187 - Aaron 'The Iron Claw' Dean Eisenberg Interview

This week, we're thrilled to welcome Aaron Dean Eisenberg, known for his recent role in the brilliant film, The Iron Claw, alongside Zac Efron, Jeremy Allen White, and Harris Dickinson, who portrayed the iconic Von Erich wrestling dynasty.

Aaron takes on the legendary role of Ric Flair, famed for his flamboyant persona and technical prowess, engaging in numerous encounters and rivalries with the legendary Von Erich family.

Join us as Aaron shares insights into his involvement in the film, discusses the art of crafting the perfect promo, delves into his physical transformation for the role, and offers an important glimpse into the world of acting. 

Episode Transcript

(00:03):
Welcome to the nerd Party. Hello, and welcome to the A twenty four
project. Here in the Nerd PartyNetwork, my name is Lee Hutchinson and
Dallas King and I make our waythrough the eight twenty four filmography and along
the way bring you interviews of thetown involved in front of and behind the

(00:23):
camera. Last week we had thepleasure of interviewing Saint Maude and Love Lies
Bleeding director Rose Glass. This week, we're thrilled to welcome Aaron Dean Eisenberg,
known for his recent role in thebrilliant film The Iron Claw, alongside
Zac Efron, Jeremy Allen Why andHarris Dickinson, who portrayed the iconic Von
Eric wrestling dynasty. Aaron takes onthe legendary role of Rick Flair, fame

(00:46):
for his flamboyant persona and technical prowess, engaging in numerous encounters and rivalries with
the legendary Vaughn Eric family over theyears. Join us as Aaron shear's insights
into his involvement in the film,discusses the art of crafting the promo,
delves into the physical transformation for therole, and offers an important glimpse into
the world of acting. A bigthank you to Aaron for joining us and

(01:07):
hope you too will enjoy this conversation. Wow, naw, let's get so.
Let's pretty factor life, Kevin,Your daddy got together with the powers
that be. You order me back, Dad, here to doll. Nothing
happening, second rate sports community.I am the world heavyweight champion because I

(01:29):
am the bravest wrestler lie today andtoss wrestler, lie today. I have
led and sweat for this title.No daddy's boy, it's going to take
that from me. This professional wrestit is the most rooming professional sports I've
been stead if. I jeous beingup by everybody. I don't cry,

(01:57):
I don't complain. I carry on. But you're denying. I am talking
right now. Hey to me,I'll tell you what you're like talking.
How did you kind of get intoacting in the first place, aar And
what was the spark that inspired you? I was I was not into acting
at all. It wasn't thought inmy mind. You know. I had

(02:20):
some friends that did theater in highschool, and I'd go to see plays
that they were in. But Iwas even a part of like a like
an elective. I think my senioryear high school where we now in retrospect,
I'm like, holy shit, thiswas amazing. But we got to
I went to school in Long Beach, New York, which is about an
hour southeast of New York City,and for extra curriculars for that class,

(02:45):
we'd go and we see Broadway plays. So I went and saw, like
I was sixteen or seventeen, Iwent and I saw One Flew over the
Cuckoo's Nest with Gary Snise. Isaw a bunch of like really like amazing
and at the time I couldn't careless. I think I actually like snuck
out left walked around the city,and then my I think it was my

(03:14):
junior year, now my senior yearof college, I ended up. I
randomly had a roommate who was atheater major at NYE, and he was
like, Hey, I'm doing thisplay if you want to come see the
play on Sunday, And I waslike, sure, I'll come come watch.
And I went and he was playingDionysus in the back eye and he's

(03:37):
a little five foot four, veryunassuming kid, and he just blew my
mind, and you know, itjust made me kind of like very curious.
And then sort of socially, Iwas constantly surrounded by theater artists all

(03:57):
of a sudden, because he becamea good friend of mine and then his
friend and became my friends, andall of a sudden, almost one hundred
percent of the people I was spendingmost of my time with they were all
in the theater arts, and Ihad no experience with it, and so
they were all like, man,you should do like a summer intensive.
Just see, just try it.You're always asking us questions about it,

(04:18):
like, go try it, seewhat it is. And I went,
and I did a theater intensive atthis place called the Atlantic Acting School,
and got really lucky that we hadjust a very generous, special group of
people. And because I was horrible, never acted before. It's terrible,

(04:43):
and it's terrifying, you know,or at least it was for me.
I didn't grow up with like,you know, artistic parents. I didn't
grow up in like a very likeencouraging, vulnerable, open household. So
it was like real feign and weirdfor me. And you know, I
think we just sort of like chippedaway my guard one by one. And

(05:08):
then maybe like a month into it, I started to realize, like the
value of the obstacles I had hadin my life, and I was like,
oh, this is cool. Artis actually really art can make really
wonderful use of the mock. Itcould take all your shit that normally like

(05:33):
you're holding, you're guarding, youmaybe think is gross, you maybe have
shame about, and it can makeit a point of catharsis for people.
And you know, that was reallypowerful for me because it it was the
first time that I realized that,like there was something out there that could

(05:56):
take a lot of what I sawis negative and not only turn it into
a positive for me, but haven'tbe like a positive influence on culture,
and it would actually be valuable forother people. And I think once I
realized that, I was like,oh, I got to do this.
This is like the direction I haveto go, because I had no direction

(06:17):
before, I had no purpose.I didn't know what I was doing.
So how do you kind of turnaround from like a summer kind of class
to like your professional like you've startTV films. Almost honestly, it took
a long time, and I wasalways really hesitant about jumping in too soon,
and I probably still jumped into soonin a lot of ways. You

(06:40):
know, I went so I hadthat summer intensive and then I did a
false semester at that conservatory, andyou know, because we were so lucky
with the group that we had inthe summer, I kind of developed a
little bit of like a spine asan artist, and that ended up being

(07:02):
really valuable, because when I wentback for the fall, it felt it
felt a little cultish, and itfelt a little caddy and competitive, and
it wasn't the same nurturing environment thatit had been in the summer. And
so I went there for one semester, got out of there, and then

(07:27):
ended up just you know, Iwas in New York City, thankfully.
So it's like there's a plethora ofplaces you could you start asking people like,
hey, I didn't really like thisplace because of these reasons, you
have any recommendations of places you cango, And so I just started jumping
around the city finding teachers, almostdeprogramming from some of the stuff that I'd
gone through in that fall. Youknow, theater school can be really wonderful,

(07:50):
but it can also be indoctrinated andthere's not a lot of practicality a
lot of the times to like theapproach in undergrad theater programs, so I
actually find that they could be prettydangerous and they often take like the need
for reversal. Yeah, that's fascinating. I've kind of never never considered that,

(08:11):
I've heard when I think about itnow, you hear so many people
talk about that kind of occultish natureof it and what it's like to be
in those things, and you seeit sometimes represented in films and TV.
But I think you've kind of nailedsomething there that no one really speaks about
it. I think in an idealworld, you're figuring out a way to

(08:31):
be comfortable with sort of being emotionallynaked, right, Like that's kind of
an essential part of being an actor, is going like, I'm going to
like figure out a way to bearmyself publicly now. And when you do
that, you're really putting yourself.Especially if you're young, you're an undergrad

(08:54):
in college, you're really susceptible.Right, You're in these very extreme circumstances
where suddenly, like people are puttingyou through you through exercises that are shripping
you of your guard and making youas vulnerable as possible. And then if
they're not doing it in the rightway, you know, you're you're so

(09:22):
susceptible to suggestion in that vulnerable stateand probably so desperate for success or could
praise, etc. And of course, man, yeah, and then it's
like it could be so you couldbe so communally influenced depending on what your
classmates are, Like are your teachersgood at cultivating a sense of safety in
that environment? You know? Andthen if they're not, but you're too

(09:46):
young to recognize it. You know, you all of a sudden you're in
a tornado and you get spit outout of school and you don't really know
what direction you're moving in anymore.So I was lucky because I've always been
rebellious. I've been rebellious since Iwas a kid, and uh, you
know that proved that proved to bevaluable as an artist because I was looking

(10:09):
around and it's like, I don'treally care that they're saying this is how
you should do it, Like mygut is saying something's wrong here. You've
kind of like for me, obviously, my first introduction to you was like
say iron Claw, but like kindof looking at your kind of phomography.
You've started TV and film, likewith your theory background and that experience was

(10:30):
always a case of like maybe feelinglike TV is a bit of a safer
place or where you always wanted togo, or was it sort of kind
of was that choice to move therekind of based on that theater experience or
was that always the kind of goalthey They're very different from like a lifestyle
perspective. It's really hard from justfrom a practical perspective to be a self

(10:54):
sustaining artist in the theater in NewYork at least, you know, York
is really really expensive, and evenreally reputable, reputable theater houses, they
don't pay that much. So partof it was like, okay, well
I got to be able to paymy bills. And then the other side

(11:16):
of it is like theater New Yorktheater has like a the barrier to entry
is different like a lot of people. I know a lot of people personally,
for instance, who went to throughprestigious grad programs to learn for sure,

(11:41):
but a big part of why theywent was also so that they would
be considered more seriously as viable candidatesfor New York theater. Kind of the
Juilliard style effects you hear from somego to r or NYUS MFA pro or
Yale's MFA program. Did you doone of these sort of top four or

(12:03):
five theater programs And if we seethat letterhead on your resume, will consider
that, you know. And nowit's totally different because like they're just so
they're you know, they're starfucking alot of theater now, at least I
don't know if they're doing that inthe UK, but New York Headley star
fucking it and like you know,Netflix is producing their first Broadway play in

(12:28):
New York. It's been a discussionin London in particular over the years,
and they're a recent example. Isuppose I went to see the Picture of
Dorian Gray here in London a coupleof months ago, a month ago,
and it's Sarah Snook one person performanceand the question, without fail that always
gets asked over the kind of theTV actors that go into the theater is

(12:52):
are you taking jobs away from thetheater performers, And there's always the kind
of discussion where they go, youknow, it's I wanted to but the
theater would argue, it's bringing allthese people into the theaters to enjoy the
show, and it's what's making itviable. It's what makes it financially feasible.
Now. I mean, I lovetheater, man, I would love

(13:13):
to be doing theater. I think, like, I don't live in the
city anymore. I'm in the countrynow. I'm like an hour and a
half west of the city. Ilive in like farmland, you know.
So it would be a little bitharder for me to be doing eight shows
a week on Broadway right now.But I would love it. I love
theater. The thing about theater that'sso beautiful is like it's completely collaborative.

(13:37):
You're so dependent upon the other peopleand you're going through the preparation process together,
you know. And the thing aboutfilm and television, almost regardless of
what position you were in, thepreparation process is solitary. If you're an
actor, you're most likely prepping yourrole low. If you're a director,

(14:01):
you're doing some stuff with your cinematographer, but a lot of your work is
alone. If you wrote the thing, a lot of your work is alone.
In theater, you get to discoverall of it together in a lot
of ways. There's something pitch perfectabout that as an actor, because even

(14:22):
in film and television, what youideally want is to not have too much
of a plan and to find itwhile you're doing it and then hopefully and
then the camera just happens to catchit. To catch the discovery. To
me, that's like the ideal circumstancein film and television is you're on set,

(14:45):
you find out something about the sceneor the character while the camera is
rolling and the camera's capturing that moment, as opposed to having like a rigid
plan that you're executed. Either you'regranted the grace to go through the process
of having those discoveries because you're doingthat for months before you go on stage.

(15:11):
You're finding it with each other.You lose that sometimes in film and
television for those kind of that cameto like I suppose you see you kind
of for the first time in ironClaw, Like what all these TV film
and theater work that would you kindof recommend people to like check out or
work that you're particularly proud of fromthat kind of area. I really like
the stuff and Dead Ringers. Yeah, this was my first introduction to it

(15:35):
was when you mentioned I was likeclassic streamer. I was like, there
was a Sean Dirk and TV showwith multiple Rachel Weiss when I was watching
it and I was like, Icouldn't believe. I was like, this
show is tailor made for me interms of toury. So like you've definitely
got one, but I didn't knowthat existed. Oh awesome, Yeah,
yeah, man, So I loveI mean, I think that I'm really

(15:56):
proud of that show. I'm proudof the work that I did in that
show. I really loved the processof making that show. I love that
that show is risky. I justlike work where it's like where the work
is willing to alienate people. Justthink as an artist, man, you

(16:17):
have to be willing to have peoplesay that they hate it, and you
have to be okay with that.If you're making work that too many people
are if there's like a consensus abouteverything that you've done from the mass majority
of the people, that it's good, you're not swinging. I love that
about Dead Ringers. I just feellike, you know, probably part of

(16:41):
why you don't know about it orhadn't really heard about it before, it's
because of that. It's because it'staking a swing and it's fucking weird.
It's willing to be weird. SoI'm really proud of that I'm really proud
of. I worked on the shoShowed the Deuce, which is David Simon

(17:03):
George Pelicano show on HBO that MaggieJellen Hall was in. He wrote this,
and it's it's three seasons. Itstarts in the early seventies, and
then it goes to the late seventies, and then it goes to the early
eighties, and it's about it takesplace in New York City, and it's
about really kind of like the interactionbetween street workers, sex workers and the

(17:36):
dawning of the age of the pornbusiness. And so I play like a
struggling actor who has to do pornin order to pay bills. And so
early seventies is like very free andyou know, grudgey, dirty New York

(17:59):
City, but all so spiritually free, sexually free. Late seventies is some
more of the same, and thenearly eighties is like, you know,
eight starts hitting. And David's sucha wonderful writer, and he's got such
a beautiful kind of bird's eye viewon the way things work, and there's
so many great actors. One ofmy best friends plays my lover in that.

(18:23):
We became really good friends on thiswe're both straight guys. We played
gay guys, played gays both straight, these of families, Chris Boy and
you know, I just learned alot on that show that I think that
was like the first time that Ifelt like I was consistently surrounded by people
who were better than me and whereI was like, oh shit, I

(18:45):
have to like I got to catchup. I I work to do.
I got to like figure out,I got to figure out how to feel
like I belong here. Do youthink that feeling will ever go away?
Or is that something that's it's alwaysgoing to plague an actor. I guess

(19:06):
it depends where you are, Iwonder. I don't know. It's a
good question, man. I thinklike it's hard for me to imagine having
that feeling if you're like number twoon the call sheet. You know what
I'm saying, Like, I don'tknow. To me. To me,

(19:26):
that feeling is often just based onhow I feel about the work that I'm
putting out. It's really just basedon that. So like, if the
work that I'm putting out is workthat I fully stand behind, I feel
like I belong If the work thatI put out to me doesn't feel like

(19:48):
it's on par with who I'm actingwith, or with the world that I'm
in, or even with just myexpectations of myself or my standards for what
I think is good art, thenI probably have less of the sense of
belonging. Like Dead Ringers, I'mreally proud of that, and I've got
a bunch of stuff with Rachel,and Rachel's obviously a fucking beast. I

(20:11):
feel like I belong in that showbecause I feel like my work is up
to par with what she's doing,So on that show, I feel like
I belong. Sometimes I've done stuffwhere it's like I don't know, you
know, Yeah, it just dependson the work. I think it's obviously

(20:33):
with with Dead Ringers, like SeanDarkin, that's your first time you're you're
working with them, clearly to somesort of interest in yourself. When did
you sort of first hear about IronClaw. Was it fate that brought you
two back together, or did hekind of reach out to you about a
potential role in this. I sawthat he was dooming, so we connected

(20:56):
The night before I was going toshoot Dead Ringer. He he got my
email, he emailed me, andhe was like, hey, man,
just wanted to say, like,I'm fan, I'm really excited that you're
on board, looking forward to meetingyou. And then on set he pulled
me on a side and he waslike, hey, you know, my

(21:17):
wife and I always say like,your stuff on the deuce is some of
like our favorite stuff ever from likethe last decade. He's like, so,
I'm really happy you're here. AndI was like, oh, thanks
so much, man. I didn't, you know, not expecting that.
And then we had a couple ofthings that happened on set that I think
connected us. One was it wasthe first time that I started playing with

(21:42):
this idea of saying to a directorlike, hey, I'm going to fucking
go for it. I don't havean ego, so if it's too much
or if you don't like it,you could say whatever the hell you want
to me. I'll be fine,I'll let you. I just want to
feel safe to go out to seeyou could always pull me back to shoot,

(22:04):
and Sean was like, fuck yougreat, And so the whole shooting
experience on that set was like itwas free because I felt totally comfortable to
take whatever kind of risk I wantedwithout him worrying about boozing my ego.
So you know, that was onething where it was like we had a
working, collaborative bond. The otherthing was that, I don't know if

(22:29):
you've ever seen Martha Marson. Ihave. Yeah, I love that.
I love the nest. I'm onlyfamiliar with his film work until I knew
you about Dead Ringer. Yeah,he's awesome. So I fucking loved that
movie. And I rewatched it beforeI went to shoot Dead Ringers, and
my wife and I watched it andI said to her, I was rewatching
it and I was like, man, this feels so personal. I was

(22:53):
like, this made me feel sopersonal. I was like, I wonder
if this is coming from any kindof personal experience. So on set,
I said this to him and Iwas like, the reason I ask is
because my mom was in a cultand my dad was in a cult.

(23:14):
And he was like, yeah,man, it's based on some personal sperits.
And I was like, oh,we got to talk because like,
how often do you find other peoplewhose families have had experiences in the extreme
thing. So anyway, we hada wonderful experience on Dead Ringers, and
then I saw I was working ona show up in Canada and I saw

(23:37):
that he I saw that he wasmaking the wrestling movie and I was just
stoked for him. That was reallyit. It's like a twenty four.
You know, Zach is a bigdraw. I was like, Oh,
this is cool. He's like levelingup. I just emailed him and it
was like, hey, dude,congratulations, that's fucking great. And I

(23:57):
think I said something like FYI like, I can definitely get bigger for something
if you need you for something,and then like I think, like a
week later, I was with mydog. We were in Calgary along the
Bow River, which is this big, beautiful river. I'd go down and
smoke a joint after it's set andthrow the ball in swim in the water,

(24:21):
and I got a ding on myphone and I opened it and there's
an email from Sean and he waslike, so funny that you emailed me.
I've been thinking about this for awhile and it seems like I just
think you'd be great as Red Flair. He's like, let me know if
you want to read the scripts,and I was like, yeah, of

(24:41):
course, so he said he sentme the script. I read the script
and my first thought was that itwas going to be a lot of work
for not a lot of stuff todo. So we jumped on the phone

(25:03):
and I basically pitched him the ideaof putting a promo in there, and
then I sent him like a shitloadof other promos, Like I did a
bunch of research. I found abunch of old wrestling promos and I was
like, I don't know, Ithink this could be cool and then give
me something to like sink my teethinto a little bit and uh. And

(25:27):
he loved the idea and he agreed, and I was like, Okay,
great, I'm damn let's do it. So it's amazing and like I mean,
for me, I know nothing aboutwrestling, Like I'm one of those
people that looked down on as akid. My brother was the fan.
I didn't care. I liked StarTrek, I didn't care about wrestling.
But like if I put someone puta gun to my head. I knew

(25:48):
the name Rick Flair, I knewhe longed, but I know, like
the words like promo, shoot,work, et cetera. I remember just
watching that promo and thinking, likeyou right, you almost think you're watching
the film, and like they alwaystalk about Rick Flair. When I rewatched
it, the day's like it's ahundred minutes before you appear, but it
feels like it's coming all the time, Rick Flair, wrestlers coming, and

(26:12):
you're like, and I think thefilm would be lesser without the promo because
it all builds to that moment.It's like that inflection point. It's the
music, the editing. I justloved when you were cutting that probo,
I thought, oh my god,we've got to this bit that we've been
building the tension for. Just evenlistening to you talk about your experience,

(26:33):
you can see why he would goto you for like this amateur wrestler.
Like even as you talk about likeI need to go all the way out
there, that's kind of what RickFlair and all these other people are like.
It's out there and crazy and yeah, maybe it pulls back a little
bit. And even like that cultexperience, that's what feels like the von

(26:53):
Eric family were the like family start. Oh, you can see why you
would be top of the mind forfor a rule in not for you.
Yeah, yeah, man, Yeah, it was fun. It's fun.
A lot of fucking work, dude, Yeah, Like what was the work
there? Obviously there's the physical side. Is there the mantle side, like

(27:14):
the research? Did you I knowfor like zac Efron, he was like,
I didn't speak to Ken van Ericuntil after the film. Were you
tempted to kind of go the otherway and reach out? What was the
whole process for turning into a ruleextra think about? Yeah? The thing
about Rick is that you know,he's still huge or he's had a resurgence

(27:37):
that's made him huge again. Right, So it's like getting access to Ric
Flair is like, you know,it's like saying, hey, did you
call? Uh, I don't knowany other major did you call The Rock?
Did you call? It's like,so I only had a couple of
potential INDs in the Rick really themain one was through Chabo, who was
the wrestling coordinator. So Chavo reachedout to him, but he was like

(28:03):
I think he was I know hewas flying on planes all over the place.
I think he was on tour promotinghis weed stuff with Tyson. He's
got like a brand with Mike Tyson. Sure didn't know that he's got a
bunch of products. He's a bighostler scale like, he's still very active
and he's selling a bunch of stuff, which he should be. It's like

(28:25):
he fucking put in his time,he paid his dues and really, in
my opinion, got underpaid for areally long time. So it's like he
should capitalize as much as he can. But he was busy, and also
he was busy during like this veryshort window that I had. You know,
I think from like the time thatI actually signed on to the movie

(28:45):
until we were shooting, it waslike eight and a half weeks or somewhere.
That's that's an intense time to getjacked as you are, and stuff
like how do you like, whatwas you like workout and kind of process
for doing something like that. Theworkouts were well, so the workouts were
hard, but you know, he'snot shredded, so you're not like killing

(29:10):
your lungs. You're just doing prettyfucking heavyweight, pretty consistent, like just
very consistently, and then just eatingall the time. You're just eating all
the time, dude. The hardestpart is the eating. To me,
like when you're trying to intensely puton a bunch of pounds, you know,
it's trying to put on forty poundsin eight weeks. It's like you're
eating five thousand calories a day.It's nasty, and it's the same shit

(29:33):
over and over again. It's chickpeas, chicken and rice and disgusting, dude,
disgusting. And then you're just consistentlyworking out. It seems like it
must be like a grind, andit's a grind. It's very it's a
grind. And also it's like it'sin a way, it's an In a
way, it's kind of an unrewardinggrind because you're not you're not prepping to

(29:59):
be like in a honest and you'reabout to be surrounded by people whose goals
were to be like as shredded aspossible. And for me, it was
like, well, I don't reallywant to come in like a like a
weird shredded Rick Flair. I justthought that would be like a like a
vain cop out, you know.I didn't want to come in and be
like a perfect physical version of Flair. I thought that would be something like

(30:23):
Hollywood bullshit. And it drives mecrazy when I see something and it's led
by an actor who's decided to makethe role have an eight pack, even
though the guy is like a fuckinggarbage man, and it's probably overlooks like
his skill is these cutting these promosas it were, and so on,

(30:44):
that that's that's as equally more soimportant to who these kind of character is
and so on. Yeah, onehundred percent. So it's like, you
know, I had to take definitelya step back on my ego because you're
putting on you're putting on some faton purpose, and you're standing next to
people who are as ripped as theypossibly can be. So you're putting all

(31:06):
this work in, but then you'retaking your shirt off and it's like it's
not like you're getting to look atlike a specimen. You're just looking at
a much bigger person. And obviouslythat promo itself was just kind of fantastic,
Like did you get the chance todo various versions of it or was
this sort of just like kind ofone and done? Like how do you

(31:27):
like hype yourself up for like gettingit? Yeah? Yeah. So there's
a woman, a really wonderful voicecoach who's in England named Patsy Rodenberg.
I don't know if you're familiar withPatsy, but she's written a bunch of
books. If you're ever curious.She's written this book called A Right to

(31:48):
Speak, and I think it's aninteresting book for anybody, actor or not,
because it's just about how your experienceinfluences your voice, and how your
voice is a reflection of your experience, your trauma, all of this stuff.
So anyway, she's an amazing,amazing, amazing voice teacher. And

(32:09):
we worked on it and the firstthing she said, after watching some Flair
promos, she was like, shewas like, his voice is done.
It's like his voice is wrecked.She's like. So she's like, I
don't think there's any way to doit anywhere remotely like him without racking your

(32:32):
voice. She's like, you'll probablyget a handful of takes at most.
So when we went to do iton the day, you know, I
think I was like, I'm inthat ridiculous outfit, the fucking sunglasses on.
I had my phone with me andI was just blasting James Brown music.

(32:54):
Oh cool, I can see thatthe team crossing over yet just getting
in a fucking fucket zone, youknow, just the James Brown and then
I turn it off and enter frameand get to it. And I think
we just went for it on thefirst one, and I think after the
first one, Sean came over andhe was like, how many of these

(33:19):
do you think? Like it wasclear, you know what I mean,
He's like, how many of thesedo you think? He got into it?
And I was like, I don'tknow four or something, So I
think we did like four. Ithink we did like four takes of it,
and he he ended up when youwatch the movie, he ended up
using definitely, I would say alot from the last take. And the

(33:46):
reason I know that without him tellingme that is because my voice is really
hoarse and a lot of versions thathe used, so a lot of the
stuff that he used from that lasttake, like my voice is at its
most shot, you know. Sowe did it, you know a few

(34:07):
times, and obviously, like Iwas curious with like your theor background,
Like what was it like like kindof the choreography of those restling scenes,
because it basically is make believe fearfighting punching like you're kind of throwing your
punches. It's not like stagecraft likeas it were. I don't know,
like was it kind of easy toadapt to that where you're like it doesn't

(34:30):
need to look real, it justneeds to look theatrical how does that mindset
kind of work for something like that. Well, with that scene in particular,
it's also tricky because you're dealing withlike the blurred lines of is something
really happening? Is breaking the theatricsof this and actually losing it. So

(34:50):
that was the other thing that wewere sort of playing with in that fight,
is like what parts of it arefake versus what parts are actually violent?
Man, Honestly, I could dophysical shit like that all day.
I love that stuff. I like, I find that stuff so fun.
It totally gets you out of yourhead, which is a beautiful place to

(35:15):
be, as I think any kindof artist. And I just wholeheartedly trusted
Travo. I know he knows whathe's doing, so it's like, I'm
My job in that ring was justto like execute his ideas and his choreography

(35:36):
to the best of my ability andthen to keep on looking at him like
how do you feel it? Butyou know, Zach is an athlete and
I'm an athlete, and it wasthat part was easy to be honest,
I mean to the point that likeI think we did. I think we
did a couple takes of it,one or two takes and then Sean,

(35:59):
who you know has an editing background, and that's really one of his strengths
as a director is like he cankind of like cut it together in his
mind while he shoot it. Andhe was at Video Village and he's kind
of like sitting there and he waslike, he's like, oh, Okay,
this is not going to cut togetherunless we either, I think the

(36:20):
options were like we really break itup into like pieces. He's like,
or you guys would have to beable to just do it NonStop. And
I was like, I'm good todo it NonStop and Zacher was like,
yeah, me too. So wewere just I think there's like a couple
cuts in the whole thing. Yeah, but let's pray a long cut scenes

(36:40):
totally, and like even the cutsI think are probably just from a couple
different single takes, and only realcut is there's like one bird's eye of
you shot from above the ring.That's really the only real cut in that
whole match. But we were justdoing the whole thing through and honestly,

(37:00):
like I wanted more to do.I understand from a story perspective why there
was it more to do in thewrestling ring, but like I would have
been down to do that for anothercouple of minutes, man, And it's
great that kind of a few minutesyou get. You get such a whirlwind.
As I say, my knowledge ofRick Flair is very very limited,
but you get this like amazing promo, the fighting in the ring, and

(37:22):
then you know you're being like brutallykind of assaulted on the head with this
iron claw, and then you justcome in and you seem just like the
nicest guy like this. I hadthis image, Oh my god, this's
Rick Flair is just gonna be likewhat the fuck were you doing there?
As opposed to like, yeah,that was great. I'd love to wrestle
you again. You know, LizCrabs players who you know. It's just

(37:42):
like you're like, yeah, Ican see why Ric Flair is just this
really popular, lovable kind of character. And you kind of get all three
things that people tend to kind ofget out of wrestling in those that gambit
that you run in those few minutes. Yeah. Man, look, he's
definitely one of the best, ifnot the best, to ever do it.

(38:02):
Really, he was amazing. Hewas amazing physically of what he did.
Like, really, they say thatthey say that everybody that wrestled with
him seemed like a better wrestler becausehe made them look that way. What
was it like with that, youknow, the cast and that kind of
room and so on, like workingwith with Zach and Jeremy Allen and you

(38:22):
know, you've got Oh Hall hereas well, Like, what was it
like working with all of them inthat room? It's like, it's amazing
watching you being in a different filmto the family drama that's in now.
It's great. It's hard, man, Honestly, that kind of thing is
hard. I always say, like, uh, you know, I've done

(38:44):
I've been a regular on a TVshow and I've been a guest star on
a TV show, and I alwayssay it's harder to be a guest star
because you're coming into And that's whatI would say, like that this role
is the equivalent of you know,you're coming onto a set where people have
a shorthand with each other because they'vebeen working together for a couple months and

(39:05):
so everybody else kind of knows eachother really well, and they've got a
routine and they've got a shorthand witheach other in way of working, and
it's hard. It's hard to come, especially when you're playing somebody where you're
pretty sure that like the energy isvery different, and so your goal in

(39:30):
a way is like you're trying tobe a contrast, and so that's challenging.
It's challenging just on a personal levellevel, even because that energy carries
in. But even for me,not that like people like everybody's really lovely,
nice, generous support. Everybody's coolas shit. But you do feel,

(39:54):
even within yourself without anybody saying anythingto you, a sense of like
me. And then the family unit, it feels so the screen like they
are a family, and you canimagine being so drilled in whereas you're this
person. It's just this presence withoutever ever being there, and you can
imagine just like I've done my bitfor the day, that was great fun,

(40:16):
and there they are dealing with allthis trauma, the muck. There's
so like the place must be stinkingof their metaphorical shit amongst all of those
characters, right, yeah, Andthat's like, dude, that's hard because
you're you're you're swimming against that currentand you have to do it effectively enough

(40:37):
that the stream goes in the otherdirection. You know, it's like I
think in a lot of ways,Flair's job in this thing where where Sean
decided to place it in the filmis like, you know, it's a
bounce off the bottom, like thefucking energy and the family are bottoming out

(40:59):
and and Sean is using Flair islike a pivot and energy. And as
an actor, you know when you'rewhen your goal and your job is to
switch the energy in the room andthe energy is as heavy as it could

(41:20):
possibly fucking be. You feel thatas a person, even with everybody's being
really lovely, but to your point, it's like, dude, the shit
the air is fucking heavy. Theair is heavy, and I got to
like come in there like a tornadoand like shake everybody out of their stupors
for a moment. And it's greatbecause with your character, you almost feel

(41:43):
like there's a parallel movie running withso much reference to where Rick Flair is
in the world and what's going on, and that you can imagine, just
like like almost that TV character,that there's actually another film just taking place
in another world where it's the RickFlair one, and they draw it at
some point where it's the Von EricAnd even when you're cutting that promo just
trying about the family and throwing themdown. You can tell like it feels

(42:07):
so lived with this character. It'snot just dropped in of nowhere, which
I really loved. Oh man,I appreciate that. When did you get
to see the film for the firsttime. I saw it for the first
time at the premiere in Dallas.So I went to the premiere in Dallas,
and I think that was in November. So I saw it on big

(42:28):
screen. It's like a pactic Whatwas your reaction to it? So I
saw the movie twice in theaters.The first time I saw I was definitely
a little drunk, So I thinklike I just was having a good time
and I was just enjoying myself.But I missed a lot. After seeing
it the second time, I waslike, I missed a lot of stuff

(42:49):
actually, you know. To betotally transparent, I think by the time
I had seen it in November,I had gotten like a couple dickhead messages
from people on Instagram, from likewrestling fans who were like shitting on what
I had done. And so Ithink I went into the first screening like

(43:14):
seeing it through a perverted filter.You know what I mean, It was
like hard for me to like fullysee it unaltered by some people's comments,
I guess. And then the secondtime I saw it, I saw it,

(43:34):
I went into it and I waslike, you know what, fuck
all these people. I really didn'twho get the shit what any of these
people are saying? And I wentand I saw it totally clear headed,
and I was like, oh,this is awesome. I'm really proud of
you. Yeah quite right, Yeah, yeah, yeah. It just took
me a minute. You know,it's there. I don't think i've ever

(43:55):
I'm playing an icon, and I'mplaying an icon in a world where fans
are motherfuckers and they're not even I'vespoken to a bunch of professional professional wrestlers
about this, and the wrestlers haveeven said like, oh god, the
fucking the fans are so like they'reloyal and then they're nasty. They lost

(44:16):
you, and then they hate youlike so much. Fandoms like say,
for example, like I mean,maybe it's my ignorance again not knowing much
about wrestling, but you'd feel likeI'd watch that and go, people think
that's great. Who's gonna you know, give an issue? Say you were
going into play hand solo or CaptainGandal, I would have thought, regardless

(44:38):
of what that guy does, he'sup against it. People are going to
clone fucking shit. People are gonnathink he's great. Oh it wasn't as
good as the original, I supposeI would never have anticipated that about wrestling.
And was that something that surprised youwhen that first ym can Oh,
someone's going to be saying real lovedyou, blah blah blah, and oh,
actually we thought you were this orthat. Yeah, for sure.

(45:00):
Yeah, it caught me off guardbecause because I'm actually really fucking proud of
it. I think it's fucking awesome, and I know Sean loves it,
you know. And here's the thing. It's like, my job as an
actor at the end of the dayis to execute a director's vision. And

(45:21):
when I knew that A twenty fourloved it and that Sean loved it,
and that in the moment of doingit, I felt deeply proud of it
and felt great about what we weredoing. And then I was getting messages
from Sean while he was editing itabout how excited he was, you know,
everything about it, all of us, the whole set. Dude,

(45:44):
i'd finished the fucking promo, peoplewould clap it, clap it whole fucking
set, clap it right. Soeverything to me about the experience and thereafter
was like, Yo, I'm reallyproud of this. This is fucking dope,
and the people whose opinions I trustare all really behind this. So
yeah, it was jarring to havepeople not like it. And you know,

(46:07):
I think I think that's just partof climbing the ladder. And now
that i've kind of like been,I've weathered that storm. You know,
it's a piece of wisdom. Man. It's a thing that just comes with
like playing somebody iconic in a mediumwhere there's a lot of exposure, and

(46:37):
and I'm a risk taker, soI'm not gonna I'm never gonna play somebody
in a way that isn't gonna pisssome people off properly. And isn't that
probably true of the sphra of thisguy, that he was a risk taker?
Like I say, I go backto what you said earlier. I'm

(46:57):
gonna go all the way out here. Feel free to bring me back in.
I kind of got the impression frommy ignorance about this rick clear,
but that's probably that same to goinglike, I'm gonna cut this promo,
it's gonna be out there, fun, go with it and we move and
all that sort of stuff like thatfeels great. Yeah, fu fuck it,
yeah right this fuck it fuckal maatitude. Yeah, and I That's how
I felt about it, and that'sstill how I feel about it. And

(47:22):
you know, the silly ironic thingof it is like I can do a
fucking Rick Flair impression, you knowwhat I'm saying. Like, that's what's
so ridiculous about it. It's likeif I wanted to, if my if
like, forget about it, ifI wanted to, if Sean wanted me,
if Sean said to me, ifSean called me and went, yo,
this is Rick Flair. He's iconic. Everybody knows him, everybody knows

(47:45):
what he sounds like. I'm gonnaneed you to be as close to him
as possible. We're doing We're doingJamie Fox playing Ray Charles. That's what
I want. You know. Iwould have sat in my fucking art studio
and just practice mimicry over and overand over and over and over until I

(48:06):
got it. But that was franklypretty low on the totem Pole. So
like studying him, figuring out hisessence, understanding him to the best of
my ability, and figuring out howSean and I thought it fit into his
world and he's and shown Darkan frommy pointvit he always gets great performance out

(48:28):
of everyone, Like I think ofthe performances in this the next mark like
it is a director. You go, he knows how to work actors and
everyone that you often see in hisfilms. Go, that's a career.
Best from zach Efron. That's acareer, best from Jude Law. That's
a career best from Olsen. Youknow all these things. You're like,
but why would you not just go, I trust that person. That person

(48:50):
tells me that I'm going to dothat and stuff like he trust I would
go with him. Yeah, Andyou also just have to yeah, trust
him, trust your gut. Andalso it's not colored by numbers, man,
you know, like we're not we'renot engineers, we're not in mechanics,
we're not following a formula here.It's like like I said, man,

(49:16):
I'm fucking out to see I'm painting, you know, Impressionist paintings and
sometimes abstract paintings and some people aregoing to dig it and some people aren't.
Well, I say, I lovedit. I thought it was just
that great inflection point of just aperfect mixture of performance. It's the score,
it's the oh, it's just it'severything that moment and the film.

(49:37):
That's what's been That's what's been socool too. The positive flip end of
this coin, right, is that, like, I've also got a ton
of people who've been like, yo, fucking woke me up. Like I've
heard a bunch of people call itlike electric. I've heard a bunch of
people just be like, oh mygod, dude, that got me so

(49:57):
fucking and it's the best effort forseeing film like that in the cinema,
Like I've watched it at home.I really enjoyed. It was good.
Like it's always that you see thesaying that, but see when you watch
it a cinema and you're like,oh, oh fuck here, like here
we go, and it's just likethe music's coming in it. You're looking
right at us at this like wholeaudience. You're like, that's the cinema
experience. And I mean the filmI chuckle, you know. Since we

(50:22):
organized interview, like the iron clothposters are still on the side of like
all these buses in Edinburgh that youjust see passing by all the time,
And like, it's been a hitin the cinemas in America and here,
and I think that must it mustbe really thrilled to be in something where
people are really going out of theirway to see it. And unfortunately it
did fall short with like oscars,but the fact that it was, like

(50:44):
right into that last minute, itwas in contention in those discussions, like
it was such a shame it didn'tget a couple of nols. I think,
Yeah, I mean, now thetiming, I guess, man,
I still haven't been able to wrapmy brain around, Like I don't I
still want to understand how that happened, or why that happened, or why
the timing would be slightly too lateon the release or what that. I

(51:05):
don't know. I still don't fullyunderstand that. But I'm with you.
I think like it would have itdefinitely had a shot, And yeah,
man, I'm very just proud tobe a part of it. I think
it's a great fucking movie and everybody'sgreat in it, and Sean did such
a wonderful job and it's saying alot and we busted our ass. It
was released by by A twenty four. Like, have you got any kind

(51:28):
of standout films of their filmography thatyou particularly enjoy? Yeah? I love
a lot of their films. Man. I really like The Lighthouse, I
really like Moonlight. I mean,they're great, They're just so Again,

(51:49):
think about A twenty four is thatthey're risky. That's what I appreciate about
what they're doing. Man, Ijust think that their movies are like,
uh an acquired tastes in a way, and they've just done such a good
job of finding this middle ground oftaking risks. Dream scenario Yeah so good.

(52:12):
That was another one where people willprobably most likely watch that film at
home. But seeing a cinema thatkilled like that was just brilliant fun.
And I think I think I'm rightin saying that they did not they didn't
do poor things. But didn't theydo didn't they do Sacred Deer in the
lopside? I think they did?Yeah, you were most about the most

(52:34):
ones. Yeah they did. Ohhere's the thing about that. It's like
those movies are so weird. Thelops are so fucking weird, and for
a studio that's really like penetrated themainstream geist. You have built its success
around wild, risky, weird movieslike that amazing, It's amazing. Like

(53:02):
I love the Lobster. I'm like, I wasn't super invested in Sacred Deer.
But it doesn't matter. It doesn'tmatter whether or not I like it.
What matters is that I respect thehell out of the specificity and the
decisiveness and the individualistic perspective and opinionof the artists that's being supported by and

(53:30):
lauded by a major movie studio.It's rare. So it's like, you
know, A twenty four has donea hell of a job of supporting auteurs
and supporting real artists while figuring outa way to like make it commercially viable

(53:51):
and market the shit out of it. So I saw that they made like
a zach Effron action figure for theIron Claw, Like, where's your one?
We need to get as Rick Flairone with your face on it.
I'm not, dude, they're sellingon the front. They're not selling Kevin
about Eric, They're selling Zach efYeah, that's true. So what's kind
of next for you, Aaron?What's on the horizon. I'm trying to

(54:16):
pivot a little bit more to behindthe camera stuff. I'm trying to just
kind of have a little bit moreonus over like the trajectory of things.
A little bit nervous about the stateof our industry in general. You know,

(54:37):
imagine after the past year, easyto put the frighteners up performers and
actors. You know, most peoplehave not worked since July of last year
because of a strike, and thenyou know we're on the precipice that there
may be being another strike in August. They just started negotiations with IAZI and

(54:59):
there's gonna be the gociation with theTeamsters, and if any of these unions
strike, that's a full shutdown again, and that's very possible. So you
know, we're on the precipice ofanother potential shutdown. I'm constantly being sent
fucking AI links where there's just youknow, I just got sent one this

(55:21):
morning where somebody is speaking English andthen they're speaking Japanese, then they're speaking
Spanish and it's seamless, you know, scary scary. So you know,

(55:42):
I'm not sure, man, I'mnot sure. I think, like I
read this thing recently where somebody wastalking about how there's going to be a
potential almost like punk rock esque reactionto this tech play that they're using the
commandeer from people, and you knowa bit of like an artist revolution.

(56:08):
So I'm like really just trying tosort out my finances as best I can
so I can be artistically free.I'm a little I'm very hesitant to be
completely beholden to acting from a financialperspective because then I don't have as much

(56:30):
artistic freedom. Yeah, and that'sthe random, isn't it. Sadly for
like we saw it with the strikes, that's ninety nine percent of actors.
Like I remembered hearing someone talk about, like most actors aren't making the cut
for health insurance and so on,and you know you probably won't. There's
that guy in the iron claw,you know, but the reality people have

(56:50):
that story behind them, and youknow that feet and anxieties, which is
just it's tough to think about.Yeah, and like, look, I
have a tun and a half yearold, so you know, I got
a kid and a wife and adog and bills, and like, I've
been very lucky. This has beenall I've done for a really long time,
I've just had that app and I'vebeen really fortunate to do that.

(57:12):
But I think what I've realized alongthe way is that it's a double edged
sword because when this is all thatyou do for a living, you're also
completely beholden to it in order topay your bills. So when you get
offers for things maybe you don't wantto do, you really got to think
about them, because this is justhow you make money. Not to mention

(57:37):
I fucking I, oh god,dude, auditioning on like a regular basis,
NonStop, like dancing for every fuckingmeal. It's just not for me.
It ain't for me, man,it ain't for me. So I
don't know. I've got a showcoming out on Stars sometime this year.
I don't know when it's coming out. It got pushed back heavily because of

(58:01):
the strike. And then I'm upfor a couple of things that I got
to keep quiet, but they'd bebig, and they, you know,
a couple of big limited series thingsthat I really love the people and I
love the role and definitely like somegame changer things. And then in the
meantime, just writing and developing pitchdecks and just trying to figure out how

(58:28):
to cultivate time and freedom. Man. You know, I love acting and
I'm an artist through and through.But I don't know if you have kids,
but man, once you have kids, it's like I just want to
be around my kid as often asI can. So it's really like it's
really about like acting now and artand all that stuff. It's about like

(58:49):
how can I use it as atool for freedom and for time so that
I could be around my family.And I think that's what I think Plannie
can relate to that, whether theywork in the arts or you know,
tech, what that's all people theywant is just to have that life and
security. And I think people justhave taken it for granted that actors have

(59:12):
this incredibly privileged life and everything.But we're all all alike, you know,
regardless of jobs and so on.Just some people are a bit more
than others. Yeah, exactly.And look, I mean there's something to
you that there's a reality of,Like you know, when I do work
and I'm on set, you geta big chunk of change and then you
end up happing like that show endsand you have like a lot of runway.

(59:32):
That's true. So it's like I'msure some people know actors and it's
like, dude, what are youdoing. You're floating in your pool on
a Tuesday. But what they don'tunderstand is like you don't know, you
don't know when your next job is. What's been great with the strike I
find was that all the industries,all these big head hon shows, whether
it's Disney, whoever, all ofthem tried to say, come on,

(59:55):
these actors, they're rich already.And probably people thought about it that all
at the beginning, but I thinkthe Great Campaign and the actor sag Abstra
all that stuff maybe realize of likethey're working, Joe's like you and me
and all that sort of stuff,and I think people really turned against the
studios and kind of that propaganda thatthey were trying to say about people like

(01:00:16):
yourself and others about what is aworking I have good dude, Yeah,
most actors are fucking working class people. And it's a grind. It's a
grind. Look, it's a grinduntil it's not. But I think like
the model has changed, so thepoint of arrival is different. I think
probably not that long ago, therewas there was probably like a point,

(01:00:39):
a much lower point where you hadyour claws in the business enough that it
then wasn't a grind, right,and then it was like, oh Okay,
now I'm just like things are kindof rolling on, consistently working.
But I think that streaming and thesort of like endlesstions of content I've really

(01:01:00):
changed that, and I think likepart of why is because the notoriety is
now a little bit more associated Ithink with like the show than it is
with the people that make up theshow. People talk, it's content,
it's ip, it's right, andit's really also the audience's experience of it.

(01:01:22):
Like if you think of Game ofThrones, you know, most people
I would say the majority of mostpeople who watched Game of Thrones couldn't tell
you all the names of the actorsthat are leads on that show. They
don't know who those people are.Right, Maybe some people know who Kit

(01:01:43):
Harrington is, but like maybe alot of people don't even know who he
is. They know his face andthey know like, oh that's the chick
from Game of Thrones, but theydon't know that they don't know her name.
For example, I think is Marvel, isn't it where people are like,
hey, we'll get all these actorsin and how many of them perhaps
have struggled afterwards to like they've openedthese billion dollar movies. It's all about

(01:02:07):
the actors, and then who's goingto see Chris Evans new random wrong Callmark,
Chris Hemsworth and such like. Itdoesn't actually translate over despite the talent
that these people have. People arejust turning up to see the person in
a suit, and it feels likefewer and fewer things do though. Like
I just yesterday, I'm developing somethingand I was watching I was watching episodes

(01:02:34):
of this old HBO show High Maintenance, and there was there was a trailer
for like, because I was watchingan old HBO thing, there was a
trailer for Girlsana, right. Iwas like, damn, where the hell
what's she up to? So Ilooked her up and you see there's like
six things that she's done since andI'm like, oh, what are these

(01:02:57):
things? And I'm watching trailers forthem. One of them has got John
Burnhall in it, like another onehas some other big actors in it.
The stuff like it looks quality,right, never heard of it, never
seen it. I don't know anybody, don't know anybody who has And so
I think once my eye started toopen a little bit and I started to

(01:03:21):
see these things, or like,I'll give you a prime example. I'm
not going to name who it is, but a good buddy of mine who's
a very talented, study, hardworking, consistently working actor. His agents
got sent an audition for a showone episode guest star, and his agents

(01:03:45):
were like, look, he's notyou know, he's past this point.
He's not auditioned for like a oneepisode guest star on the show Thank You,
But you can put him on theoffer on the list, and which
he's been on for those kinds ofparts, right, Like he's been on
that all for only list for partshe's done one episode guest stars here and
there where they've been like, hey, does he want it? So casting

(01:04:08):
was like, oh, okay,we totally get it. We're fans.
He's very talented, we understand.But just so you know, if we
put him on the offer only listfor this role, he's going to be
two hundred and fifty eighth on thelist. So two hundred and fifty seven
people are going to have to sayno to the offer, or he gets
an offer, or he can audition, and you know, I think I've

(01:04:33):
started to recognize how like the businessis not necessarily like loyal to the actors
that make it up, and howin a lot of ways unless you get
your clause in it via something viral, almost like the Bear right where it's

(01:04:57):
like it's so hyper popular that theentire ensemble is just popping up in every
project now because all of those projectsare riding the popularity of the Bear.
Unless you happen to be on ashow that rockets like that, it feels
a lot of the times for alot of the working actors that I know

(01:05:19):
that like when their gig ends,it's just back to dancing for your meals
again, It's back to scratch.You're spawn about Girls, by the way,
because I heard someone make the exactpoint a few weeks ago that was
like, you look at that amazingcast that Girls have. I must I've
never seen it, but I've heardas much. And people were like,
you know, who was the breakoutstarted? That Adam Driver, no one

(01:05:42):
else. All these people were thebiggest stars, and you would have thought,
you would bet we'll get them inthis this this, but it was
this random guy and they had theirmoments and it blows your mind. Do
you think that you're want and donealmost it's it's crazy, and it was
hyper popular. It was majorly popular, you know. So I think once

(01:06:02):
you start to feel that way,I don't know, at least it's like
a parent. I just especially asomebody who doesn't like auditioning. The prospect
of like being beholden to that processindefinitely is like, no fucking way,

(01:06:23):
I'm gonna leave myself, uh,completely dependent on that. No way,
because they would do for you.Why should you pid trust in that?
Hell no they won't. Hell nothey won't. You know, I personally
like, I would be just ashappy if I can have like a bunch
of passive income off of fucking airbnbsand just be creating art like a bunch

(01:06:48):
of weird shit every once in awhile, jump on something as an actor,
or audition for something every once ina while, where like I think
it's amazing, it's red. Ifeel like I have something to offer it,
I love the people associated with it. I want a shot at it.
Then I would be happy. Likethat sounds great to me, man,
That sounds better to me than beinga full time auditioner. Quite right,

(01:07:14):
And I suppose on that note,like my final question, like for
people that want to keep up todate with anything or kind of you know,
not herle obese at you and yourd ms. We're the kind of
best social media platforms to find,Jared, I'm on I'm just on Instagram
at Aaron d and Eisenberg my fullname. I'm not on anything else,

(01:07:34):
probably the best way to go.I'm waiting for Twitter to die, to
be free of it, So i'mous. I hope at all that, I
hope nobody can find anywhere except inthe fucking screens. Well, thank you
so so much, and I've reallyenjoyed being able to chat with you this
past hours. Yeah, my pleasure. Great conversation, man,