February 5, 2025 • 18 mins
Lights, Camera, Aurrigo: How Hollywood is Shaping Our Brand
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
Welcome back to Take Off, a podcast series where we share stories from our people about
(00:05):
innovation, aviation, automotive, autonomous technology, and of course we throw some funny
things in for good measure.
Today our guest is Chris Keefe.
Chris, how's it going?
Oh, it's going great.
How are you today?
So glad that you could join us.
Thank you.
I'm having a great day.
I wanted to see where are you joining us from.
Let's tell our audience.
(00:26):
I am coming from the warm location of Ottawa, Canada.
Extra warm and toasty, very, very nice.
A little bit different from the UK, of course.
Can you tell me a little bit about what you do here at Aureco and how long have you been
with the company?
To start, I've been with the company for seven years and I'm the vice president of
creative and digital marketing.
(00:47):
I create the media that centers around automotive, the autonomous side, what we're doing with
the company and how we put it together and just like anything else, whether you're creating
a car commercial, you got to come up with an idea and how it reaches the audience.
That's kind of the fun part.
Now, the digital side is most people consume these types of things through as we're doing
(01:07):
now a podcast or watching an advert on one of the social media platforms.
We're not as big as an automotive company per se, so we're not throwing automotive commercials
out there regarding some of our vehicles down the road.
Yes, but that's not kind of the space we live in.
(01:28):
It's basically this online space where you're creating an image that people can see what
you do and how you do it and a little bit of product in there.
What is your background?
How did you become this digital creator?
It's been a very long journey.
I left film school and headed to Los Angeles in 1998.
(01:49):
From there, I would spend the next 20 years working on all different types of productions.
One of the more notable are things that most people would know.
The Simpsons, I did animations for the Simpsons DVDs back in the day.
Worked at Sony Pictures Studios on the lot.
Did a lot of production support for movies with Kevin Pakin, like Hollow Man or Michelle
(02:15):
Pfeiffer and Harrison Ford.
What lies beneath?
Adam Sandler, you name it.
I was on those productions a lot working on different aspects supporting the studio.
I would say that you brought Hollywood obviously to the company then.
Being in Los Angeles, obviously quite a different climate than it is here in Ottawa, Canada.
(02:38):
Tell me a little bit about that.
How did you decide to make that move or what brought you here to Ottawa?
In 2015, I started filming a documentary for Jaguar Land Rover, which our company is heavily
involved with through the automotive side.
The project revolved around a robotics program for kids helping kids with cerebral palsy.
(03:01):
That's what the documentary was centered around.
It was an incredible experience.
We shot from 2015, 2016, 2017, this documentary film.
The company building the robotics side of it, the actual platform, was RDM or as known
now, a Rigo.
(03:22):
I got to be close with all the engineers, Dave, the team, from being there three years
on site working for Jaguar Land Rover and robotics.
To back up a little bit, they put me in this role.
Director producer in England was because I had a heavy background in automotive.
(03:43):
I grew up building monster trucks, working on muscle cars in the neighborhood with my
next door neighbor.
He taught me all this stuff growing up.
He was like, hey, let's throw a engine in something.
That's what brought me to England because I could film, I could shoot, I could edit,
I could do all those things.
But on the flip side, I could also build.
(04:05):
It was that combination, I think, that maybe the perfect person to be involved in that
film.
Then when we wrapped that, the transition to the frozen tundra of Ottawa happened because
Dave knew that I was finishing up that project and wanted to know if I'd like to be involved
(04:29):
with what a Rigo was doing.
So a conversation with the wife, hey, would you be interested in moving to Canada was the
next thing.
I know, but I'm going to talk about that, which I'm sure we can unpack in a later episode.
Yeah, exactly.
So we made that move.
(04:50):
Now, interestingly enough, we thought we were actually going to England, back to England,
but did a sharp left to the north and stopped in Ottawa.
There we are seven years later.
In snow.
In snow, yes.
Slightly different from LA, but I grew up in Michigan.
So the snow wasn't something foreign to me.
(05:12):
So being in Hollywood and working on various types of pieces, like you mentioned, everything
from movies to the Sim Stens, which of course everybody knows and loves, what is some of
the inspiration that you draw on to kind of bring that Hollywood touch and feel to the
company to Rigo?
Working on those productions, a, from a technical aspect, you bring in what you know to make
(05:33):
the stuff happen.
And it's an ever-evolving thing that you're always learning something new because it is
moving so fast, such as a podcast like now.
I never worked on a podcast, never did a podcast prior to 2024.
So that was a new thing.
And then as far as the automotive styling and how you work on creating that type of content,
(05:57):
I had worked on a few car commercials back in the day and we'd shot stuff at Jaguar Land Rover
on their test tracks and things over the years and in Gaiden in the UK.
So combine that with just other things and how you want looks and feels of things, kind
of like our designer, Elliot Hawkins, he has a very specific way he likes to design the
(06:25):
vehicles and the look he wants to portray.
So that kind of sets the tone for how do we shoot the stuff.
It's better looking than anything out there.
So imagery also has to take that consideration.
Now of course, this is one element that you know with your automotive background is you
(06:48):
get a vehicle and you can't quite talk about everything it does when it's coming out, all
these aspects.
So those are the things that are under the radar until they're allowed to be gone public,
basically.
Yes, until you're allowed to release them and talk about them.
So that's one of those elements that makes it a little more difficult than your average
shoot or how you engage digitally online because you can only disclose that much until it's
(07:16):
ready.
Like when we first launched the AutoDali Tug, there was brief images here and there and
you can't really talk about it because we don't want competition to know what we're
doing.
And then when it's out there, we're kind of under these non-disclosure agreements like
you would in any production to not talk about it.
Most titles of film and television pilots, they create something that has nothing to
(07:38):
do with what they're actually filming.
So no one ends up with a leg up like, oh, we should do that as well.
Yeah, no, I was going to say, speaking of like that design and kind of the look that
Ellie gives the vehicles, you know, a lot of people when the autonomous shuttles are
going out.
I always remember hearing things like they look like a toaster for a couple of, you know,
people competitors in the field basically.
(08:01):
And then ours comes out and it is the most edgy, you know, kind of dark, mysterious and
futuristic looking vehicle, right?
So I have noticed how you've obviously taken those elements and really put in that futuristic
tone into everything from, you know, the website that you've designed to the media pieces that
you have put together and everything has almost that kind of that leg up.
(08:24):
And I feel like, you know, from the get go, it does take that, you know, I was with Toyota
for six or so years working with them and everything you think of from filming in-house
commercials and filming podcasts and, you know, launches and news and all of these pieces,
the fact that we can do all of that in-house having you on the team.
(08:45):
I think that that's really something that people don't realize, you know, and I'm sure,
you know, no one really realizes what goes into a production.
Even filming this podcast, you know, it takes 30 to 45 minutes to set up.
We're setting up the mic and the background and there is a big box light behind me because
it's just not lit up enough.
And then you're in a separate location and audio and, you know, again, and then piecing
(09:09):
it all together.
And then the fact that you edit it on the, you know, on the flip side.
So not only are you starting it and you're filming it and you're helping to set it up,
you're filming it all together and then pushing out the final product.
So I have to say that's got to be pretty cool that you get to do the full life cycle here
and you really have kind of your freedom to take from your inspiration.
You know, if you were to say, I want a Rigo marketed like X thing, what would that be?
(09:34):
Is there like one specific thing or a couple of pieces that you kind of, again, like take
that look and feel and you feel like they've done a great job and you want to do that too?
You know, there are some and not to stick with UK, but you when you see like a Aston
Martin style ad or or Range Rover, those stylistic choices on their commercials and how they,
(09:57):
how they just still images or anything like that.
They're always, you know, so what's the posh and just elegant and in some cases a little
aggressive with Aston Martin and that's all, you know, whether it's a cue from the styling
and how they're used, you know, because I really love trucks.
(10:19):
I like that aggressiveness, but you know, you can't really market our aviation stuff
like it's a Dodge or, you know, an F-150.
It has to kind of, it has to have a lean more towards, well, you know, obviously aviation,
which, you know, maybe it's more like a, you know, Air Force styling, you know, because
(10:41):
it does have that take on a B2 or a A117 fighters, all the stealth stuff.
It has that look to it.
So a lot of hard corners edging.
And so that's kind of what you lean to because the message of what it looks like versus what
you're doing, there's you got to have this kind of symbiotic relationship and how it
(11:04):
lands with the customer because you have to get the message across because this is pretty
new tech and the fact that we're revolutionizing the aviation airside, you know, that's nothing
anyone's ever seen before, except maybe in movies and, you know, things like that.
So you really have to take a look at how it's delivered and consumed.
(11:29):
So it's a very difficult thing to try and attach to a successful outcome.
It's, you know, you just don't know.
I think one of the key things on having it in house is, you know, from, from a communications
and marketing perspective where kind of my focus lies, you know, oftentimes in past companies,
you're hiring that out.
So you have to find a company, you have to like their style and their branding because
(11:54):
they're only going to do so much on either side of it, right?
Because everybody's known for what they do and then you have to get them up to speed
with the technology.
So the fact that what you just said, you know, we're cutting edge tech, you know, everything
from, you know, being in the automotive space to bringing autonomy to automotive and public
transit through to the aviation space where we're focused now, it really takes a lot to
(12:17):
make somebody understand what these, what these highlights are, you know, everybody
in the autonomous space, of course, they want to know what sensors are being used and you
want to start being able to capture what that looks like from a LiDAR perspective or cameras
or the styling or, you know, just the different ways that it all interacts for this bigger
brainchild to make this vehicle move.
(12:37):
So again, being able to just have somebody in house that's been with a company as long
as you have, you already know everything inside and out and you don't, it's like you get to
skip an entire storyboarding step almost because you know it and you know the message and it's
some, it's just a lot easier from a comms perspective.
Yeah, and the turnaround on it is far easier, far easier, far quicker, far cheaper than
(13:03):
if you just outsource it.
Yeah.
I mean, I would say easier for me and for like the comms team, probably harder for you
because we just always expect you to push us out these rough edits of things.
And then we're like, okay, let me just look at that and let's change it first.
If we were to outsource you, we'd only have so many edits, right?
Yeah, yeah, it's the thing.
(13:23):
You get two, three changes and then, you know, then you have to start paying again.
So yeah, it definitely helps the company out from that perspective and I get to engage with
Elliot on his, you know, hey, take a look at this and the engineers.
Yeah, and actually really cool trip.
So tell me a little bit about what you recently, maybe not mentioning everywhere specifically
(13:45):
that you went, but you could mention kind of high level because I know some of this stuff
is under the radar coming soon.
But yeah, kind of tell me a little bit about your recent trip.
Yeah, I went to Europe and the UK.
Is that, is that vague enough?
And so I went around to these different locations, the airports all throughout Europe and each
(14:07):
airport deploys the vehicles in a different fashion.
And of course for the, the viewers listening or a little bias there, our Dolly Tug.
So they deploy, they all have their own look.
So their own branding to everything.
So every shot, every video still, it looks different, you know, it's almost just like
(14:30):
a, you know, United Delta, they all do everything, you know, Virgin, they all shoots and have
different looks just because the get go, it just doesn't look like any, you know, the
branding on each airplane.
So when I go around to these locations, we take in consideration, we just shoot within
the confines of what they're doing.
(14:52):
And then we edit, you know, put pieces together when we can release them and then create a
story around it.
And so there's some pretty big storylines coming up here in the near future where you'll
really get a flavor for each airport around the world and how they are deploying the vehicles
and using them, and you'll really be able to see when you start watching and seeing
(15:12):
some of the imagery of how it's, you know, revolutionizing the air sizing.
And it's great to be able to be the one that kind of, you know, convey that message.
So it's really great from that aspect.
So I think that right there is a great spot to kind of end out the episode with all that
(15:33):
nice future upcoming excitement and teasers.
But I will, I have one last question for you.
What is the coolest thing that you've ever worked on today?
It could be professionally, it could be something when you were younger, doesn't really matter,
but what is one of the coolest things you've ever worked on?
One of the coolest things I've ever worked on.
Whether it's like a project, the Simpsons, I know I always like to throw a random question
(15:57):
and I really don't tell anybody that's on the show what that question is going to be,
because I don't want it to be rehearsed.
I want us to just have a conversation.
Yeah, yeah, no, that's a...
Let's see what comes.
You know, I've worked on so many things.
It's hard to nail one down, but you know what?
When we did the making of a movie called Waiting with Ryan Reynolds.
(16:21):
I saw that movie.
It's hilarious and not really inappropriate in some ways, but very funny.
Very, you know, very, very early 2000s.
I mean, dating myself here, yeah, early 2000s.
And it was, you know, the funniest people you can imagine and you're working with...
(16:42):
Ryan Reynolds.
The director of Ryan Reynolds, Robin Kittrick.
Was that that movie?
Yeah.
Justin, was Justin Long in that movie as well?
Justin Long was in that movie as well.
Oh, Tasha's like such a great, like, deadpan understated comedy.
The guy from, I totally forget his name from Anchorman, the cowboy head.
Yeah, yeah.
So, again, we always have future episodes where we dive in a little deeper.
(17:02):
That's our plan at least so that we can get to know all of the employees of ARIGO and
RDM a little bit better and what we're up to.
Thanks so much for sharing your stories and your time.
It's always a pleasure to see everything that you produce.
It really makes ARIGO pop and kind of shows the world who we are on a global scale.
So again, thanks for joining us.
Tune in next week.
(17:23):
Again, we'll have another person...
Well, I should say tune in next week as I'm filming next week, but tune in in two weeks
for another episode.
Every other week on Wednesdays, we're bringing you the latest and greatest stories from our
team and we hope you want to subscribe and like and share our podcast and learn more
about us.
(17:43):
Just a side note before we close out the podcast, the views and opinions shared here are those
of the hosts and the guests do not necessarily reflect ARIGO International PLC or its official
stance.
This podcast is for informational purposes only.
Some forward-looking statements might come up, which are just projections and are subject
to change.
Welcome back to Take Off, a podcast series where we share stories from our people about
(00:05):
innovation, aviation, automotive, autonomous technology, and of course we throw some funny
things in for good measure.
Today our guest is Chris Keefe.
Chris, how's it going?
Oh, it's going great.
How are you today?
So glad that you could join us.
Thank you.
I'm having a great day.
I wanted to see where are you joining us from.
Let's tell our audience.
(00:26):
I am coming from the warm location of Ottawa, Canada.
Extra warm and toasty, very, very nice.
A little bit different from the UK, of course.
Can you tell me a little bit about what you do here at Aureco and how long have you been
with the company?
To start, I've been with the company for seven years and I'm the vice president of
creative and digital marketing.
(00:47):
I create the media that centers around automotive, the autonomous side, what we're doing with
the company and how we put it together and just like anything else, whether you're creating
a car commercial, you got to come up with an idea and how it reaches the audience.
That's kind of the fun part.
Now, the digital side is most people consume these types of things through as we're doing
(01:07):
now a podcast or watching an advert on one of the social media platforms.
We're not as big as an automotive company per se, so we're not throwing automotive commercials
out there regarding some of our vehicles down the road.
Yes, but that's not kind of the space we live in.
(01:28):
It's basically this online space where you're creating an image that people can see what
you do and how you do it and a little bit of product in there.
What is your background?
How did you become this digital creator?
It's been a very long journey.
I left film school and headed to Los Angeles in 1998.
(01:49):
From there, I would spend the next 20 years working on all different types of productions.
One of the more notable are things that most people would know.
The Simpsons, I did animations for the Simpsons DVDs back in the day.
Worked at Sony Pictures Studios on the lot.
Did a lot of production support for movies with Kevin Pakin, like Hollow Man or Michelle
(02:15):
Pfeiffer and Harrison Ford.
What lies beneath?
Adam Sandler, you name it.
I was on those productions a lot working on different aspects supporting the studio.
I would say that you brought Hollywood obviously to the company then.
Being in Los Angeles, obviously quite a different climate than it is here in Ottawa, Canada.
(02:38):
Tell me a little bit about that.
How did you decide to make that move or what brought you here to Ottawa?
In 2015, I started filming a documentary for Jaguar Land Rover, which our company is heavily
involved with through the automotive side.
The project revolved around a robotics program for kids helping kids with cerebral palsy.
(03:01):
That's what the documentary was centered around.
It was an incredible experience.
We shot from 2015, 2016, 2017, this documentary film.
The company building the robotics side of it, the actual platform, was RDM or as known
now, a Rigo.
(03:22):
I got to be close with all the engineers, Dave, the team, from being there three years
on site working for Jaguar Land Rover and robotics.
To back up a little bit, they put me in this role.
Director producer in England was because I had a heavy background in automotive.
(03:43):
I grew up building monster trucks, working on muscle cars in the neighborhood with my
next door neighbor.
He taught me all this stuff growing up.
He was like, hey, let's throw a engine in something.
That's what brought me to England because I could film, I could shoot, I could edit,
I could do all those things.
But on the flip side, I could also build.
(04:05):
It was that combination, I think, that maybe the perfect person to be involved in that
film.
Then when we wrapped that, the transition to the frozen tundra of Ottawa happened because
Dave knew that I was finishing up that project and wanted to know if I'd like to be involved
(04:29):
with what a Rigo was doing.
So a conversation with the wife, hey, would you be interested in moving to Canada was the
next thing.
I know, but I'm going to talk about that, which I'm sure we can unpack in a later episode.
Yeah, exactly.
So we made that move.
(04:50):
Now, interestingly enough, we thought we were actually going to England, back to England,
but did a sharp left to the north and stopped in Ottawa.
There we are seven years later.
In snow.
In snow, yes.
Slightly different from LA, but I grew up in Michigan.
So the snow wasn't something foreign to me.
(05:12):
So being in Hollywood and working on various types of pieces, like you mentioned, everything
from movies to the Sim Stens, which of course everybody knows and loves, what is some of
the inspiration that you draw on to kind of bring that Hollywood touch and feel to the
company to Rigo?
Working on those productions, a, from a technical aspect, you bring in what you know to make
(05:33):
the stuff happen.
And it's an ever-evolving thing that you're always learning something new because it is
moving so fast, such as a podcast like now.
I never worked on a podcast, never did a podcast prior to 2024.
So that was a new thing.
And then as far as the automotive styling and how you work on creating that type of content,
(05:57):
I had worked on a few car commercials back in the day and we'd shot stuff at Jaguar Land Rover
on their test tracks and things over the years and in Gaiden in the UK.
So combine that with just other things and how you want looks and feels of things, kind
of like our designer, Elliot Hawkins, he has a very specific way he likes to design the
(06:25):
vehicles and the look he wants to portray.
So that kind of sets the tone for how do we shoot the stuff.
It's better looking than anything out there.
So imagery also has to take that consideration.
Now of course, this is one element that you know with your automotive background is you
(06:48):
get a vehicle and you can't quite talk about everything it does when it's coming out, all
these aspects.
So those are the things that are under the radar until they're allowed to be gone public,
basically.
Yes, until you're allowed to release them and talk about them.
So that's one of those elements that makes it a little more difficult than your average
shoot or how you engage digitally online because you can only disclose that much until it's
(07:16):
ready.
Like when we first launched the AutoDali Tug, there was brief images here and there and
you can't really talk about it because we don't want competition to know what we're
doing.
And then when it's out there, we're kind of under these non-disclosure agreements like
you would in any production to not talk about it.
Most titles of film and television pilots, they create something that has nothing to
(07:38):
do with what they're actually filming.
So no one ends up with a leg up like, oh, we should do that as well.
Yeah, no, I was going to say, speaking of like that design and kind of the look that
Ellie gives the vehicles, you know, a lot of people when the autonomous shuttles are
going out.
I always remember hearing things like they look like a toaster for a couple of, you know,
people competitors in the field basically.
(08:01):
And then ours comes out and it is the most edgy, you know, kind of dark, mysterious and
futuristic looking vehicle, right?
So I have noticed how you've obviously taken those elements and really put in that futuristic
tone into everything from, you know, the website that you've designed to the media pieces that
you have put together and everything has almost that kind of that leg up.
(08:24):
And I feel like, you know, from the get go, it does take that, you know, I was with Toyota
for six or so years working with them and everything you think of from filming in-house
commercials and filming podcasts and, you know, launches and news and all of these pieces,
the fact that we can do all of that in-house having you on the team.
(08:45):
I think that that's really something that people don't realize, you know, and I'm sure,
you know, no one really realizes what goes into a production.
Even filming this podcast, you know, it takes 30 to 45 minutes to set up.
We're setting up the mic and the background and there is a big box light behind me because
it's just not lit up enough.
And then you're in a separate location and audio and, you know, again, and then piecing
(09:09):
it all together.
And then the fact that you edit it on the, you know, on the flip side.
So not only are you starting it and you're filming it and you're helping to set it up,
you're filming it all together and then pushing out the final product.
So I have to say that's got to be pretty cool that you get to do the full life cycle here
and you really have kind of your freedom to take from your inspiration.
You know, if you were to say, I want a Rigo marketed like X thing, what would that be?
(09:34):
Is there like one specific thing or a couple of pieces that you kind of, again, like take
that look and feel and you feel like they've done a great job and you want to do that too?
You know, there are some and not to stick with UK, but you when you see like a Aston
Martin style ad or or Range Rover, those stylistic choices on their commercials and how they,
(09:57):
how they just still images or anything like that.
They're always, you know, so what's the posh and just elegant and in some cases a little
aggressive with Aston Martin and that's all, you know, whether it's a cue from the styling
and how they're used, you know, because I really love trucks.
(10:19):
I like that aggressiveness, but you know, you can't really market our aviation stuff
like it's a Dodge or, you know, an F-150.
It has to kind of, it has to have a lean more towards, well, you know, obviously aviation,
which, you know, maybe it's more like a, you know, Air Force styling, you know, because
(10:41):
it does have that take on a B2 or a A117 fighters, all the stealth stuff.
It has that look to it.
So a lot of hard corners edging.
And so that's kind of what you lean to because the message of what it looks like versus what
you're doing, there's you got to have this kind of symbiotic relationship and how it
(11:04):
lands with the customer because you have to get the message across because this is pretty
new tech and the fact that we're revolutionizing the aviation airside, you know, that's nothing
anyone's ever seen before, except maybe in movies and, you know, things like that.
So you really have to take a look at how it's delivered and consumed.
(11:29):
So it's a very difficult thing to try and attach to a successful outcome.
It's, you know, you just don't know.
I think one of the key things on having it in house is, you know, from, from a communications
and marketing perspective where kind of my focus lies, you know, oftentimes in past companies,
you're hiring that out.
So you have to find a company, you have to like their style and their branding because
(11:54):
they're only going to do so much on either side of it, right?
Because everybody's known for what they do and then you have to get them up to speed
with the technology.
So the fact that what you just said, you know, we're cutting edge tech, you know, everything
from, you know, being in the automotive space to bringing autonomy to automotive and public
transit through to the aviation space where we're focused now, it really takes a lot to
(12:17):
make somebody understand what these, what these highlights are, you know, everybody
in the autonomous space, of course, they want to know what sensors are being used and you
want to start being able to capture what that looks like from a LiDAR perspective or cameras
or the styling or, you know, just the different ways that it all interacts for this bigger
brainchild to make this vehicle move.
(12:37):
So again, being able to just have somebody in house that's been with a company as long
as you have, you already know everything inside and out and you don't, it's like you get to
skip an entire storyboarding step almost because you know it and you know the message and it's
some, it's just a lot easier from a comms perspective.
Yeah, and the turnaround on it is far easier, far easier, far quicker, far cheaper than
(13:03):
if you just outsource it.
Yeah.
I mean, I would say easier for me and for like the comms team, probably harder for you
because we just always expect you to push us out these rough edits of things.
And then we're like, okay, let me just look at that and let's change it first.
If we were to outsource you, we'd only have so many edits, right?
Yeah, yeah, it's the thing.
(13:23):
You get two, three changes and then, you know, then you have to start paying again.
So yeah, it definitely helps the company out from that perspective and I get to engage with
Elliot on his, you know, hey, take a look at this and the engineers.
Yeah, and actually really cool trip.
So tell me a little bit about what you recently, maybe not mentioning everywhere specifically
(13:45):
that you went, but you could mention kind of high level because I know some of this stuff
is under the radar coming soon.
But yeah, kind of tell me a little bit about your recent trip.
Yeah, I went to Europe and the UK.
Is that, is that vague enough?
And so I went around to these different locations, the airports all throughout Europe and each
(14:07):
airport deploys the vehicles in a different fashion.
And of course for the, the viewers listening or a little bias there, our Dolly Tug.
So they deploy, they all have their own look.
So their own branding to everything.
So every shot, every video still, it looks different, you know, it's almost just like
(14:30):
a, you know, United Delta, they all do everything, you know, Virgin, they all shoots and have
different looks just because the get go, it just doesn't look like any, you know, the
branding on each airplane.
So when I go around to these locations, we take in consideration, we just shoot within
the confines of what they're doing.
(14:52):
And then we edit, you know, put pieces together when we can release them and then create a
story around it.
And so there's some pretty big storylines coming up here in the near future where you'll
really get a flavor for each airport around the world and how they are deploying the vehicles
and using them, and you'll really be able to see when you start watching and seeing
(15:12):
some of the imagery of how it's, you know, revolutionizing the air sizing.
And it's great to be able to be the one that kind of, you know, convey that message.
So it's really great from that aspect.
So I think that right there is a great spot to kind of end out the episode with all that
(15:33):
nice future upcoming excitement and teasers.
But I will, I have one last question for you.
What is the coolest thing that you've ever worked on today?
It could be professionally, it could be something when you were younger, doesn't really matter,
but what is one of the coolest things you've ever worked on?
One of the coolest things I've ever worked on.
Whether it's like a project, the Simpsons, I know I always like to throw a random question
(15:57):
and I really don't tell anybody that's on the show what that question is going to be,
because I don't want it to be rehearsed.
I want us to just have a conversation.
Yeah, yeah, no, that's a...
Let's see what comes.
You know, I've worked on so many things.
It's hard to nail one down, but you know what?
When we did the making of a movie called Waiting with Ryan Reynolds.
(16:21):
I saw that movie.
It's hilarious and not really inappropriate in some ways, but very funny.
Very, you know, very, very early 2000s.
I mean, dating myself here, yeah, early 2000s.
And it was, you know, the funniest people you can imagine and you're working with...
(16:42):
Ryan Reynolds.
The director of Ryan Reynolds, Robin Kittrick.
Was that that movie?
Yeah.
Justin, was Justin Long in that movie as well?
Justin Long was in that movie as well.
Oh, Tasha's like such a great, like, deadpan understated comedy.
The guy from, I totally forget his name from Anchorman, the cowboy head.
Yeah, yeah.
So, again, we always have future episodes where we dive in a little deeper.
(17:02):
That's our plan at least so that we can get to know all of the employees of ARIGO and
RDM a little bit better and what we're up to.
Thanks so much for sharing your stories and your time.
It's always a pleasure to see everything that you produce.
It really makes ARIGO pop and kind of shows the world who we are on a global scale.
So again, thanks for joining us.
Tune in next week.
(17:23):
Again, we'll have another person...
Well, I should say tune in next week as I'm filming next week, but tune in in two weeks
for another episode.
Every other week on Wednesdays, we're bringing you the latest and greatest stories from our
team and we hope you want to subscribe and like and share our podcast and learn more
about us.
(17:43):
Just a side note before we close out the podcast, the views and opinions shared here are those
of the hosts and the guests do not necessarily reflect ARIGO International PLC or its official
stance.
This podcast is for informational purposes only.
Some forward-looking statements might come up, which are just projections and are subject
to change.
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