy. To play Batman? To play Batman. Excellent. And I was showing off. I was like swinging from the car goes under this catwalk. I grabbed the bar and I'm supposed to do a back. Well, I'm not supposed to do a back flip, but I'm going to show everybody how I'm going to do a back flip. Oh my God. Yeah. Famous last words, hold my beer. Right. And then it was like, I completely under rotate it, put my wrist down and I shatter it in four places. Oh my God. Wow, wow, wow, wow. I'm like, surgery, you know, I have a big halo on my wrist. And, you know, and it's super embarrassing because again, I'm not even a stuntman yet.

26:03I am just like the beginning of my career, I'm trying to break into this, just trying to cover it up. And do you think like, oh shit, I'm not, I don't have what it takes because I broke my wrist? Like, is there part of you that were you discouraged? I was embarrassed more than discouraged. I think, you know, there was a great group of guys that we were all like, we just really believed it. You know, we really believed we could make it. And part of it was this conversation we overheard in a diner. We always tell each other this today. It was pretty funny. There was two women in a diner sitting behind us and they were like, preparation plus opportunity equals miracles, sister.

26:40Preparation plus opportunity. and so we would jokingly we'd always say that but we really meant it it's like just get good just get good and then someone will open the door and then you're good and get to do stuff and so we would just train all we did was train I mean it's crazy like Tron which I love Tron the Bourne movies like Bourne Ultimatum I mean that is what a I there are very few movies that I watch on repeat and the Bourne movies are in there there are like five do you guys have like five movies that you will repeatedly watch. I have The Bourne movies, Ronin, Midnight Run, and With Nail and I.

27:22That's it. That's it. Midnight Run. So good. David, what's sort of agreed upon as the, when you say that the stuntmen sometimes now specialize, what is sort of the agreed upon hardest thing, the high water for all stuntmen? Is it driving stuff? Is it firework? is it free falls is it yeah well look in the fall guy we got to like you know sort of play homage to all the the old school stunts right we did this like incredible car roll Robinson yeah and we did the high we did a high fall like yeah and that was um Bob Brown's kid and who was a legendary high fall artist like that that is really like the lost art you know down into like down into an airbag I can't see those anymore, right?

28:11It's all cable drops now, isn't it? Yeah, we use, you know, visual effects lets us erase the wires and we can use high-speed winches or we can use descender rigs. And there's a lot of ways to do that, you know, in a safer manner. But like when we did it in the movie, we had Troy Brown come out who's, you know, Bob's kid. And he's one of the few people that can do it and like has trained that old school sort of stunt. but look it's such a wide discipline of stuff like and that's why you have to be specialized because you know everything got more and more technical as we tried to make it safe and so yeah the drivers specialize in driving and but but is there one stunt that exists in in cinema like in film that is that is heralded as the stunt like well you know what you don't see anymore and I wonder if this is the answer, is the fire gag.

29:03Like you never see somebody lit on fire anymore walking around like, oh my God, put me out, put me out. Yeah, because they're in like a Michelin man suit. Yeah. Yeah. Well, now there's like, they've invented this great gel. Actually, there's a stunt performer. He's got a company called Action Factory and he just won or he was recognized by the Academy for a technical achievement award for his gel. this stunt gel that allows you to basically burn for a long period of time without the big suit and like without the prosthetic mask. You just rub it on your body? Well, it's, there's the gel underneath it, but it's really the fuel that burns cooler.

29:47It's a combination of the water gel, which is like an aloe-based gel, and then the fuel that burns cooler. But look, it's all like the circus. Like there's all these sort of secrets. Jay, what's that story from you when you were 18, you had to use a gel for burning. What was that? What was that whole thing? Hey, hey, hey. But is there, but I guess what I'm asking is, is there one thing that everybody uses as, you know, Jason said, you know, like, there's a particular style of stunt that's the high water mark, but is there one performance, stunt performance, that everybody goes, that's the granddaddy of them all.

30:23Somebody who did like a jump or a thing or a fall. Well, what about that jump in one of the Bourne movies where the guy jumps from one building into another building through a side window. How do they do that? And camera follows him in. Yes, I think about that all the time. Yeah, it was pretty amazing. It's really impressive. Matt must have loved it. I mean, you know, sitting there with his Dunkin' Donuts coffee in his hand. Do it again. He was already on a... Yeah, you know what? That looks really fucking good from over here. Yeah, do it one more. Is the one where we can see his face a little bit less?

30:54That'd be great, just so people believe it's me. Fuck it, and I don't want anybody taking my credit. Time to fix his head. You know, Matt. You know how Matt is. He probably was sitting on first unit. I mean, I don't know if we shot it on second unit. I can't really remember that. But yeah, it was a pretty amazing stuff. By the way, I drive Matt crazy with questions about the Bourne movies all the time. I make him insane. I ended up, Frank Marshall ended up giving me like a wrap gift from the first one with the briefcase and the jacket and stuff because I wouldn't stop bothering him about it. How'd you guys do that?

31:24And then what did you do when you did that? Like, I'm so annoying. I love those movies so much. David, how do you feel? are you excited about this? You know, the Academy Awards are going to... Well, this is what I was going to bring up. Yes. This is David's... David has been leading the charge on this, Jason. Oh, no. Do you know this? No, not at all. David sort of really grabbed the reins on, and David, I want you to say it in your words, but I want to tee you up. Tell Tracy what this is. Yeah, you have... It's a real breakthrough in entertainment and in our business. A new category in the Academy Awards.

31:53Yeah, yeah. Look, it's been a long journey. And look, for 20 plus years inside the academy, there's been a lot of stunt coordinators working on it. You know, Jack Gill, Greg Smurz, Melissa Stubbs. There's been a lot of people trying to move the needle. And after, you know, we basically, we made Fall Guy. We're coming back from making Fall Guy. We are all feeling really excited about this giant commercial we made for why there should be an Academy Award for stunts. And I just went in with Kelly, my wife and producing partner. We went in and talked to the Academy of like, what's been the stumbling blocks?

32:34How do we get this done? You know, casting found a way to get this done. How can we find a way to get this done? And they really did. There was a tremendous amount of support inside the Academy. And they just said, look, we have a roadmap you follow. And it's just been some sort of lack of clarity. And so Kelly and I really went down the road of trying to rebrand what we were asking for. And I think the Academy obviously has this legacy of honoring design, like production design, costume design. And I think when people think stunts, they're like, what are you going to give the stunt to? Are you going to give the award to the performer?

33:14Are you going to give the award to the person that rigged the stunt? And it's like, no, we're going to give it to the stunt coordinator, the department head. But the tradition is you give it to the designer. And so we rebranded our credit on the Fall Guy, and this was Kelly's idea, to Stunt Designer. And Chris O 'Hara, the stunt coordinator on that, Kelly went to the guilds. She got it approved by the WGA and the DGA. I'm sorry, the DGA and SAG. And it was like we got the credit Stunt Designer. And that was sort of the first. That's really cool. And so now this year, the next Oscars, stunts are going to be recognized.

33:57Or maybe not. Well, it's going to be two years. I think, you know, that's kind of like we have some internal things to do. Sure. In terms of like how it's going to be awarded. Right. And they want to do it on the 100th anniversary. Oh, on the 100th anniversary. Do we know if that's going to be a part of the primetime awards or is that going to be the technical awards? I think it's all open for discussion and really wasn't what we voted on this time around. But it's exciting. Like, look, I think it's long overdue and I was happy to be instrumental inside the academy, like really getting on the Zooms with all the governors I could and like really canvassing it.

34:38And then, you know, for our final vote, I curated a video presentation with a lot of director friends, celebrity friends that were really advocates for. Well, honestly, David, kudos to you for doing it. I think it's awesome. And I think it's awesome that the Academy recognized it too. So kudos for them for that. And as we all know, and Jason, I've heard you talk about it before, and we all know here on this, and people should know, you know, everybody who's on set when you're there, everybody is a filmmaker at that point. Everybody is part of the filmmaking process. Because there's no one there that doesn't need to be there.

35:13Exactly. Especially when it comes to rigging up a stunt is such serious work. It's so much safety and rigging. And that recognition is long overdue to all the incredible stunt performers out there. So really, kudos to you. It's awesome. Yeah, that's great. I have a question about overall stunt work. Well, because from Will and Grace? There was some crab balls in Will and Grace. Exactly, yes. By the way, one of my entrances on the David Letterman. By the way, it says me. I don't do it for a minute. One of my entrances on David Letterman when he had his talk show, they let me jump off the balcony onto a...

35:53What? Yeah. Really? I jumped off the balcony onto, what is it called? Nice. Like a pad? Yeah. Like it was filled with air? Like an air pad? Oh, like an airbag. Yeah, an airbag. I can't believe they let me do that. So, David, go ahead, Sean. No, I was just going to say, so is it... By the way, that's whatever that is. But is it true that... Oh, sorry. Sorry, hang on. No, no, I just meant like, I can't believe somebody let me do that and I wasn't even... Best stunt performance in a talk show appearance. There was no stunt coordinator on set. There was none. Was there a bump? Did you just get the appearance fee or was there a stunt bump?

36:27Jason, you always did a bump before Letterman, didn't you? I always loved a good bump on Letterman. And not Letterman. But anyway, so, but is it true that you guys get, or the stunt people get paid every single take. Is that right? It's not like a regular acting fee or whatever. Is it true that that's how they get paid? I heard that one. Well, that's a great, we can explain what bump means in the stunt world. Yeah. So every time, well, in the 80s, it meant two things, I'm sure. It probably meant one, like how am I going to get ready? And two, how am I going to get paid? Yeah. But it's really, it's called the stunt adjustment and you get money for each time you do something that's dangerous.

37:06And that's sort of, it's decided by the stunt coordinator in production and like sort of agreed upon. And so, yeah, if you did this, that stairfall I was talking about in Fight Club, I mean, he was probably getting$500 each time on top of his salary. David, I like the idea that he's like, hey man, listen, my kid needs new braces. Do you want to just throw me down a couple more times? Fuck it up, you know. Exactly. Exactly. And we will be right back.

37:41And now back to the show. You mentioned that your wife is your producing partner. Yeah. Kelly. Talk to us about that. She's awesome. She's awesome. How long you've been doing that? I mean, the fact that you never have to be separated because so much of what we do necessitates a separation from your family. And I know Boohoo, you know, these are high-class problems. But, you know, it is kind of tough. It's so great, it sounds like. You guys get to stick together all the time. Talk to us about that. It really is, actually. I mean, so we've been married 12 years. And it's been amazing. Like, look, we met a little later in life, and that was great.

38:29She's just— Was she a producer when you met her? Yeah. Is that how you guys met you? I mean, she came, she worked with Scott Rudin's company, and then she ended up in LA. And she is 100 % responsible for me becoming a director. Oh, really? I will give her all the credit. So she sort of, she wasn't a manager, but she hip-pocketed Chad and I when she was working at this company called Sierra Affinity, which is a foreign sales company, and she was curating their slate of projects, And she was like, I'm going to get you guys. And Nick Meyer, the guy that owned that company, allowed her to do that.

39:05And so she really taught us how to take meetings and really was a champion to the agencies about these guys' direct action, but they also tell stories. And she was like a big advocate for us. And she ended up finding John Wick. It came through Sierra Affinity's office and she sort of slipped it to Chad and I. And she's like, you guys should meet on second unit and then you should pitch yourselves as directors. Because it's all action. And was that your first film as a director? Yeah. And was that the first John Wick? The first John Wick, yes. Wow. Keanu Reeves is notoriously very picky and snobby in the best way about directors, as is Brad Pitt.

39:48Like these guys just work in director vehicles, even though they're enormous stars and can work in and create star vehicles and just get any director that'll listen to whatever the hell they want to do. They don't do that. They love to work for it. So what a huge compliment that you ran through whatever gauntlet creatively through Keanu, who's so discerning. That's awesome. Yeah, he was incredibly supportive from the beginning. And he is, you're right, he's like a director's actor. Like he loves the director. And we had worked with him for so long on the Matrix sequels. And we had trained him for those sequences.

40:28And Chad was actually his. So he was familiar with you guys. Yeah. That's great. And then we had helped with choreography on Man of Tai Chi, something that he directed. And so we were like, we maintained that relationship and friendship. So then when it came up, hey, there's a lot of action in this movie. We'd love to be considered. And we put together our presentation, our lookbook, our sort of, you know, our character sketches and our arcs. And we pitched it to him. He said, let's go to Lionsgate and tell him you want to do it. Wow. Do you ever see yourself, Dave, do you ever see yourself doing something kind of moody and small and talky just as a gear shift?

41:10Yeah, do you? You have a script you want to submit, Will? Yeah, it's real talky. It's just me basically talking. It's in a room. It's, you know, it's hard because, I mean, I have so much fun, you know, since Deadpool, you know, everything's had a real fun tone. And I do enjoy comedy, you know? That's why I'm, you know, not only the reason, but I'm a huge fan of all your work, you know, all you guys, like, you're just so fricking funny. And that's why we have to do something together, please. The Smartless Stump movie, I see it now. Let's do it. Where you just throw me down the stairs and that's it.

41:46Over and over and over. By the way, before you get into it, because I want to hear your answer of what you want to do, just to remind our audience the films that you've done, that you've directed, just that you've directed, John Wick, Atomic Blonde, Deadpool 2, Hobson Shaw, Bullet Train, Fall Guy. Like these are— Yeah, it's incredible. I know. These are all big cinematic, you know, event movies that people love to go with. Really exciting stuff. Just to remind our listener, these are the movies that you love. And the degree of difficulty is super high. It's super high. So having said that, so you've done these big movies that take a lot of planning and a lot of resources.

42:27So do you see yourself making a... Something simpler. Yeah, no. Well, I do. I mean, look, the fun moments for me right now, it's not the big action sequences. I mean, again, I love making them, but they're the sort of like earnest, dramatic moments. You know, I think into the Fall Guys. like some of the scenes with Ryan and Emily that are really sort of emotional. They're both such good actors, yeah. Yeah, and like watching those, collaborating with those great actors and like bringing, you know, some real humanity to the screen. Yeah. I think separates, if I pat myself on the back for a second, I think it separates what, you know, people go to see my movies because they're big action movies and there's subversive comedy and all that, but they remember them because they love the characters so much.

43:16And it's because you actually cared about them. Right. Well, I think, and it goes to, David, also like how I kicked it off, which is you are such a great guy and you are such a, you are a very thoughtful person. And so it doesn't surprise, it wouldn't surprise me if you did something like leaning more that way. And you're right, your movies do have those elements in it. So it'd be cool to see. I think you'd be really good at it. Yeah, I would love to do, you know, a straight up drama. I think right now I'm actually in Pittsburgh and I'm prepping the next movie. It's called How to Rob a Bank. And it is sort of a new, you know, taking a heist movie and turning it on its head.

43:54And I have Nick Holt and Pete Davidson. Amazing. That's awesome. And there's a lot of dramatic elements in this project that was why I'm attracted to it. Yeah, talk about that for a sec. Like, would you have been as excited earlier, earlier that a project like this sort of led with, you know, just sort of, you need to be able to talk actor bullshit lingo and you need to be able to talk fucking, you know, lighting and editorial pace. But do you know what I mean? Like, how was that a comfortable transition for you or not transition? Was it a comfortable process for you to learn and get as familiar with talking actor or talking gaffer or talking camera operator as it was talking stunts.

44:44Like, was that one of the big things? It was like, oh, you know, I can coordinate a fight. But the other part of this directing stuff is being able to like help an actor kind of find a moment or talk to, you know, the gaffer about, you know, what the lighting strategy might be in this thing. Or talk about that stuff. Or tell Jason Bateman that his wig is slipping off. You know what I mean? Yeah, you gotta take him to the side, you know? Because no one knows. No one's gonna tell, yeah. Well, I will say, yes, you get better each time out. And I think, but I did, you know, I had, for better or worse, I had the training wheels of Second Unit.

45:25And so with Second Unit, you're still working with actors. And like, you know, a movie like this, you know, this blockbuster Teenage Mutant Ninja Turtles that Will and I worked on. Like, I mean, I worked with - It was a blockbuster. It was. Number one for three weeks. Go ahead. It was. We -

45:44I worked with Will. You know, I got to work with actors and we were working on performance even inside the action. So you were constantly like, you were learning actor speak at that level. Right, right. At that level. But then, you know, obviously sitting in the first unit chair becomes, it's a different animal. But I felt really, really comfortable from the get-go. But I think it was, you know, having years of being a second unit director, getting more and more, a bigger piece of the film each time out. These big commercial films, you might have six weeks of second unit. It's a lot. And that's more than we had to shoot John Wick, the first movie.

46:29That's wild. What would folks listening who are not in this business, what part of the process as a director would they be surprised to hear is really not enjoyable, not really pleasant? Is it sort of the start of things, like sort of pitching, trying to describe what you're going to do to these studio heads when you're sitting in an office? Or is it marketing it, like talking to the press afterwards about what to expect? There's so many different parts. Is there a part that's particularly unpleasant to you or a part that you're still kind of getting used to or making friends with? I mean, getting them off the ground is always the hardest, I think.

47:14You know, it's just - Selling. Selling it, you know? And like, and getting people involved and getting their schedules right and like getting your key collaborators to believe in it. But even once you've sold it, just from the, even once they say yes, even from the yes to first day to actually showing up, you're like right to the end, right? You're like, we're supposed, it's never a hard green light. Are we greenlit? Are we greenlit? And you're working on the budget. Like the week before, they're like, it's kind of approved budget, right? Explain a little bit how that works. Yeah, you know, they say they want to make it for something and then you get it into that box and then, you know, you have a creative idea and it's like, that's a great idea.

47:59And then you're like, yeah, the money box. And then it's like the box expands and then you try and get it back in. And it's constantly like trying to hit a number, whether it's a$100 million movie because there's all these expectations that drive those costs up or it's a$25 million movie like these ones that we produce that, you know, they're never agreeing that. Nobody's coming out. Nobody too is coming out in August. That's another exciting. That's so psyched. With the great Bob Odenkirk, who we all know very well. I just saw him on stage at Gary Glenn Ross. I did too. So good. How great is he?

48:36My God, was he great. So great. He's amazing. He's so good in Nobody Too. I'm really excited about it. We had a great time making it. I was actually one of those where Kelly produced it, but I was on set quite a bit. It was really fun. Isn't that, Sean, that's your handle on Grindr, is just nobody, right? That's correct, yeah. And just my photos are just the neck down. So you don't get a lot of downtime to just go travel or do anything. I mean, it seems like you just go project to project to project. Right now, it's been that. The last 10 years has been pretty busy, I have to say. This is movie number seven.

49:15And then plus the ones we produced, Violent Night with David Harbour and The Nobody with Bob. But again, I love it. I guess I kind of grew up, you said my adult life was all physical production. I loved it. I love the set life. I love my fellow friends on there. I love like waking up, eating the bad burrito and like, how do we get this done? Like, so I miss it. It's been two years since we were on set. Oh, no way. Really? Yeah. So for me, it's like, I'm ready to dig in and shoot some stuff. How are you liking Pittsburgh? What have you found up there in Pittsburgh that you're liking to do? Honestly, we play pickleball.

50:00Oh, yeah? Good. Have you experienced any life-scarring injuries from pickleball? Because you can really recognize it. I know. Yes. I knew somebody that works in the ER just recently. She said most of the people that come in here because of pickleball. Oh, it's brutal. David, no offense. I'm not a fan. I'm not a fan of pickleball. You're not? Did you play tennis? Yeah, I'm a purist. I just, I don't know. I think a pickleball, it's a fat man sport.

50:29It's replaced racquetball. You stand in the middle of the thing, the ball's going to come to you eventually. Racquetball, I love racquetball. I know, you used to play with Johnny Schwartz, remember JB back in the day? I love it. There's even places to play racquetball anymore? I loved it as a kid. When you find them, you're like, oh my God, look at that big white room. No, I like squash because it was harder, you know what I mean? And you had to run and get... Yeah, but there's a very unsatisfying sound and hit, right? How dare you say that about squash? We all enjoyed it immensely. So you're playing a lot of pickleball, which is good.

51:05Yeah, our nephews go to Carnegie Mellon, Kelly's nephews. And so it's been odd, like, being here. They're both in college and we're now here on prep. And it's like, hey, you guys want to hang out? It's Saturday night. And they're like, uh. Yeah. We're in college. Yeah. I get it. Yeah, and you're 50. Yeah, exactly. And you're 50. Yes, exactly. Well, again, David, I just want to say, I want to reiterate how cool it is what you've done for the stunt performers. Really cool. To bring them, you know, yeah, to get them recognized and that the Academy did that is really awesome. And so congrats to everybody.

51:43And again, another testament. What a great dude and what an awesome guy. What a great director you are that you've become and increasingly, it's just so fucking rad. I'm happy to know you and continued success, my friend. Yeah, it's great to have talked to you for a bit about all this, man. Thank you for doing this. Thanks for having me on. Yeah, man. I really appreciate it. This has been so fun. Send my love to Kelly, if you will, please. I will. Yeah, and we'll talk to you really soon and have a great time out there in Pittsburgh. I appreciate it. Enjoy the rest of your weekend. See you, buddy.

52:16Cheers, pal. You too. Bye. Bye. Bye. that was a great guest there willy yeah how's going really super guy such a fan of his i'm really stoked it worked out uh and that that the sketch worked out and and uh he's such a great guy and i have had the pleasure we also made a commercial together that that uh hasn't aired for a bunch of reasons but uh uh and so and it was something that it was great but we didn't really have to do much and we were just on a stage for three days at paramount yeah he seems like a a really fun hang. So we just kind of hung out for three days and we did this thing. It was fine and the people were really nice and we did a nice thing, but I just got to spend an additional three days with him like four months ago and it was so great.

52:57He's such a good, thoughtful dude. I think we should workshop what the smartest movie would be that we can pitch to him. It should be stunt intensive. Well, of course. The three of us get kidnapped by a disgruntled listener and we're tied up in the back of a van. Disgruntled listener. And Sean is held hostage at the donut factory wait wait wait wait oh i'm back in i'm back in it is just to keep him fucking quiet he's got a dozen donuts in his mouth the entire by the way by the way the the last day our last day mine and scotty because scotty's in will's movie as well yeah we sent donuts to everybody on set huh they did they sent donuts they sent donuts and then i asked him if he'd had any he said of course and then i had a great moment i will say i won't say where but i had a great moment there was this big, Shadon Scott, he sent this like, I don't know, like 30 boxes of donuts on this big table.

53:51And at one point, I see like four cops standing over it. And I never had my phone. I was like, where's my fucking phone? It's real. I know. It was pretty good. They were great guys. David's great though. You know, the one thing. Here he comes. No, no, no. This isn't it yet. But I did want to ask him because he does seem so level-headed and like really cool, like you're saying. He's really cool really like down to earth and jay you're the same way i imagine on set where you're just but it's like those you're those types of personalities that are like just down to earth and have to keep everybody happy on a set what do you do when you get so fucking pissed about a person or something how do you stuff it and then how does it come out later well let's ask amanda because she's usually wait sorry bears the brunt of most of the frustration Wait, wait, wait.

54:41Sean, I was sorry. I was actually reading something. All right. Say that one more time. Oh, my God. No, no, no. Honestly, we just got a pitch for a bye. But what was the... Did you say when somebody says something that you don't like, how do you keep your pace? No, no, no. Like you guys have personalities where you're very level-headed and you have to keep the peace on set all the time. And when somebody or something really pisses you off, you can't let it out. So how do you let it out later? Or what do you do about stuffing all that? Yeah, I know. I mean, I am not perfect with this. I'm sure some will attest.

55:14But I guess you just, like anything, like you or Will or anybody else in this world, you just hope that you have managed your day properly leading up to that point where you are living in a place of patience and compromise that you need to sort of... Yeah, there just must be so many things that are just like, what the fuck? like all day long when you're directing, like when anybody's directing. Why are you so mad yourself right now? You're already worked up. I know, because I feel like I would be that way. That's why. It is part of the job though, right? It is part of the job to manage all the incoming.

55:55If you're going to raise your hand for a leadership position, there's a lot that comes with it. So unless you can do it all, keep your hand down. No, you know what it is I think that you got to do? I think that in those moments when you have that stuff, No, you just got to be calm and you got to think about what certain people would do. Like, you know, historically, people who are good. So you think about great people and things. You might think about this and you think about God. And whatever you do, you can always look it up in the Bible.

56:26Or you might need to just bite your tongue. Bite. Don't waste that one. Bite. Smart Less.

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