1
00:00:00,000 --> 00:00:05,560
Welcome back to Take Off, a podcast series where we share stories from our people about
2
00:00:05,560 --> 00:00:11,560
innovation, aviation, automotive, autonomous technology, and of course we throw some funny
3
00:00:11,560 --> 00:00:13,280
things in for good measure.
4
00:00:13,280 --> 00:00:15,360
Today our guest is Chris Keefe.
5
00:00:15,360 --> 00:00:16,800
Chris, how's it going?
6
00:00:16,800 --> 00:00:18,040
Oh, it's going great.
7
00:00:18,040 --> 00:00:19,040
How are you today?
8
00:00:19,040 --> 00:00:20,440
So glad that you could join us.
9
00:00:20,440 --> 00:00:21,440
Thank you.
10
00:00:21,440 --> 00:00:22,440
I'm having a great day.
11
00:00:22,440 --> 00:00:24,120
I wanted to see where are you joining us from.
12
00:00:24,120 --> 00:00:26,280
Let's tell our audience.
13
00:00:26,280 --> 00:00:29,600
I am coming from the warm location of Ottawa, Canada.
14
00:00:29,600 --> 00:00:33,240
Extra warm and toasty, very, very nice.
15
00:00:33,240 --> 00:00:36,200
A little bit different from the UK, of course.
16
00:00:36,200 --> 00:00:39,960
Can you tell me a little bit about what you do here at Aureco and how long have you been
17
00:00:39,960 --> 00:00:40,960
with the company?
18
00:00:40,960 --> 00:00:45,640
To start, I've been with the company for seven years and I'm the vice president of
19
00:00:45,640 --> 00:00:47,520
creative and digital marketing.
20
00:00:47,520 --> 00:00:52,640
I create the media that centers around automotive, the autonomous side, what we're doing with
21
00:00:52,640 --> 00:00:57,440
the company and how we put it together and just like anything else, whether you're creating
22
00:00:57,440 --> 00:01:02,280
a car commercial, you got to come up with an idea and how it reaches the audience.
23
00:01:02,280 --> 00:01:03,280
That's kind of the fun part.
24
00:01:03,280 --> 00:01:07,760
Now, the digital side is most people consume these types of things through as we're doing
25
00:01:07,760 --> 00:01:15,240
now a podcast or watching an advert on one of the social media platforms.
26
00:01:15,240 --> 00:01:19,960
We're not as big as an automotive company per se, so we're not throwing automotive commercials
27
00:01:19,960 --> 00:01:25,240
out there regarding some of our vehicles down the road.
28
00:01:25,240 --> 00:01:28,480
Yes, but that's not kind of the space we live in.
29
00:01:28,480 --> 00:01:34,560
It's basically this online space where you're creating an image that people can see what
30
00:01:34,560 --> 00:01:39,200
you do and how you do it and a little bit of product in there.
31
00:01:39,200 --> 00:01:40,200
What is your background?
32
00:01:40,200 --> 00:01:43,280
How did you become this digital creator?
33
00:01:43,280 --> 00:01:45,040
It's been a very long journey.
34
00:01:45,040 --> 00:01:49,760
I left film school and headed to Los Angeles in 1998.
35
00:01:49,760 --> 00:01:56,320
From there, I would spend the next 20 years working on all different types of productions.
36
00:01:56,320 --> 00:02:00,160
One of the more notable are things that most people would know.
37
00:02:00,160 --> 00:02:05,200
The Simpsons, I did animations for the Simpsons DVDs back in the day.
38
00:02:05,200 --> 00:02:08,120
Worked at Sony Pictures Studios on the lot.
39
00:02:08,120 --> 00:02:15,040
Did a lot of production support for movies with Kevin Pakin, like Hollow Man or Michelle
40
00:02:15,040 --> 00:02:16,400
Pfeiffer and Harrison Ford.
41
00:02:16,400 --> 00:02:17,400
What lies beneath?
42
00:02:17,400 --> 00:02:18,840
Adam Sandler, you name it.
43
00:02:18,840 --> 00:02:26,400
I was on those productions a lot working on different aspects supporting the studio.
44
00:02:26,400 --> 00:02:32,000
I would say that you brought Hollywood obviously to the company then.
45
00:02:32,000 --> 00:02:38,160
Being in Los Angeles, obviously quite a different climate than it is here in Ottawa, Canada.
46
00:02:38,160 --> 00:02:39,680
Tell me a little bit about that.
47
00:02:39,680 --> 00:02:44,000
How did you decide to make that move or what brought you here to Ottawa?
48
00:02:44,000 --> 00:02:51,880
In 2015, I started filming a documentary for Jaguar Land Rover, which our company is heavily
49
00:02:51,880 --> 00:02:54,680
involved with through the automotive side.
50
00:02:54,680 --> 00:03:01,440
The project revolved around a robotics program for kids helping kids with cerebral palsy.
51
00:03:01,440 --> 00:03:03,240
That's what the documentary was centered around.
52
00:03:03,240 --> 00:03:06,560
It was an incredible experience.
53
00:03:06,560 --> 00:03:14,080
We shot from 2015, 2016, 2017, this documentary film.
54
00:03:14,080 --> 00:03:20,480
The company building the robotics side of it, the actual platform, was RDM or as known
55
00:03:20,480 --> 00:03:22,280
now, a Rigo.
56
00:03:22,280 --> 00:03:27,320
I got to be close with all the engineers, Dave, the team, from being there three years
57
00:03:27,320 --> 00:03:34,600
on site working for Jaguar Land Rover and robotics.
58
00:03:34,600 --> 00:03:38,880
To back up a little bit, they put me in this role.
59
00:03:38,880 --> 00:03:43,600
Director producer in England was because I had a heavy background in automotive.
60
00:03:43,600 --> 00:03:52,080
I grew up building monster trucks, working on muscle cars in the neighborhood with my
61
00:03:52,080 --> 00:03:53,080
next door neighbor.
62
00:03:53,080 --> 00:03:54,800
He taught me all this stuff growing up.
63
00:03:54,800 --> 00:03:57,320
He was like, hey, let's throw a engine in something.
64
00:03:57,320 --> 00:04:01,880
That's what brought me to England because I could film, I could shoot, I could edit,
65
00:04:01,880 --> 00:04:02,880
I could do all those things.
66
00:04:02,880 --> 00:04:05,360
But on the flip side, I could also build.
67
00:04:05,360 --> 00:04:11,600
It was that combination, I think, that maybe the perfect person to be involved in that
68
00:04:11,600 --> 00:04:13,100
film.
69
00:04:13,100 --> 00:04:23,920
Then when we wrapped that, the transition to the frozen tundra of Ottawa happened because
70
00:04:23,920 --> 00:04:29,040
Dave knew that I was finishing up that project and wanted to know if I'd like to be involved
71
00:04:29,040 --> 00:04:31,760
with what a Rigo was doing.
72
00:04:31,760 --> 00:04:39,880
So a conversation with the wife, hey, would you be interested in moving to Canada was the
73
00:04:39,880 --> 00:04:40,880
next thing.
74
00:04:40,880 --> 00:04:46,520
I know, but I'm going to talk about that, which I'm sure we can unpack in a later episode.
75
00:04:46,520 --> 00:04:48,360
Yeah, exactly.
76
00:04:48,360 --> 00:04:50,960
So we made that move.
77
00:04:50,960 --> 00:04:54,440
Now, interestingly enough, we thought we were actually going to England, back to England,
78
00:04:54,440 --> 00:05:00,280
but did a sharp left to the north and stopped in Ottawa.
79
00:05:00,280 --> 00:05:02,080
There we are seven years later.
80
00:05:02,080 --> 00:05:03,080
In snow.
81
00:05:03,080 --> 00:05:04,080
In snow, yes.
82
00:05:04,080 --> 00:05:07,800
Slightly different from LA, but I grew up in Michigan.
83
00:05:07,800 --> 00:05:12,440
So the snow wasn't something foreign to me.
84
00:05:12,440 --> 00:05:16,160
So being in Hollywood and working on various types of pieces, like you mentioned, everything
85
00:05:16,160 --> 00:05:20,920
from movies to the Sim Stens, which of course everybody knows and loves, what is some of
86
00:05:20,920 --> 00:05:26,760
the inspiration that you draw on to kind of bring that Hollywood touch and feel to the
87
00:05:26,760 --> 00:05:29,040
company to Rigo?
88
00:05:29,040 --> 00:05:33,840
Working on those productions, a, from a technical aspect, you bring in what you know to make
89
00:05:33,840 --> 00:05:34,840
the stuff happen.
90
00:05:34,840 --> 00:05:39,960
And it's an ever-evolving thing that you're always learning something new because it is
91
00:05:39,960 --> 00:05:42,800
moving so fast, such as a podcast like now.
92
00:05:42,800 --> 00:05:48,840
I never worked on a podcast, never did a podcast prior to 2024.
93
00:05:48,840 --> 00:05:50,880
So that was a new thing.
94
00:05:50,880 --> 00:05:57,920
And then as far as the automotive styling and how you work on creating that type of content,
95
00:05:57,920 --> 00:06:03,840
I had worked on a few car commercials back in the day and we'd shot stuff at Jaguar Land Rover
96
00:06:03,840 --> 00:06:08,840
on their test tracks and things over the years and in Gaiden in the UK.
97
00:06:08,840 --> 00:06:15,000
So combine that with just other things and how you want looks and feels of things, kind
98
00:06:15,000 --> 00:06:25,280
of like our designer, Elliot Hawkins, he has a very specific way he likes to design the
99
00:06:25,280 --> 00:06:27,600
vehicles and the look he wants to portray.
100
00:06:27,600 --> 00:06:35,800
So that kind of sets the tone for how do we shoot the stuff.
101
00:06:35,800 --> 00:06:37,680
It's better looking than anything out there.
102
00:06:37,680 --> 00:06:42,920
So imagery also has to take that consideration.
103
00:06:42,920 --> 00:06:48,800
Now of course, this is one element that you know with your automotive background is you
104
00:06:48,800 --> 00:06:55,560
get a vehicle and you can't quite talk about everything it does when it's coming out, all
105
00:06:55,560 --> 00:06:56,560
these aspects.
106
00:06:56,560 --> 00:07:00,160
So those are the things that are under the radar until they're allowed to be gone public,
107
00:07:00,160 --> 00:07:01,160
basically.
108
00:07:01,160 --> 00:07:03,800
Yes, until you're allowed to release them and talk about them.
109
00:07:03,800 --> 00:07:08,480
So that's one of those elements that makes it a little more difficult than your average
110
00:07:08,480 --> 00:07:16,680
shoot or how you engage digitally online because you can only disclose that much until it's
111
00:07:16,680 --> 00:07:17,680
ready.
112
00:07:17,680 --> 00:07:22,200
Like when we first launched the AutoDali Tug, there was brief images here and there and
113
00:07:22,200 --> 00:07:25,360
you can't really talk about it because we don't want competition to know what we're
114
00:07:25,360 --> 00:07:26,360
doing.
115
00:07:26,360 --> 00:07:31,760
And then when it's out there, we're kind of under these non-disclosure agreements like
116
00:07:31,760 --> 00:07:34,440
you would in any production to not talk about it.
117
00:07:34,440 --> 00:07:38,960
Most titles of film and television pilots, they create something that has nothing to
118
00:07:38,960 --> 00:07:41,040
do with what they're actually filming.
119
00:07:41,040 --> 00:07:43,880
So no one ends up with a leg up like, oh, we should do that as well.
120
00:07:43,880 --> 00:07:48,080
Yeah, no, I was going to say, speaking of like that design and kind of the look that
121
00:07:48,080 --> 00:07:52,760
Ellie gives the vehicles, you know, a lot of people when the autonomous shuttles are
122
00:07:52,760 --> 00:07:53,760
going out.
123
00:07:53,760 --> 00:07:58,920
I always remember hearing things like they look like a toaster for a couple of, you know,
124
00:07:58,920 --> 00:08:01,600
people competitors in the field basically.
125
00:08:01,600 --> 00:08:06,680
And then ours comes out and it is the most edgy, you know, kind of dark, mysterious and
126
00:08:06,680 --> 00:08:08,640
futuristic looking vehicle, right?
127
00:08:08,640 --> 00:08:12,880
So I have noticed how you've obviously taken those elements and really put in that futuristic
128
00:08:12,880 --> 00:08:18,720
tone into everything from, you know, the website that you've designed to the media pieces that
129
00:08:18,720 --> 00:08:24,040
you have put together and everything has almost that kind of that leg up.
130
00:08:24,040 --> 00:08:28,120
And I feel like, you know, from the get go, it does take that, you know, I was with Toyota
131
00:08:28,120 --> 00:08:34,920
for six or so years working with them and everything you think of from filming in-house
132
00:08:34,920 --> 00:08:40,760
commercials and filming podcasts and, you know, launches and news and all of these pieces,
133
00:08:40,760 --> 00:08:45,320
the fact that we can do all of that in-house having you on the team.
134
00:08:45,320 --> 00:08:49,320
I think that that's really something that people don't realize, you know, and I'm sure,
135
00:08:49,320 --> 00:08:52,480
you know, no one really realizes what goes into a production.
136
00:08:52,480 --> 00:08:57,160
Even filming this podcast, you know, it takes 30 to 45 minutes to set up.
137
00:08:57,160 --> 00:09:01,880
We're setting up the mic and the background and there is a big box light behind me because
138
00:09:01,880 --> 00:09:03,720
it's just not lit up enough.
139
00:09:03,720 --> 00:09:09,160
And then you're in a separate location and audio and, you know, again, and then piecing
140
00:09:09,160 --> 00:09:10,160
it all together.
141
00:09:10,160 --> 00:09:12,800
And then the fact that you edit it on the, you know, on the flip side.
142
00:09:12,800 --> 00:09:16,280
So not only are you starting it and you're filming it and you're helping to set it up,
143
00:09:16,280 --> 00:09:19,760
you're filming it all together and then pushing out the final product.
144
00:09:19,760 --> 00:09:24,480
So I have to say that's got to be pretty cool that you get to do the full life cycle here
145
00:09:24,480 --> 00:09:28,440
and you really have kind of your freedom to take from your inspiration.
146
00:09:28,440 --> 00:09:34,480
You know, if you were to say, I want a Rigo marketed like X thing, what would that be?
147
00:09:34,480 --> 00:09:38,360
Is there like one specific thing or a couple of pieces that you kind of, again, like take
148
00:09:38,360 --> 00:09:42,680
that look and feel and you feel like they've done a great job and you want to do that too?
149
00:09:42,680 --> 00:09:48,560
You know, there are some and not to stick with UK, but you when you see like a Aston
150
00:09:48,560 --> 00:09:57,800
Martin style ad or or Range Rover, those stylistic choices on their commercials and how they,
151
00:09:57,800 --> 00:10:00,000
how they just still images or anything like that.
152
00:10:00,000 --> 00:10:09,440
They're always, you know, so what's the posh and just elegant and in some cases a little
153
00:10:09,440 --> 00:10:15,600
aggressive with Aston Martin and that's all, you know, whether it's a cue from the styling
154
00:10:15,600 --> 00:10:19,800
and how they're used, you know, because I really love trucks.
155
00:10:19,800 --> 00:10:26,840
I like that aggressiveness, but you know, you can't really market our aviation stuff
156
00:10:26,840 --> 00:10:30,560
like it's a Dodge or, you know, an F-150.
157
00:10:30,560 --> 00:10:36,800
It has to kind of, it has to have a lean more towards, well, you know, obviously aviation,
158
00:10:36,800 --> 00:10:41,760
which, you know, maybe it's more like a, you know, Air Force styling, you know, because
159
00:10:41,760 --> 00:10:49,520
it does have that take on a B2 or a A117 fighters, all the stealth stuff.
160
00:10:49,520 --> 00:10:50,840
It has that look to it.
161
00:10:50,840 --> 00:10:54,880
So a lot of hard corners edging.
162
00:10:54,880 --> 00:10:59,600
And so that's kind of what you lean to because the message of what it looks like versus what
163
00:10:59,600 --> 00:11:04,880
you're doing, there's you got to have this kind of symbiotic relationship and how it
164
00:11:04,880 --> 00:11:10,080
lands with the customer because you have to get the message across because this is pretty
165
00:11:10,080 --> 00:11:18,880
new tech and the fact that we're revolutionizing the aviation airside, you know, that's nothing
166
00:11:18,880 --> 00:11:24,640
anyone's ever seen before, except maybe in movies and, you know, things like that.
167
00:11:24,640 --> 00:11:29,880
So you really have to take a look at how it's delivered and consumed.
168
00:11:29,880 --> 00:11:35,840
So it's a very difficult thing to try and attach to a successful outcome.
169
00:11:35,840 --> 00:11:37,880
It's, you know, you just don't know.
170
00:11:37,880 --> 00:11:43,320
I think one of the key things on having it in house is, you know, from, from a communications
171
00:11:43,320 --> 00:11:48,280
and marketing perspective where kind of my focus lies, you know, oftentimes in past companies,
172
00:11:48,280 --> 00:11:49,280
you're hiring that out.
173
00:11:49,280 --> 00:11:54,080
So you have to find a company, you have to like their style and their branding because
174
00:11:54,080 --> 00:11:56,960
they're only going to do so much on either side of it, right?
175
00:11:56,960 --> 00:12:00,080
Because everybody's known for what they do and then you have to get them up to speed
176
00:12:00,080 --> 00:12:01,400
with the technology.
177
00:12:01,400 --> 00:12:05,160
So the fact that what you just said, you know, we're cutting edge tech, you know, everything
178
00:12:05,160 --> 00:12:11,520
from, you know, being in the automotive space to bringing autonomy to automotive and public
179
00:12:11,520 --> 00:12:17,000
transit through to the aviation space where we're focused now, it really takes a lot to
180
00:12:17,000 --> 00:12:20,840
make somebody understand what these, what these highlights are, you know, everybody
181
00:12:20,840 --> 00:12:24,880
in the autonomous space, of course, they want to know what sensors are being used and you
182
00:12:24,880 --> 00:12:29,560
want to start being able to capture what that looks like from a LiDAR perspective or cameras
183
00:12:29,560 --> 00:12:34,920
or the styling or, you know, just the different ways that it all interacts for this bigger
184
00:12:34,920 --> 00:12:37,640
brainchild to make this vehicle move.
185
00:12:37,640 --> 00:12:41,200
So again, being able to just have somebody in house that's been with a company as long
186
00:12:41,200 --> 00:12:45,040
as you have, you already know everything inside and out and you don't, it's like you get to
187
00:12:45,040 --> 00:12:50,760
skip an entire storyboarding step almost because you know it and you know the message and it's
188
00:12:50,760 --> 00:12:55,200
some, it's just a lot easier from a comms perspective.
189
00:12:55,200 --> 00:13:03,080
Yeah, and the turnaround on it is far easier, far easier, far quicker, far cheaper than
190
00:13:03,080 --> 00:13:04,520
if you just outsource it.
191
00:13:04,520 --> 00:13:05,520
Yeah.
192
00:13:05,520 --> 00:13:10,440
I mean, I would say easier for me and for like the comms team, probably harder for you
193
00:13:10,440 --> 00:13:14,880
because we just always expect you to push us out these rough edits of things.
194
00:13:14,880 --> 00:13:17,640
And then we're like, okay, let me just look at that and let's change it first.
195
00:13:17,640 --> 00:13:21,000
If we were to outsource you, we'd only have so many edits, right?
196
00:13:21,000 --> 00:13:23,200
Yeah, yeah, it's the thing.
197
00:13:23,200 --> 00:13:27,240
You get two, three changes and then, you know, then you have to start paying again.
198
00:13:27,240 --> 00:13:31,920
So yeah, it definitely helps the company out from that perspective and I get to engage with
199
00:13:31,920 --> 00:13:36,560
Elliot on his, you know, hey, take a look at this and the engineers.
200
00:13:36,560 --> 00:13:39,960
Yeah, and actually really cool trip.
201
00:13:39,960 --> 00:13:45,800
So tell me a little bit about what you recently, maybe not mentioning everywhere specifically
202
00:13:45,800 --> 00:13:48,840
that you went, but you could mention kind of high level because I know some of this stuff
203
00:13:48,840 --> 00:13:50,920
is under the radar coming soon.
204
00:13:50,920 --> 00:13:53,280
But yeah, kind of tell me a little bit about your recent trip.
205
00:13:53,280 --> 00:13:58,560
Yeah, I went to Europe and the UK.
206
00:13:58,560 --> 00:14:01,960
Is that, is that vague enough?
207
00:14:01,960 --> 00:14:07,800
And so I went around to these different locations, the airports all throughout Europe and each
208
00:14:07,800 --> 00:14:11,720
airport deploys the vehicles in a different fashion.
209
00:14:11,720 --> 00:14:19,000
And of course for the, the viewers listening or a little bias there, our Dolly Tug.
210
00:14:19,000 --> 00:14:23,040
So they deploy, they all have their own look.
211
00:14:23,040 --> 00:14:25,320
So their own branding to everything.
212
00:14:25,320 --> 00:14:30,960
So every shot, every video still, it looks different, you know, it's almost just like
213
00:14:30,960 --> 00:14:37,480
a, you know, United Delta, they all do everything, you know, Virgin, they all shoots and have
214
00:14:37,480 --> 00:14:41,240
different looks just because the get go, it just doesn't look like any, you know, the
215
00:14:41,240 --> 00:14:43,160
branding on each airplane.
216
00:14:43,160 --> 00:14:50,120
So when I go around to these locations, we take in consideration, we just shoot within
217
00:14:50,120 --> 00:14:52,400
the confines of what they're doing.
218
00:14:52,400 --> 00:14:57,560
And then we edit, you know, put pieces together when we can release them and then create a
219
00:14:57,560 --> 00:14:58,560
story around it.
220
00:14:58,560 --> 00:15:03,200
And so there's some pretty big storylines coming up here in the near future where you'll
221
00:15:03,200 --> 00:15:08,640
really get a flavor for each airport around the world and how they are deploying the vehicles
222
00:15:08,640 --> 00:15:12,760
and using them, and you'll really be able to see when you start watching and seeing
223
00:15:12,760 --> 00:15:19,080
some of the imagery of how it's, you know, revolutionizing the air sizing.
224
00:15:19,080 --> 00:15:24,800
And it's great to be able to be the one that kind of, you know, convey that message.
225
00:15:24,800 --> 00:15:28,320
So it's really great from that aspect.
226
00:15:28,320 --> 00:15:33,600
So I think that right there is a great spot to kind of end out the episode with all that
227
00:15:33,600 --> 00:15:36,440
nice future upcoming excitement and teasers.
228
00:15:36,440 --> 00:15:39,120
But I will, I have one last question for you.
229
00:15:39,120 --> 00:15:42,400
What is the coolest thing that you've ever worked on today?
230
00:15:42,400 --> 00:15:46,600
It could be professionally, it could be something when you were younger, doesn't really matter,
231
00:15:46,600 --> 00:15:49,080
but what is one of the coolest things you've ever worked on?
232
00:15:49,080 --> 00:15:52,560
One of the coolest things I've ever worked on.
233
00:15:52,560 --> 00:15:57,160
Whether it's like a project, the Simpsons, I know I always like to throw a random question
234
00:15:57,160 --> 00:16:01,040
and I really don't tell anybody that's on the show what that question is going to be,
235
00:16:01,040 --> 00:16:02,040
because I don't want it to be rehearsed.
236
00:16:02,040 --> 00:16:03,520
I want us to just have a conversation.
237
00:16:03,520 --> 00:16:05,000
Yeah, yeah, no, that's a...
238
00:16:05,000 --> 00:16:07,680
Let's see what comes.
239
00:16:07,680 --> 00:16:11,640
You know, I've worked on so many things.
240
00:16:11,640 --> 00:16:14,520
It's hard to nail one down, but you know what?
241
00:16:14,520 --> 00:16:21,160
When we did the making of a movie called Waiting with Ryan Reynolds.
242
00:16:21,160 --> 00:16:22,160
I saw that movie.
243
00:16:22,160 --> 00:16:26,960
It's hilarious and not really inappropriate in some ways, but very funny.
244
00:16:26,960 --> 00:16:31,840
Very, you know, very, very early 2000s.
245
00:16:31,840 --> 00:16:35,960
I mean, dating myself here, yeah, early 2000s.
246
00:16:35,960 --> 00:16:42,000
And it was, you know, the funniest people you can imagine and you're working with...
247
00:16:42,000 --> 00:16:43,000
Ryan Reynolds.
248
00:16:43,000 --> 00:16:45,000
The director of Ryan Reynolds, Robin Kittrick.
249
00:16:45,000 --> 00:16:46,000
Was that that movie?
250
00:16:46,000 --> 00:16:47,000
Yeah.
251
00:16:47,000 --> 00:16:48,760
Justin, was Justin Long in that movie as well?
252
00:16:48,760 --> 00:16:49,760
Justin Long was in that movie as well.
253
00:16:49,760 --> 00:16:53,360
Oh, Tasha's like such a great, like, deadpan understated comedy.
254
00:16:53,360 --> 00:16:58,000
The guy from, I totally forget his name from Anchorman, the cowboy head.
255
00:16:58,000 --> 00:16:59,000
Yeah, yeah.
256
00:16:59,000 --> 00:17:02,760
So, again, we always have future episodes where we dive in a little deeper.
257
00:17:02,760 --> 00:17:07,120
That's our plan at least so that we can get to know all of the employees of ARIGO and
258
00:17:07,120 --> 00:17:10,200
RDM a little bit better and what we're up to.
259
00:17:10,200 --> 00:17:12,560
Thanks so much for sharing your stories and your time.
260
00:17:12,560 --> 00:17:15,600
It's always a pleasure to see everything that you produce.
261
00:17:15,600 --> 00:17:20,680
It really makes ARIGO pop and kind of shows the world who we are on a global scale.
262
00:17:20,680 --> 00:17:22,640
So again, thanks for joining us.
263
00:17:22,640 --> 00:17:23,640
Tune in next week.
264
00:17:23,640 --> 00:17:25,160
Again, we'll have another person...
265
00:17:25,160 --> 00:17:29,440
Well, I should say tune in next week as I'm filming next week, but tune in in two weeks
266
00:17:29,440 --> 00:17:31,440
for another episode.
267
00:17:31,440 --> 00:17:35,720
Every other week on Wednesdays, we're bringing you the latest and greatest stories from our
268
00:17:35,720 --> 00:17:40,880
team and we hope you want to subscribe and like and share our podcast and learn more
269
00:17:40,880 --> 00:17:43,680
about us.
270
00:17:43,680 --> 00:17:48,040
Just a side note before we close out the podcast, the views and opinions shared here are those
271
00:17:48,040 --> 00:17:53,720
of the hosts and the guests do not necessarily reflect ARIGO International PLC or its official
272
00:17:53,720 --> 00:17:54,720
stance.
273
00:17:54,720 --> 00:17:57,360
This podcast is for informational purposes only.
274
00:17:57,360 --> 00:18:01,040
Some forward-looking statements might come up, which are just projections and are subject
275
00:18:01,040 --> 00:18:28,200
to change.
00:00:00,000 --> 00:00:05,560
Welcome back to Take Off, a podcast series where we share stories from our people about
2
00:00:05,560 --> 00:00:11,560
innovation, aviation, automotive, autonomous technology, and of course we throw some funny
3
00:00:11,560 --> 00:00:13,280
things in for good measure.
4
00:00:13,280 --> 00:00:15,360
Today our guest is Chris Keefe.
5
00:00:15,360 --> 00:00:16,800
Chris, how's it going?
6
00:00:16,800 --> 00:00:18,040
Oh, it's going great.
7
00:00:18,040 --> 00:00:19,040
How are you today?
8
00:00:19,040 --> 00:00:20,440
So glad that you could join us.
9
00:00:20,440 --> 00:00:21,440
Thank you.
10
00:00:21,440 --> 00:00:22,440
I'm having a great day.
11
00:00:22,440 --> 00:00:24,120
I wanted to see where are you joining us from.
12
00:00:24,120 --> 00:00:26,280
Let's tell our audience.
13
00:00:26,280 --> 00:00:29,600
I am coming from the warm location of Ottawa, Canada.
14
00:00:29,600 --> 00:00:33,240
Extra warm and toasty, very, very nice.
15
00:00:33,240 --> 00:00:36,200
A little bit different from the UK, of course.
16
00:00:36,200 --> 00:00:39,960
Can you tell me a little bit about what you do here at Aureco and how long have you been
17
00:00:39,960 --> 00:00:40,960
with the company?
18
00:00:40,960 --> 00:00:45,640
To start, I've been with the company for seven years and I'm the vice president of
19
00:00:45,640 --> 00:00:47,520
creative and digital marketing.
20
00:00:47,520 --> 00:00:52,640
I create the media that centers around automotive, the autonomous side, what we're doing with
21
00:00:52,640 --> 00:00:57,440
the company and how we put it together and just like anything else, whether you're creating
22
00:00:57,440 --> 00:01:02,280
a car commercial, you got to come up with an idea and how it reaches the audience.
23
00:01:02,280 --> 00:01:03,280
That's kind of the fun part.
24
00:01:03,280 --> 00:01:07,760
Now, the digital side is most people consume these types of things through as we're doing
25
00:01:07,760 --> 00:01:15,240
now a podcast or watching an advert on one of the social media platforms.
26
00:01:15,240 --> 00:01:19,960
We're not as big as an automotive company per se, so we're not throwing automotive commercials
27
00:01:19,960 --> 00:01:25,240
out there regarding some of our vehicles down the road.
28
00:01:25,240 --> 00:01:28,480
Yes, but that's not kind of the space we live in.
29
00:01:28,480 --> 00:01:34,560
It's basically this online space where you're creating an image that people can see what
30
00:01:34,560 --> 00:01:39,200
you do and how you do it and a little bit of product in there.
31
00:01:39,200 --> 00:01:40,200
What is your background?
32
00:01:40,200 --> 00:01:43,280
How did you become this digital creator?
33
00:01:43,280 --> 00:01:45,040
It's been a very long journey.
34
00:01:45,040 --> 00:01:49,760
I left film school and headed to Los Angeles in 1998.
35
00:01:49,760 --> 00:01:56,320
From there, I would spend the next 20 years working on all different types of productions.
36
00:01:56,320 --> 00:02:00,160
One of the more notable are things that most people would know.
37
00:02:00,160 --> 00:02:05,200
The Simpsons, I did animations for the Simpsons DVDs back in the day.
38
00:02:05,200 --> 00:02:08,120
Worked at Sony Pictures Studios on the lot.
39
00:02:08,120 --> 00:02:15,040
Did a lot of production support for movies with Kevin Pakin, like Hollow Man or Michelle
40
00:02:15,040 --> 00:02:16,400
Pfeiffer and Harrison Ford.
41
00:02:16,400 --> 00:02:17,400
What lies beneath?
42
00:02:17,400 --> 00:02:18,840
Adam Sandler, you name it.
43
00:02:18,840 --> 00:02:26,400
I was on those productions a lot working on different aspects supporting the studio.
44
00:02:26,400 --> 00:02:32,000
I would say that you brought Hollywood obviously to the company then.
45
00:02:32,000 --> 00:02:38,160
Being in Los Angeles, obviously quite a different climate than it is here in Ottawa, Canada.
46
00:02:38,160 --> 00:02:39,680
Tell me a little bit about that.
47
00:02:39,680 --> 00:02:44,000
How did you decide to make that move or what brought you here to Ottawa?
48
00:02:44,000 --> 00:02:51,880
In 2015, I started filming a documentary for Jaguar Land Rover, which our company is heavily
49
00:02:51,880 --> 00:02:54,680
involved with through the automotive side.
50
00:02:54,680 --> 00:03:01,440
The project revolved around a robotics program for kids helping kids with cerebral palsy.
51
00:03:01,440 --> 00:03:03,240
That's what the documentary was centered around.
52
00:03:03,240 --> 00:03:06,560
It was an incredible experience.
53
00:03:06,560 --> 00:03:14,080
We shot from 2015, 2016, 2017, this documentary film.
54
00:03:14,080 --> 00:03:20,480
The company building the robotics side of it, the actual platform, was RDM or as known
55
00:03:20,480 --> 00:03:22,280
now, a Rigo.
56
00:03:22,280 --> 00:03:27,320
I got to be close with all the engineers, Dave, the team, from being there three years
57
00:03:27,320 --> 00:03:34,600
on site working for Jaguar Land Rover and robotics.
58
00:03:34,600 --> 00:03:38,880
To back up a little bit, they put me in this role.
59
00:03:38,880 --> 00:03:43,600
Director producer in England was because I had a heavy background in automotive.
60
00:03:43,600 --> 00:03:52,080
I grew up building monster trucks, working on muscle cars in the neighborhood with my
61
00:03:52,080 --> 00:03:53,080
next door neighbor.
62
00:03:53,080 --> 00:03:54,800
He taught me all this stuff growing up.
63
00:03:54,800 --> 00:03:57,320
He was like, hey, let's throw a engine in something.
64
00:03:57,320 --> 00:04:01,880
That's what brought me to England because I could film, I could shoot, I could edit,
65
00:04:01,880 --> 00:04:02,880
I could do all those things.
66
00:04:02,880 --> 00:04:05,360
But on the flip side, I could also build.
67
00:04:05,360 --> 00:04:11,600
It was that combination, I think, that maybe the perfect person to be involved in that
68
00:04:11,600 --> 00:04:13,100
film.
69
00:04:13,100 --> 00:04:23,920
Then when we wrapped that, the transition to the frozen tundra of Ottawa happened because
70
00:04:23,920 --> 00:04:29,040
Dave knew that I was finishing up that project and wanted to know if I'd like to be involved
71
00:04:29,040 --> 00:04:31,760
with what a Rigo was doing.
72
00:04:31,760 --> 00:04:39,880
So a conversation with the wife, hey, would you be interested in moving to Canada was the
73
00:04:39,880 --> 00:04:40,880
next thing.
74
00:04:40,880 --> 00:04:46,520
I know, but I'm going to talk about that, which I'm sure we can unpack in a later episode.
75
00:04:46,520 --> 00:04:48,360
Yeah, exactly.
76
00:04:48,360 --> 00:04:50,960
So we made that move.
77
00:04:50,960 --> 00:04:54,440
Now, interestingly enough, we thought we were actually going to England, back to England,
78
00:04:54,440 --> 00:05:00,280
but did a sharp left to the north and stopped in Ottawa.
79
00:05:00,280 --> 00:05:02,080
There we are seven years later.
80
00:05:02,080 --> 00:05:03,080
In snow.
81
00:05:03,080 --> 00:05:04,080
In snow, yes.
82
00:05:04,080 --> 00:05:07,800
Slightly different from LA, but I grew up in Michigan.
83
00:05:07,800 --> 00:05:12,440
So the snow wasn't something foreign to me.
84
00:05:12,440 --> 00:05:16,160
So being in Hollywood and working on various types of pieces, like you mentioned, everything
85
00:05:16,160 --> 00:05:20,920
from movies to the Sim Stens, which of course everybody knows and loves, what is some of
86
00:05:20,920 --> 00:05:26,760
the inspiration that you draw on to kind of bring that Hollywood touch and feel to the
87
00:05:26,760 --> 00:05:29,040
company to Rigo?
88
00:05:29,040 --> 00:05:33,840
Working on those productions, a, from a technical aspect, you bring in what you know to make
89
00:05:33,840 --> 00:05:34,840
the stuff happen.
90
00:05:34,840 --> 00:05:39,960
And it's an ever-evolving thing that you're always learning something new because it is
91
00:05:39,960 --> 00:05:42,800
moving so fast, such as a podcast like now.
92
00:05:42,800 --> 00:05:48,840
I never worked on a podcast, never did a podcast prior to 2024.
93
00:05:48,840 --> 00:05:50,880
So that was a new thing.
94
00:05:50,880 --> 00:05:57,920
And then as far as the automotive styling and how you work on creating that type of content,
95
00:05:57,920 --> 00:06:03,840
I had worked on a few car commercials back in the day and we'd shot stuff at Jaguar Land Rover
96
00:06:03,840 --> 00:06:08,840
on their test tracks and things over the years and in Gaiden in the UK.
97
00:06:08,840 --> 00:06:15,000
So combine that with just other things and how you want looks and feels of things, kind
98
00:06:15,000 --> 00:06:25,280
of like our designer, Elliot Hawkins, he has a very specific way he likes to design the
99
00:06:25,280 --> 00:06:27,600
vehicles and the look he wants to portray.
100
00:06:27,600 --> 00:06:35,800
So that kind of sets the tone for how do we shoot the stuff.
101
00:06:35,800 --> 00:06:37,680
It's better looking than anything out there.
102
00:06:37,680 --> 00:06:42,920
So imagery also has to take that consideration.
103
00:06:42,920 --> 00:06:48,800
Now of course, this is one element that you know with your automotive background is you
104
00:06:48,800 --> 00:06:55,560
get a vehicle and you can't quite talk about everything it does when it's coming out, all
105
00:06:55,560 --> 00:06:56,560
these aspects.
106
00:06:56,560 --> 00:07:00,160
So those are the things that are under the radar until they're allowed to be gone public,
107
00:07:00,160 --> 00:07:01,160
basically.
108
00:07:01,160 --> 00:07:03,800
Yes, until you're allowed to release them and talk about them.
109
00:07:03,800 --> 00:07:08,480
So that's one of those elements that makes it a little more difficult than your average
110
00:07:08,480 --> 00:07:16,680
shoot or how you engage digitally online because you can only disclose that much until it's
111
00:07:16,680 --> 00:07:17,680
ready.
112
00:07:17,680 --> 00:07:22,200
Like when we first launched the AutoDali Tug, there was brief images here and there and
113
00:07:22,200 --> 00:07:25,360
you can't really talk about it because we don't want competition to know what we're
114
00:07:25,360 --> 00:07:26,360
doing.
115
00:07:26,360 --> 00:07:31,760
And then when it's out there, we're kind of under these non-disclosure agreements like
116
00:07:31,760 --> 00:07:34,440
you would in any production to not talk about it.
117
00:07:34,440 --> 00:07:38,960
Most titles of film and television pilots, they create something that has nothing to
118
00:07:38,960 --> 00:07:41,040
do with what they're actually filming.
119
00:07:41,040 --> 00:07:43,880
So no one ends up with a leg up like, oh, we should do that as well.
120
00:07:43,880 --> 00:07:48,080
Yeah, no, I was going to say, speaking of like that design and kind of the look that
121
00:07:48,080 --> 00:07:52,760
Ellie gives the vehicles, you know, a lot of people when the autonomous shuttles are
122
00:07:52,760 --> 00:07:53,760
going out.
123
00:07:53,760 --> 00:07:58,920
I always remember hearing things like they look like a toaster for a couple of, you know,
124
00:07:58,920 --> 00:08:01,600
people competitors in the field basically.
125
00:08:01,600 --> 00:08:06,680
And then ours comes out and it is the most edgy, you know, kind of dark, mysterious and
126
00:08:06,680 --> 00:08:08,640
futuristic looking vehicle, right?
127
00:08:08,640 --> 00:08:12,880
So I have noticed how you've obviously taken those elements and really put in that futuristic
128
00:08:12,880 --> 00:08:18,720
tone into everything from, you know, the website that you've designed to the media pieces that
129
00:08:18,720 --> 00:08:24,040
you have put together and everything has almost that kind of that leg up.
130
00:08:24,040 --> 00:08:28,120
And I feel like, you know, from the get go, it does take that, you know, I was with Toyota
131
00:08:28,120 --> 00:08:34,920
for six or so years working with them and everything you think of from filming in-house
132
00:08:34,920 --> 00:08:40,760
commercials and filming podcasts and, you know, launches and news and all of these pieces,
133
00:08:40,760 --> 00:08:45,320
the fact that we can do all of that in-house having you on the team.
134
00:08:45,320 --> 00:08:49,320
I think that that's really something that people don't realize, you know, and I'm sure,
135
00:08:49,320 --> 00:08:52,480
you know, no one really realizes what goes into a production.
136
00:08:52,480 --> 00:08:57,160
Even filming this podcast, you know, it takes 30 to 45 minutes to set up.
137
00:08:57,160 --> 00:09:01,880
We're setting up the mic and the background and there is a big box light behind me because
138
00:09:01,880 --> 00:09:03,720
it's just not lit up enough.
139
00:09:03,720 --> 00:09:09,160
And then you're in a separate location and audio and, you know, again, and then piecing
140
00:09:09,160 --> 00:09:10,160
it all together.
141
00:09:10,160 --> 00:09:12,800
And then the fact that you edit it on the, you know, on the flip side.
142
00:09:12,800 --> 00:09:16,280
So not only are you starting it and you're filming it and you're helping to set it up,
143
00:09:16,280 --> 00:09:19,760
you're filming it all together and then pushing out the final product.
144
00:09:19,760 --> 00:09:24,480
So I have to say that's got to be pretty cool that you get to do the full life cycle here
145
00:09:24,480 --> 00:09:28,440
and you really have kind of your freedom to take from your inspiration.
146
00:09:28,440 --> 00:09:34,480
You know, if you were to say, I want a Rigo marketed like X thing, what would that be?
147
00:09:34,480 --> 00:09:38,360
Is there like one specific thing or a couple of pieces that you kind of, again, like take
148
00:09:38,360 --> 00:09:42,680
that look and feel and you feel like they've done a great job and you want to do that too?
149
00:09:42,680 --> 00:09:48,560
You know, there are some and not to stick with UK, but you when you see like a Aston
150
00:09:48,560 --> 00:09:57,800
Martin style ad or or Range Rover, those stylistic choices on their commercials and how they,
151
00:09:57,800 --> 00:10:00,000
how they just still images or anything like that.
152
00:10:00,000 --> 00:10:09,440
They're always, you know, so what's the posh and just elegant and in some cases a little
153
00:10:09,440 --> 00:10:15,600
aggressive with Aston Martin and that's all, you know, whether it's a cue from the styling
154
00:10:15,600 --> 00:10:19,800
and how they're used, you know, because I really love trucks.
155
00:10:19,800 --> 00:10:26,840
I like that aggressiveness, but you know, you can't really market our aviation stuff
156
00:10:26,840 --> 00:10:30,560
like it's a Dodge or, you know, an F-150.
157
00:10:30,560 --> 00:10:36,800
It has to kind of, it has to have a lean more towards, well, you know, obviously aviation,
158
00:10:36,800 --> 00:10:41,760
which, you know, maybe it's more like a, you know, Air Force styling, you know, because
159
00:10:41,760 --> 00:10:49,520
it does have that take on a B2 or a A117 fighters, all the stealth stuff.
160
00:10:49,520 --> 00:10:50,840
It has that look to it.
161
00:10:50,840 --> 00:10:54,880
So a lot of hard corners edging.
162
00:10:54,880 --> 00:10:59,600
And so that's kind of what you lean to because the message of what it looks like versus what
163
00:10:59,600 --> 00:11:04,880
you're doing, there's you got to have this kind of symbiotic relationship and how it
164
00:11:04,880 --> 00:11:10,080
lands with the customer because you have to get the message across because this is pretty
165
00:11:10,080 --> 00:11:18,880
new tech and the fact that we're revolutionizing the aviation airside, you know, that's nothing
166
00:11:18,880 --> 00:11:24,640
anyone's ever seen before, except maybe in movies and, you know, things like that.
167
00:11:24,640 --> 00:11:29,880
So you really have to take a look at how it's delivered and consumed.
168
00:11:29,880 --> 00:11:35,840
So it's a very difficult thing to try and attach to a successful outcome.
169
00:11:35,840 --> 00:11:37,880
It's, you know, you just don't know.
170
00:11:37,880 --> 00:11:43,320
I think one of the key things on having it in house is, you know, from, from a communications
171
00:11:43,320 --> 00:11:48,280
and marketing perspective where kind of my focus lies, you know, oftentimes in past companies,
172
00:11:48,280 --> 00:11:49,280
you're hiring that out.
173
00:11:49,280 --> 00:11:54,080
So you have to find a company, you have to like their style and their branding because
174
00:11:54,080 --> 00:11:56,960
they're only going to do so much on either side of it, right?
175
00:11:56,960 --> 00:12:00,080
Because everybody's known for what they do and then you have to get them up to speed
176
00:12:00,080 --> 00:12:01,400
with the technology.
177
00:12:01,400 --> 00:12:05,160
So the fact that what you just said, you know, we're cutting edge tech, you know, everything
178
00:12:05,160 --> 00:12:11,520
from, you know, being in the automotive space to bringing autonomy to automotive and public
179
00:12:11,520 --> 00:12:17,000
transit through to the aviation space where we're focused now, it really takes a lot to
180
00:12:17,000 --> 00:12:20,840
make somebody understand what these, what these highlights are, you know, everybody
181
00:12:20,840 --> 00:12:24,880
in the autonomous space, of course, they want to know what sensors are being used and you
182
00:12:24,880 --> 00:12:29,560
want to start being able to capture what that looks like from a LiDAR perspective or cameras
183
00:12:29,560 --> 00:12:34,920
or the styling or, you know, just the different ways that it all interacts for this bigger
184
00:12:34,920 --> 00:12:37,640
brainchild to make this vehicle move.
185
00:12:37,640 --> 00:12:41,200
So again, being able to just have somebody in house that's been with a company as long
186
00:12:41,200 --> 00:12:45,040
as you have, you already know everything inside and out and you don't, it's like you get to
187
00:12:45,040 --> 00:12:50,760
skip an entire storyboarding step almost because you know it and you know the message and it's
188
00:12:50,760 --> 00:12:55,200
some, it's just a lot easier from a comms perspective.
189
00:12:55,200 --> 00:13:03,080
Yeah, and the turnaround on it is far easier, far easier, far quicker, far cheaper than
190
00:13:03,080 --> 00:13:04,520
if you just outsource it.
191
00:13:04,520 --> 00:13:05,520
Yeah.
192
00:13:05,520 --> 00:13:10,440
I mean, I would say easier for me and for like the comms team, probably harder for you
193
00:13:10,440 --> 00:13:14,880
because we just always expect you to push us out these rough edits of things.
194
00:13:14,880 --> 00:13:17,640
And then we're like, okay, let me just look at that and let's change it first.
195
00:13:17,640 --> 00:13:21,000
If we were to outsource you, we'd only have so many edits, right?
196
00:13:21,000 --> 00:13:23,200
Yeah, yeah, it's the thing.
197
00:13:23,200 --> 00:13:27,240
You get two, three changes and then, you know, then you have to start paying again.
198
00:13:27,240 --> 00:13:31,920
So yeah, it definitely helps the company out from that perspective and I get to engage with
199
00:13:31,920 --> 00:13:36,560
Elliot on his, you know, hey, take a look at this and the engineers.
200
00:13:36,560 --> 00:13:39,960
Yeah, and actually really cool trip.
201
00:13:39,960 --> 00:13:45,800
So tell me a little bit about what you recently, maybe not mentioning everywhere specifically
202
00:13:45,800 --> 00:13:48,840
that you went, but you could mention kind of high level because I know some of this stuff
203
00:13:48,840 --> 00:13:50,920
is under the radar coming soon.
204
00:13:50,920 --> 00:13:53,280
But yeah, kind of tell me a little bit about your recent trip.
205
00:13:53,280 --> 00:13:58,560
Yeah, I went to Europe and the UK.
206
00:13:58,560 --> 00:14:01,960
Is that, is that vague enough?
207
00:14:01,960 --> 00:14:07,800
And so I went around to these different locations, the airports all throughout Europe and each
208
00:14:07,800 --> 00:14:11,720
airport deploys the vehicles in a different fashion.
209
00:14:11,720 --> 00:14:19,000
And of course for the, the viewers listening or a little bias there, our Dolly Tug.
210
00:14:19,000 --> 00:14:23,040
So they deploy, they all have their own look.
211
00:14:23,040 --> 00:14:25,320
So their own branding to everything.
212
00:14:25,320 --> 00:14:30,960
So every shot, every video still, it looks different, you know, it's almost just like
213
00:14:30,960 --> 00:14:37,480
a, you know, United Delta, they all do everything, you know, Virgin, they all shoots and have
214
00:14:37,480 --> 00:14:41,240
different looks just because the get go, it just doesn't look like any, you know, the
215
00:14:41,240 --> 00:14:43,160
branding on each airplane.
216
00:14:43,160 --> 00:14:50,120
So when I go around to these locations, we take in consideration, we just shoot within
217
00:14:50,120 --> 00:14:52,400
the confines of what they're doing.
218
00:14:52,400 --> 00:14:57,560
And then we edit, you know, put pieces together when we can release them and then create a
219
00:14:57,560 --> 00:14:58,560
story around it.
220
00:14:58,560 --> 00:15:03,200
And so there's some pretty big storylines coming up here in the near future where you'll
221
00:15:03,200 --> 00:15:08,640
really get a flavor for each airport around the world and how they are deploying the vehicles
222
00:15:08,640 --> 00:15:12,760
and using them, and you'll really be able to see when you start watching and seeing
223
00:15:12,760 --> 00:15:19,080
some of the imagery of how it's, you know, revolutionizing the air sizing.
224
00:15:19,080 --> 00:15:24,800
And it's great to be able to be the one that kind of, you know, convey that message.
225
00:15:24,800 --> 00:15:28,320
So it's really great from that aspect.
226
00:15:28,320 --> 00:15:33,600
So I think that right there is a great spot to kind of end out the episode with all that
227
00:15:33,600 --> 00:15:36,440
nice future upcoming excitement and teasers.
228
00:15:36,440 --> 00:15:39,120
But I will, I have one last question for you.
229
00:15:39,120 --> 00:15:42,400
What is the coolest thing that you've ever worked on today?
230
00:15:42,400 --> 00:15:46,600
It could be professionally, it could be something when you were younger, doesn't really matter,
231
00:15:46,600 --> 00:15:49,080
but what is one of the coolest things you've ever worked on?
232
00:15:49,080 --> 00:15:52,560
One of the coolest things I've ever worked on.
233
00:15:52,560 --> 00:15:57,160
Whether it's like a project, the Simpsons, I know I always like to throw a random question
234
00:15:57,160 --> 00:16:01,040
and I really don't tell anybody that's on the show what that question is going to be,
235
00:16:01,040 --> 00:16:02,040
because I don't want it to be rehearsed.
236
00:16:02,040 --> 00:16:03,520
I want us to just have a conversation.
237
00:16:03,520 --> 00:16:05,000
Yeah, yeah, no, that's a...
238
00:16:05,000 --> 00:16:07,680
Let's see what comes.
239
00:16:07,680 --> 00:16:11,640
You know, I've worked on so many things.
240
00:16:11,640 --> 00:16:14,520
It's hard to nail one down, but you know what?
241
00:16:14,520 --> 00:16:21,160
When we did the making of a movie called Waiting with Ryan Reynolds.
242
00:16:21,160 --> 00:16:22,160
I saw that movie.
243
00:16:22,160 --> 00:16:26,960
It's hilarious and not really inappropriate in some ways, but very funny.
244
00:16:26,960 --> 00:16:31,840
Very, you know, very, very early 2000s.
245
00:16:31,840 --> 00:16:35,960
I mean, dating myself here, yeah, early 2000s.
246
00:16:35,960 --> 00:16:42,000
And it was, you know, the funniest people you can imagine and you're working with...
247
00:16:42,000 --> 00:16:43,000
Ryan Reynolds.
248
00:16:43,000 --> 00:16:45,000
The director of Ryan Reynolds, Robin Kittrick.
249
00:16:45,000 --> 00:16:46,000
Was that that movie?
250
00:16:46,000 --> 00:16:47,000
Yeah.
251
00:16:47,000 --> 00:16:48,760
Justin, was Justin Long in that movie as well?
252
00:16:48,760 --> 00:16:49,760
Justin Long was in that movie as well.
253
00:16:49,760 --> 00:16:53,360
Oh, Tasha's like such a great, like, deadpan understated comedy.
254
00:16:53,360 --> 00:16:58,000
The guy from, I totally forget his name from Anchorman, the cowboy head.
255
00:16:58,000 --> 00:16:59,000
Yeah, yeah.
256
00:16:59,000 --> 00:17:02,760
So, again, we always have future episodes where we dive in a little deeper.
257
00:17:02,760 --> 00:17:07,120
That's our plan at least so that we can get to know all of the employees of ARIGO and
258
00:17:07,120 --> 00:17:10,200
RDM a little bit better and what we're up to.
259
00:17:10,200 --> 00:17:12,560
Thanks so much for sharing your stories and your time.
260
00:17:12,560 --> 00:17:15,600
It's always a pleasure to see everything that you produce.
261
00:17:15,600 --> 00:17:20,680
It really makes ARIGO pop and kind of shows the world who we are on a global scale.
262
00:17:20,680 --> 00:17:22,640
So again, thanks for joining us.
263
00:17:22,640 --> 00:17:23,640
Tune in next week.
264
00:17:23,640 --> 00:17:25,160
Again, we'll have another person...
265
00:17:25,160 --> 00:17:29,440
Well, I should say tune in next week as I'm filming next week, but tune in in two weeks
266
00:17:29,440 --> 00:17:31,440
for another episode.
267
00:17:31,440 --> 00:17:35,720
Every other week on Wednesdays, we're bringing you the latest and greatest stories from our
268
00:17:35,720 --> 00:17:40,880
team and we hope you want to subscribe and like and share our podcast and learn more
269
00:17:40,880 --> 00:17:43,680
about us.
270
00:17:43,680 --> 00:17:48,040
Just a side note before we close out the podcast, the views and opinions shared here are those
271
00:17:48,040 --> 00:17:53,720
of the hosts and the guests do not necessarily reflect ARIGO International PLC or its official
272
00:17:53,720 --> 00:17:54,720
stance.
273
00:17:54,720 --> 00:17:57,360
This podcast is for informational purposes only.
274
00:17:57,360 --> 00:18:01,040
Some forward-looking statements might come up, which are just projections and are subject
275
00:18:01,040 --> 00:18:28,200
to change.
