Full transcript: Ido Portal on London Real
1:40 I’m in motion. Good evening, London! How are we tonight? Oh my gosh, I am so excited to be here tonight. I’ve been anticipating this for days and weeks and months, and it’s just really special having all of you people in the room.
2:19 There’s people that have traveled from Israel, from California. Where’s Tony Florio? Flew in from LA. There’s people that came from Europe, and everyone here means something special to me or Ido or other people in the room. So thank you so much and welcome to the world premiere of Ido Portal: Just Move.
2:47 Super honored tonight to have Ido in the house. Thank you so much, and uh, thank you for bringing the family as well. Haviva is here and David, or Dudu as he told me, known in Israel. Thank you so much. You know, when he told me his parents were coming, talk about putting a little extra pressure on me tonight.
3:06 So I was like, okay. And I know uh, your sisters are here as well, and not to mention the whole Movement Culture kind of a team over there. I’m looking at Odelia and Hoi and John, and it’s really special to have you here. After tonight you will be movie stars. I was telling Odelia she needs an agent after this movie.
3:25 Uh, and so I’m so excited to play this for you. Uh, myself and the team, we’ve been working on it for months. Four months ago I took my very first trip to Israel, and uh, for a boy from the beaches of California, this is something I was dreaming about my whole life. Uh, it was a place where the stories from the Bible actually happened, and I couldn’t wait to go, and yet I couldn’t wait also to spend five days moving with Ido and his people. And so I brought my entire team and we documented it, and this is what you’re going to see tonight.
3:59 But this story actually started three years ago when this man walked into my studio at London Real. I knew a little bit about him, he had a kind of a funny name, uh, he was a little shorter than I thought he would be, and uh, but the conversation we had, it really changed me and it changed my life and it changed a lot of other people’s lives around the world. And I started really looking at myself differently and what I was doing, and even though it took me a year until our next conversation to actually go and start some new movement practices, I think it was in the back of my mind.
4:39 And we had more conversations, and then we walked around London, and I have changed because of it. And a lot of you have seen me post these crazy YouTube videos where I’m swinging like a monkey or, um, seeing me break dancing at 46 years old. Yes, I do it, I’m very proud. One of my one of my instructors is here tonight, Mark Jacob. Thank you.
5:02 And I love it, I just love it. And one of my instructors is here, Mark Jacob. I hired another one of my instructors, he’s our head of product, Mr. Ziri, both breakdancers, old school, teaching me the proper way. And to be honest, I was down on the ground in my gym, which Ido encouraged me to get kicked out of, uh, which I almost did. And Azita would say if you haven’t gotten kicked out of your gym, then you’re doing something wrong.
5:24 And I was down there doing this lizard walk, and my version of the lizard walk is pretty, it’s pretty shocking, um, but I was down there and for some reason I just thought break dancing. And uh, when I in San Diego I grew up and went to a school that was, it was a bust school, so I went to school with like 80% black, Hispanic kids, and I must have felt this break dancing culture, but I never actually did it. And something happened that day and I just pursued this journey of movement, and I can’t really explain what happened to me, but it started then, and I think it started for a lot of you as well.
5:58 And I think a lot of people around the world have heard some of the ideas that Ido talks about, and they’ve changed things on the back of it, they’ve changed the way they move, but not just that, they’ve changed the way they live. And so tonight we’re all here to kind of honor that in a way. And I’ve spent the last three years getting to know Ido, and the more I know Ido the more I realize I don’t know anything about you know, and uh, but I believe he’s probably a man that doesn’t sit back and celebrate or, uh, congratulate himself, and Odelia can probably say there’s probably not a lot of celebration out on the road there.
6:33 And it’s a bit like me, and there’s a big joke at London Real we call it bottle popping. If Julian’s in the house he knows what I’m talking about. And in England when you do something great you pop the bottle of champagne, and I’m known for never popping a bottle. Uh, when I do something, accomplish something, I always a very critical of it and then I move to the next thing. And so tonight I thought we would just all conspire together to slow down a little bit and maybe force Ido to just take a step back and look at all the great things you’ve done, the great ideas that you put out there and all the people that you’ve touched, because it’s really special what you’ve done.
7:08 And um, and I just want to also say that um, Ido let me into his life, into his brain over the last few years, and in Israel into his studio, and I don’t know of many people he would let do that, and it was a real honor for you to let us in. And um, I take that trust very, very seriously, and uh, and so thank you for that. And uh, we put together something that that honors that. Um, he has not seen the movie, and so uh, for that it’s just amazing, that amount of trust for someone who’s worked his whole life on these ideas.
7:40 And so um, the whole team at London Real has taken that very seriously the last 37 days or so. And uh, and so I just want to finish with something I’ve been thinking about lately, um, which is why do I do this? Why do I bring all these people here into a room on a Thursday night and make this movie? And I think I might have figured it out, and it happened last week. I came home on a Wednesday night, it was a little late, I was in the studio till about 11 o’clock, and Mariana had cooked me this beautiful meal, and she spent like six hours slow cooking the lamb, and she like pulled the vegetables from the garden.
8:15 Baby, stand up for a second, this is Mariana by the way, and she’s, she’s eight and a half months pregnant with uh, with boy number two, which probably wouldn’t have happened without London Real, but that’s another speech at another movie. So I was eating this meal and she had pulled the vegetables out of the ground, and she had put the sauce in the Vitamix and poured it over, and it was just me eating, and I ate it in about four minutes, and she wouldn’t even let me put a photo of it on Instagram. And I was like, baby, you did all this cooking just for me.
8:50 And I realized that for Mariana this is this is the way she expresses her love, you know, she cooks, you know, and that’s the way she expresses that. Um, some people, you know, uh, some people give you a hug, um, some people write you a card, um, some people send a text message, maybe not your most loved ones. Um, and for me and the team at London Real, this is what we do. We make, we make movies, we make multimedia for people we love, and um, about ideas that we love, and um, things that we love, like transforming the world and getting people to make changes.
9:30 And so um, that’s what I think we’re really doing here tonight. So Ido, on behalf of myself and the entire team at London Real, we love you very much, and uh, this film is for you. How are you? I’m good. What was it like seeing that footage from three years ago when you were in the studio?
10:37 Do you, when you look at that, Ido, does that seem like such a long time ago? Um, it seems, it seems so. Yeah, living on the road is, makes that always, that’s always the feeling like there is a lot of life cramped into short periods of time. I remember we had a conversation then and I said, when is the book coming? And I think it was kind of a joke because I had heard you’re not going to write a book, and of course everyone on my show is writing a book, and you were like, I don’t want to write a book, you know.
11:09 I think you said to me, don’t walk behind me, walk beside me, and you didn’t want to document things. Um, has that changed in the last three years, how you feel about documenting things? Um, there are many ways to document things. We document things. We are documenting things, but we constantly have a feeling like we’re not, and we’re actually documenting in the highest possible level, I believe, and a book just cannot do justice to some things, although it can serve.
11:43 Um, yeah, a little bit too young for a book. It’s always the feeling, it’s like, oh, got a book, it’s over, right? Um, there’s some other TV cameras in the room that aren’t ours, and uh, and I, I guess you are doing a bit more documenting these days maybe, um, and also you’re letting us into your space a little bit more. Um, is that a conscious decision or just something that feels like the right time? And it’s really, it becomes more about serving and just getting it out there to as many people as possible.
12:28 There are certain timings that must be respected, and yeah, and things are just evolving very quickly and I, I don’t want to, don’t want to fight it from my own ego and small point of view, momentary, temporary point of view. I, I guess it happens and I allow it more than really being actively pursuing it. Okay. And then the nomad lifestyle, is that something, is that a job requirement? I mean, if you want to do what you do you have to, you have to touch people, right?
13:05 I remember you told me in the Movement Experience I took from you two years ago, you said, you said everyone gets touched in the experience. No matter what, you and Odelia will always touch everyone. And ultimately is that the only way you feel like you can teach? Uh, no, no, there are many ways. This is a form of teaching.
13:24 Um, but it was important for me in that kind of childhood of the culture, the culture is in diapers really, the ideas in the way that they are formatted and encapsulated. So it was important for me to touch people, like if I didn’t, if I didn’t meet you, it’s, it was so difficult for me to really pass on some things, and you made an amazing job at presenting some of it and capturing some of it, and I still think it will never hit the mark. You can only approximate some things.
14:06 Um, so it was super important for me to be there, to touch. I guess it’s close to its end in many ways, so I’m not going to continue to travel for a lot longer. You can slow it down a little bit. Yeah. Why is that?
14:21 Um, it takes its toll. It’s like, it doesn’t matter what you do, you’ll find yourself on the other side really. Like if you start from, you know, you start from art, you can finish as a banker, start as a banker, you finish as an artist. Yeah, it’s just, you destroy certain things for yourself by pursuing them. And um, I’ve traveled and taught so much over the last eight years, I’ve met so many people, and I’ve done it in that format that um, it’s, it’s hard for me to get excited or, um, the butterflies don’t have any more, the butterflies.
15:09 Yeah, and that can be a bad sign in a way, so I would like to explore other ways of doing it and passing it onwards and working with people and practicing myself and passing it. Yeah, in a potent way. I want to be full-on, I don’t want to be doing things half-assed. Yeah, I find it so hard to document your ideas, harder than any other person I had on the show, you know, and I’ve really spent three years talking to you and I feel like I now know less in a way, and we managed to capture a few of those brief moments.
15:45 It’s like, and if you don’t get it, it’s gone forever, and like we managed to capture a few and to show these these looks at you that maybe won’t be captured again, I don’t know. It’s like this strange thing with you where you don’t have this standard IP you rattle out and here’s chapter four in my book, in chapter six, it’s like these ideas that are so hard to grasp that sometimes they’re just gone. I guess you hear that a lot. Yeah, and I guess there’s no solution.
16:12 The thing is just to keep communicating. Yeah, yeah, you keep, keep doing this from different places, from different areas, and we’ve done a few of them, right, and they all bring something, and then I can do my own thing and some amazing people here are doing their thing, and you just keep repackaging it and changing the lenses, and something gets uh, more potent, some, something can, some, some things can also get more diluted, but other things, it’s like folding metal, you know, you get more resiliency, and we need that. And I’ve really enjoyed like standing on shoulders of many people who’ve done all this work.
17:01 Like a lot of the ideas in this movie, they come from people who sit here. Like some, some of the stuff is from my mother and from Odelia and from my cousin, and so a lot of people here that they contributed, and I just, I just take it, put it into my own washing machine, and then I puke it out somewhere else, and yeah, and sometimes, as we say, disappears through the cracks. That vomit is gone, and other times people are a little bit more brave because it’s not, it’s not always tasting so good.
17:40 It’s a, there is a challenge in the way that it is. We’ve alleviated it in some ways, in other ways it’s still difficult. It can be aesthetically pleasing, it’s nice, but there is still a fair amount of six-packs on that screen, there’s still one-arm handstands, they’re still friendly stuff, so you can relate, hopefully you can relate to what is behind it. Why, um, why bring the family, all of your people here? They brought themselves, I didn’t bring anyone.
18:20 Is that because your parents probably don’t ever get to see you in action, do they? My mom gets to see me a lot in action, she’s present in all the big events. Okay. She’s an amazing practitioner. My sister as well has been participating in the last few years, my younger sister Gilly, and less my father, my big sister, they have less of an opportunity, so this was a nice.
18:43 Okay, and uh, your mom will be with us this weekend, right? Yes. Experience, I can’t wait. Um, what was I gonna ask you? What’s it like to watch Odelia talk about you, the most emotional piece?
18:54 Yeah, for me, yeah, really this, and seeing Pascal. Um, yeah, it’s powerful. Odelia, she speaks about me in front of me, this, I, but this was not in front of me, I was not there, it was different, and it’s, it’s weird, right? Like it’s weird to sit there to watch, to watch yourself too. I’m not sure we have the faculties to work with it, to sit on these stages, you know.
19:30 Yeah, yeah, it’s weird. Yeah, I was watching you from across the row and I was thinking about it, must be weird to watch a movie about you. Yeah, yeah, it’s weird, we’re not, we’re not equipped for it, you know. It’s, um, I see big stages, or um, I’m involved now with some big TV projects and I’m working within the cinema world, and and I meet people who stand on huge stages. I’ve been caged side in front of 20,000 people, you know, hearing people scream your name as you fight for your life.
20:08 It’s, it’s weird moments, and from outside they look totally different than from inside, but people rarely mention it, they rarely speak about it in an honest way. It’s important to put it out there to say that it’s strange, that it’s strange, that it’s different, it’s not what it looks. Okay, that you don’t, it’s, it’s sometimes you do it almost from outside, the people who do it, they do it from outside, they bring themselves into the audience, and then they can do it, but it’s not your own gesture.
20:49 And this is how I sit, I don’t, I don’t sit, that’s how I sit, so that’s how I’m gonna sit here. Um, but most people don’t, they have this other concepts, right, of how they should look, how they should sit in this kind of a scenario. I respect that, but uh, it’s also important for me to show my side. Is that why you keep your teaching environment small? I mean, is that why I probably never see you on stage with a microphone on the side of your mouth teaching two thousand people?
21:27 Yeah, I don’t know what you can do in that scenario, what you can really teach there, definitely not the kind of stuff that I try to work with. And it’s not technically demanding, it becomes less and less technically demanding, it’s the complexity of the ideas, the actual performance, it looks like nothing. Again, you see it, you’ll never think much about it, maybe there is an impressive moment, but the real thing happens in the background, the real thing is the backstage, is behind this, um, and that really can be achieved, that real thing, in a certain size of a group, in a certain connection, and then other things can be communicated on larger stages, but yeah, I don’t really, don’t really believe a workshop setting will work well there.
22:24 I’ve tried it, I’ve taught 800 people, I’ve taught in 800 people, I’ll never do it again. And so this weekend I think we’ve got 90 of us or 100 of us in the room. Um, I mean, two years ago I took a very similar two-day experience with you and uh, it just shattered my whole concept of movement, and I remember I got back to the gym on the Monday and I looked around and it just looked like a bunch of aliens doing alien things, and I was like, why, why am I here?
22:56 Why are you doing that? Um, and So I said, I ended up, you know, getting rid of my personal trainer and started doing these other things, but um, you know, for people that don’t know how, why does that happen with you? You know, spending a couple days with you, why do they just all of a sudden look at things differently? It’s not me at all, it’s uh, it’s the paradigm shift, it’s the climbing of the ladder of memes, and it’s the movement from simplicity to ultimate complexity that happens everywhere across the board with everything.
23:33 This universe started so simple, and look where we are, and where are we going? It goes to this hyper complexity. So once you climb that ladder it’s extremely difficult to reach, to go back, and that’s the heart of it. Has nothing to do with me, I’m just a container of it. I present it, I do it sometimes, I do it in a good way, sometimes I do it in a shitty way.
23:57 My sense of humor maybe touches some of you, others completely cannot relate to it, and I’m just a filter. But the paradigm shift, the climbing in the ladder, that is very hard to go back, and it takes a toll when you do go back, because we all do go back certain times, and we go back to our pleasures or simple things, and but it takes it all once you have it in your mind that there is another stage in complexity. There is at all, you have to pay a price if you go back, which a lot of people do, and they don’t even realize that they do.
24:36 They pass by ideas, they’re inspired by it, then when it comes the time to actualize it, they discover difficulties, so they retrace back, they go back to some form of a simpler practice, but in the back of their mind they’re not doing the real thing, and it keeps poking, poking. It can poke for 70 years before it pops. It can pop in the last moment, in the fight, last five minutes of your life, when you realize that you needed to get back to something else.
25:16 Yeah, you’ve made it too complex. No, you’ve made it too simple. Okay, you went back to simplicity because it’s comforting, it’s known. You know, you jumped into practicing yourself in very complex ways, but you can also lose your weight there, so what do you do when you lose your weight? Most people just go back to simple things that they know.
25:37 Okay, I know I can pump those weights, or I know I can do this section or that action, it’s familiar, and that’s I know what I’m doing, so I’m going back to it, but in your mind it’s not the real deal, and there is some problem about it, the fact that you keep going with it, and we all have it, not only with a movement practice, with everything, with relationships, with a lot of things. I remember I complained to you in that episode three years ago that I wasn’t having my movement practice, and then a year later I complained again, so it was on the back of my mind but I hadn’t done anything about it. If you’re satisfied about your practice, you’re a shitty practitioner.
26:18 I’m not satisfied with my practice. I don’t have a single moment where I reached a place where I’m content. If you’re content, you’re a low-level practitioner. Perhaps that’s not your major focus, orientation. Who is a, who’s a happy artist?
26:41 Who’s a happy craftsman? Is that, it’s like those are people who can make do, but you’re not satisfied because you want the next thing, and you need to keep on pushing that rock up the slope. This is the Camus analogy, Albert Camus, push the rock up the slope and then it goes rolling back down, and there is never a moment you’re on top, starts to roll back down. That’s the game until the last moment on this planet, just keep pushing back the rock. So start to understand why is it that we need that process.
27:29 It’s enough to fill our hearts, what we said there. Yeah, X marks the spot, and go there and then try to enjoy it. You told me that having fun when it’s not fun, the art of having fun when it’s not fun. Yeah, we say that a lot in the studio now when things get tough, that and her that Kordesh, did I say that right? Yeah, how do you say the fear of Ido?
27:54 Yeah, we call a little that too. Um, what, um, and what else are you involved in these days? Are you still doing some things with Bollywood and other things? I still do some things there, very big production, movement design for the main characters. It’s kind of a superhero movie out of India and very uh, big and elaborate thing, and um, I did the movement stuff for it, and then I am, we are shooting, um, we are working on a TV series that er in which I do some work with the best, the best of the best in all different fields, and bring together this message of of movement, and for everyone, we’re more similar than different, we’re all moving.
28:46 Um, I’m doing a lot of teaching stuff, I do collaboration with some of the biggest corporations out there, involved with branding, sports, movement and clothing, and most passionately I work with my own research and sharing my own research with a very close group of students, and that’s the real heart of it. The rest is just kind of, whatever, there’s a lot of stuff, there’s a lot of stuff and that’s only part of it actually. Okay. We had lunch in uh, in Tel Aviv with the crew, it was like a five-hour lunch, and Ido just dropped science on all of us and about what you’re talking about, um, nutrition, supplementation, uh, the history of the world, uh, you just, and now I’m, and because of it I’m now taking my magnesium and my boron and all that other stuff.
29:42 But you told us all this information, but you then you said you were like, Brian, I don’t talk about nutrition because I don’t feel like I’ve mastered it. Right, sounded, yeah, sounded pretty masterful. A couple of the guys put their phones out while you were and just tried to record it, I made them delete it. Yeah, that’s exactly the problem, it all sounds masterful. Okay, that’s exactly the problem, we don’t know, and then everything sounds masterful, and that’s why I don’t talk about stuff I don’t know about.
30:12 You don’t want to be that guy. Yeah, that’s talking about stuff that he doesn’t absolutely really know. I, you have in order to be on top of it is you have to devote many hours a day for it. I’ve devoted 20-plus years, I’m reading three to four books a week. I don’t really meet, I never met a single person who I think even done the basic reading material, the basic course reading list around movement, not even a single person, in terms of the lateral knowledge that you need in order to talk about such a complex phenomenon.
30:55 So why would I make the mistake, why would I talk about orthopedic surgery if my sister spent a decade just trying to get the grasp and trying to get into a form of understanding how much she doesn’t understand? I can’t do it, and nutrition, I don’t devote so many hours a day to study nutrition, and it’s not a major thing that I will talk about and contribute. I have some ideas, I have some basic, um, understandings, this I feel more comfortable sharing.
31:35 I have some basic ideas of philosophy, but I cannot hang out with a professor in philosophy. I have some understanding about history, but I’m not a historian, and then I try to limit myself in that field to bring some pieces of information together, and still I make many mistakes all the time. Okay, I want to take a few questions from the audience, um, but first I want to ask you, you’re off to the desert next week, yes, I hear, and what is the plan out there in Las Vegas?
32:07 Um, I’m going to cross Las Vegas on a bike. Really? No, yeah, but it is really humorous, I actually did that last time, it turned out horrible. Yeah, it’s like in the prep, in the prep for one of the fights, um, Conor needed someone to ride with him and do the daily cardio or whatnot. It’s like everyone disappeared, you know, who’s going to do it today?
32:43 Well, I guess it’s me, and I never rode bikes, it was a 20, 25 kilometer ride. Desert, summertime, Las Vegas, slight uphill the whole time, leading the ride, two Olympic cyclists and Conor in top shape. It was horrible, horrible. I finished it, they always, the car next to me kind of like was offering me like jump on, champ, it’s okay, John was, I’ll finish it, but it was rough. So I did that before.
33:20 No, I’m going to help out on camp a little bit, um, last few weeks, some sharpening up, and now it’s less contact and we can do more work and cardio starts to taper off. Yeah, so going to help out. Will be a lot of play. Do you guys have a lot of fun? Always, always, it’s always a lot of fun, it’s always a lot of play, it’s never serious and it’s always super serious, it’s these combinations, like it’s not the shitty playful approach, it’s the serious playful approach.
33:57 Okay, okay, so you’re two, you two are very much the same in that sense, that you value that. Yeah, yeah, you don’t get there to those places without having both. If you don’t play, it’s very hard for you to evolve ideas, to really run after things, to be receptive to your own needs, because play is a way for us to kind of test the grounds to understand what do I need, who am I within this, um, and then if you don’t play seriously and full on, you don’t get anywhere.
34:35 So people don’t respect play, those are people who don’t play seriously, and then people who don’t employ play, they are not high performers. You’re going to be maybe working with some high performance athletes in your TV show, etc. Do you expect all of them to have an element to play if they’re at the top of their game? I don’t give a what they have, that’s it. What they have or what they, I don’t expect anyone, I just bring what I have and what I believe in, and they can take it or not, or that’s it.
35:11 Okay. I just bring what I believe in, and I believe in play. I’m a big believer in play, and if you, if you’re too serious for that, if you can’t respect that, then I’ll go to someone else, I’ll just keep going to someone else. What did you make of the, um, the Mayweather McGregor media circus, and were you ever going to be involved in that? Because I was watching it and thinking, oh my God, how’s it going to deal with the stop in Toronto?
35:37 Yeah, well, I didn’t go, I just, I didn’t want to go, I thought it would be fun to see it at home, and yeah, there was a jet, everyone taking everyone around, so they, they also, because it’s such a hectic week, actually the movement thing is very useful there and they asked me to be there. Conor asked me, but I could not, I was very busy doing things here in Europe and just was not truly needed. And what, uh, what did I think about it? It was good fun, I think it was good fun.
36:16 There were way too many sore asses out there, um, too sensitive. Yeah, yeah, too sensitive, don’t understand what it’s about, never been inside, don’t know what’s going on, watching from home, you know, writing something, writing some comments like, never, never been, never been part of it, never been, never whether on the boxing stage or whether on the multi-million stage or whether on the media circus stage or whether on the pop star stage. There is so many layers there, so it’s not what it seems from outside.
37:02 Okay. Dana White said that the fight starts there, getting inside each other’s heads, is that true? It can be. We’ve seen it before, it can be, and always Conor tells me personally doesn’t matter, so whether, whether this, it doesn’t matter, get them in, get them in the octagon, get them in the ring, that doesn’t matter what happened before. He completely does not rely on it nor try to do it.
37:36 There is nothing, there is no prep there, is no script there, is nothing, there is just reality there, that’s what I appreciate. It’s not my way as you see, it’s very different, but I appreciate the honesty, I appreciate him being him, what you see is what you get, and so I don’t think he relies on it, and I think Floyd is very experienced and measured, and you could see that moment with the touch and it was not phased, it was, he, yeah, he was okay, he could have been the drama queen, but he chose not to. Yeah, I think he chose not to react, that was his reaction.
38:19 Yeah, but I don’t know of anyone that’s ever disrespected Mayweather truly like that, so that must have been a new experience for him. Yeah, there are many new things there, which one thing that is a little bit ridiculous in my eyes, every expert is talking about what is going to be, what’s going to happen, what’s going, how is this going to unfold and all the expert opinions, but let’s not mistake ourselves, there’s so many new things about this scenario, this never happened. It never happened to Conor, he never met such a guy, and it never happened to Floyd, and this thing is totally new, unfolding reality as it is, and black swans exist, and it’s just a totally new thing.
39:09 It’s a boxing match, that’s true, but have you ever seen, when was the last time you saw someone, for example, just flailing arms around, going like a windmill in a boxing match? That can turn out very badly. Right, but also what happens when that chaos hits, when in my own field and fields I know that sometimes even a raw beginner is very difficult to handle, and it’s its own thing. Some fighters are really bad at handling aggressive beginners, I’ve seen it many times.
39:51 Conor is not a beginner, but he comes from a different world and he has a different way of doing things, and he can turn around, he can do all kinds of things, the timing is a bit off, it’s a little bit awkward, and I think that’s totally new. On the other hand, Floyd is a master and he’s been dealing with a lot of experts, but all these experts have similar things in them, they are all boxers as well, so I don’t think there is anything really known. Oh yeah, of course.
40:27 Yeah, it’s very difficult task that Conor took upon himself, that makes me respect him even more. He goes again back into it, there is nothing known, there is a lot to lose. People think there is nothing to lose, you don’t know what you’re talking about, you know, you never were in a fight probably. Of course there is a lot to lose, every loss is extremely problematic, every loss. I’ve seen it from close, it’s not a loss in a tennis match, it’s much more severe, emotionally draining, problematic, very few people can shrug off a loss.
41:09 Yeah, I’ve known fighters and they will remember the details of the loss to that day, and you don’t want to bring it up, even the ones that are the most well-rounded and most stoic. For sure, I remember my losses, I remember things and I was not a fighter, I remember my losses, I remember small trips, I remember. If you’re really meticulous and if you’re going for it full on like these two, a loss is severe, you will dig into that wound for the rest of your life.
41:43 You post on Instagram and you said, uh, boxing shmoxing, Manish money, you know, this is about Conor taking a big chance and knowing he’s taking this huge chance, and it’s, I think you were like, you were noting the art of just that pure fact alone. Yeah, I have to speak about it as a friend, and that’s a personal angle, I just feel, I just have this appreciation for my friend doing it in the way that he’s doing it. Maybe it’s not objective, maybe I stand on the stage so people expect me all kinds of, but I have to be also honest, and I just feel in awe of that thing, going again.
42:28 I know who he is on a personal level, I’ve spent the time in his house living with him, I’ve passed through losses and wins and I know, I just have appreciation for another, another one of those. You said his style isn’t your style, that would be, what would be your style? Um, I’m not, I’m not extravagant in that way and I find it hard to put a suit on, I know. I asked, um, I find it, I have a lot, um, I don’t, yeah, I don’t, there are many differences, I don’t even know where to start.
43:22 I’m I’m not gifted in many ways, and I’ve based myself in my weaknesses, not in my strengths. It’s very different, me and him. I’ve built myself around my weaknesses, I didn’t build myself around my strengths. For example, there are students here of mine, most of which have based themselves on their strengths. It is an inherent change between me and them, and it will always be so.
43:52 I didn’t base myself on my strength, I pursued what I’m weak at. There were very few shiny moments for me, easy moments. Maybe I should have pursued music because that’s something that I’m gifted in, maybe. Um, maybe I could have pursued plastic arts, I received a lot of talents from my father, um, also from my mother, but in the plastic arts and music I can do it, I could do it, I always drew very well, but I didn’t go with that. I was gifted in in school, in logic, in computers, in mathematics, certain things.
44:32 I didn’t base myself in that, I went to something that actually was difficult, and then I met fears, and then I based myself on fears, and so it’s very different thing. I think that’s an inherent change, inherent difference between us. Do you ever meet anyone like you? Yeah, I don’t think anyone meets anyone, right? Come on, you ever meet anyone that you say, okay, that person actively goes for their weaknesses?
44:59 Well, you’re like, yes, yes, yes, there are such people. Okay, they’re rare and far between, and but they are such people, I have some students like that, but there are very few compared to the rest. Okay, okay, for answering a few questions. Sure. Okay, uh, we got some microphones coming around, if you just raise your hand up really high if you want to ask a question.
45:24 You, sir, over there, this guy right behind you, from microphone. You can stand up. Absolutely. Firstly, uh, Brian, what an amazing uh documentary, man, that was absolutely fantastic. Ido, oh, there you go.
45:43 I have to say, I’m a huge Conor McGregor fan, um, and uh, you must know what’s gonna happen to your career if he beats Floyd Mayweather, and I just have to ask. Not your career, that’s probably the wrong word, but if you’re the one who has taught him to move, and move from MMA to boxing and beat the most famous boxer in the, you know, in recent times, I just wanted to ask you, man, you know, have you thought about that? Are there any, you know, if McGregor wins, you know, have you thought about what’s going to happen to your life if that’s the case?
46:19 Uh, thank you, thank you. Let’s, we’ll keep it very real, so let’s correct a few basic things first. I didn’t teach Conor how to move, nor did I ever teach anyone how to move. I can facilitate certain processes or open up the eyes for certain things. I definitely, my contribution to the way that Conor fights is minimal, extremely minimal.
46:50 Only it was sexy and exposed in certain times and presented in certain ways where, um, it received a lot of attention because I’m the odd card and I can do some aesthetic things, and I present a different approach. I’m more of a squeeze of a line in the end of the dish, and I give just that, just a twist. And Conor himself shared recently some thoughts, um, that differ from mine, and he believes there is a was more of a role to it. I’ll respect his opinion but I’ll have to disagree.
47:35 And that’s one thing about my career, I don’t think it will be much affected, and the major point of exposure already happened, uh, the clips were out there, they are out there, thinks the connection is made, the Instagram pages, the Facebook things were affected. Now it’s a small, another small exposure here or there. Actually the fact that I stayed was my interest not in that but my interest actually in that riddle and our connection, our personal connection, which was the most important thing for me, uh, but really every time it’s this riddle, well what’s going on, what’s going to happen, just like all of us feel, right?
48:24 And then to be involved and to offer some insight into it, and then to be in charge of some experiments with the guinea pig and then to send him, that’s really interesting for me, and um, that’s the misunderstood part. So of course I get a lot of exposure from it, I try to, I also get a lot of hatred from it, and I also get a lot of, um, idiots from it. Yeah, the there is just a huge culture of all of this together and this would also bring another layer of it.
49:03 Tell you it’s worth it in on the sense of exposure, I have to tell you it’s not worth it, especially especially me, through my eyes, how I live my life, this would close people, would know, maybe it would sound to you and I’m, or I’m already, I’m already out of that game, I’m already, I’m already free, I’m already, I’m standing on two legs, I don’t need anything, I don’t need another euro in my bank account, I finished that. If I was maybe needing that in order to feel good, maybe I would have needed, but I’m not doing it from that perspective, and everyone involved knows that. Thank you for that question.
49:48 Cool, thank you so much. Right there, can you stand up? Thank you, Brian and Ido. Um, very, very touching, some of the moments in that movie was just heartwarming. Um, two-part question I do.
50:04 First of all, what scares you now personally, and what scares you about the globe in society in general? Er, that’s a good question. What scares me is the complete meaninglessness of everything. That’s what scares me. Me too, we talked about that.
50:26 Yeah, uh, it, I just, that’s a scary, that’s the biggest scare. Uh, and my scare for society is the fact that many people don’t realize it. Those are the two, or two parts of it. If only people realized, they would have immediately gotten a different orientation, how we live our lives, how we conduct ourselves, how we connect together, what we mean to each other, how do we construct our reality. And then on the other hand it’s because scary moments bring us together.
51:11 Yeah, so I think this is the two big things here with fear. I answered it. Who else? Uh, yes, sir, you here? Stand up please.
51:29 Yeah, thanks for the movie and the show tonight. I was listening to one of the things you’re saying on stage and it struck me as a contradiction from something we watched in the movie. In the movie there’s this idea of beginner mindset and constant playing and trying and exposing yourself to new fears, and on stage you’re saying about nutrition and not wanting to say much because you don’t know much about it, and that seems like a contradiction to me. I was wondering if you could talk on that and maybe either clear it up or say why in one domain, say philosophizing or teaching or educating, you’ll only do it if you’re an expert, wherein the domain of movement it’s about actually going forward and having that beginner mindset.
52:17 Strikes me as a contradiction. I was wondering if you could talk on that. You misunderstood, and first I’ll address the part of contradiction. If you didn’t find many contradictions actually within the film, every moment, then I’m disappointed because for me a true sign of intelligence is how many contradictions can you hold in your mind at the same time, as Albert Einstein said, that’s the whole game, and as the misconception. Um, I will not lecture and teach nutrition, it doesn’t mean I don’t pursue it as a practitioner.
53:01 So the beginner mindset is the practitioner side. I would practice and aspire to become better at new things that I don’t understand, but I don’t place myself as a teacher for those things if I’m not feeling I’m in an advanced enough stage in the game. So two different modes. I myself still research nutrition, I don’t lecture it because I don’t research it enough. Can you talk about this contradiction, as in the more developed or intelligent you are, the more contradictions you can hold in your mind?
53:34 Can you explain that? How much can you hold in your mind now at the same time, that’s really the sign of thing that’s, that’s IQ, but the real IQ, not the shitty test called IQ. That’s intellect, how much can you hold at the same time. And the saying goes, can you hold, a sign of intelligence is the ability to hold two contradictory ideas in your mind at the same time, because contrary to what we feel often, life is not this or that, it never is, and um, hence if you want to feel a piece of reality, what’s the first thing you gotta do?
54:21 Hold two contradictory things in your mind. That’s Taoism, that’s the heart of Buddhism, that’s the heart of everything, that’s the heart of a lot of it, sits in the heart of religions as well, but then repackaged, repackaged, repackaged, and sometimes we err on presenting a oversimplistic picture, this is right or this is right. There is no right, there’s just a complexity because we move into complexity that I get. Uh, gonna go a couple more questions.
54:58 Uh, Mr. Ziri, if you could stand up to any females have some questions. Uh, hi Ido. Hi. So uh, I’m a B-boy or a breakdancer as some might understand. I’ve been doing this for 15 years and in the last years when I met, when I saw your work I got really influenced and inspired by everything you were talking about, and lately a lot of B-boys in my culture, a lot of high-level dancers, they start looking at your work, they start uh appreciating your work.
55:35 I had conversations with people in some competitions or battles. I see people do lizard walks together with their own movements, but um, what I miss is I’ve never heard either talk about B-boying or breakdowns, and I just want to hear your opinion on breaking. First, I’m very surprised actually, my impression is that B-boys don’t really think highly of my work at all, and I actually value it, I think it’s a very intelligent culture. I don’t think you should start to do lizard walks, they sit lower on the chain than the stuff that you’re doing in many ways.
56:15 Um, I think the lizard walk is a great tool sometimes to open people to more elaborate ideas. It’s one of the cultures that I appreciate the most, along with the parkour culture and these young street cultures, let’s say, let’s call them young because they’re not 500 years old, and I think they are some of the most creative cultures, although some other movement cultures think they’re creative, they don’t even scratch what B-boy, what breaking, what the culture of hip-hop is doing, it’s incredibly creative, which means like in one month there is more creation going on than in the whole evolution of something like tricking, which is great, but I also have to say my truth, observing from outside, the amount of creativity going on is incredible, rhythmicality, creativity, style, style on the level of Bukowski style, you know, some dogs have more style than men, there is more style in prison than out of prison, but it’s so important, right, to have style, and so I’m a big fan and I don’t think the culture is a fan, uh, because they are within their own practice and I think they get some sufficient mechanics going on sufficiently, but I think maybe on a philosophical level they can benefit a lot from those ideas, and maybe some people are evolving into it philosophically.
57:58 On the level of practicality, maybe some tools here there, definitely not a lizard crow. Thank you for that. Can you speak on parkour while you’re at it? Uh, yeah, another one of my favorite cultures, and I do, I’m still a person, I still did not evolve into another status, and so these are my personal opinions that is often misunderstood because I’m some prophet or some uh some other wankery title. Um, so in the sense, in that sense as a person I have my favorites, and I love parkour, especially kind of the early generation um that started the phenomenon and how they, with what kind of philosophical tools they practiced, how the relationship with fear, which taught me a lot, it kind of gave me the terminology to talk about it, and I always felt it but I wasn’t really confronted with it like we did in Israel together, and I appreciate uh many things in there, and are there shitty things about, of course, the process is poor, and breakdancing is another poor, poor, poor process, poor instruction, poor understanding of many things, but there is also some beautiful things and I try to learn from it, the good and the bad, I try to bring it into another culture which practices around another idea, a lot of similarities and some differences as well.
59:41 Okay, good, thank you for that. We’ll take two more questions. Any women first? Yes, please. Can we get her a microphone?
59:49 Can you stand up? Hi, I’m a boxer, I box for a club here in London and I can see how so much of what you’re doing would be so beneficial to a lot of the kids who are boxing at the club where I’m at, but of course like I’m going on this weekend, it’s really expensive. So I wonder if, and I’m not trying to question whether you’re money influenced or not, but I wonder if you ever think about how to transfer this knowledge to more people for less money. Yeah, I do transfer the knowledge in many different ways.
1:00:26 I don’t think there is a price that is right. There is no, what’s the, what’s cheap, what’s expensive, and what would what would be cheap for those kids will be super expensive for some kids from Gaza or from Africa. There is no price, and hence I didn’t base myself in it from the beginning. I based the price on other factors, and I’m involved also with a lot of charity work which I will never talk about because it’s totally to do charity and to talk about it, in my eyes, um, which I now, I just did, so I even contradiction, I just, that’s really that beautiful moment right there, is eating the cake and leaving it whole.
1:01:26 And I work from the inside out, and that concept is something that I looked back in history and my own personal history, in the world’s history. I work with a very tight group and that group does another circle and that, and I think this is the quickest way to get out there, and I already I think I’ve proved it in many ways, so my message will go out there extremely powerful and it will be available for people with the right state of mind, potency and quality alongside of it. I could have spread some things, lose some qualities, I chose to do the right mixture.
1:02:09 I chose to put a certain price on it and to make it a little bit difficult for people to come. I, we’re not really nice, we’re not business oriented, so we don’t, we make very, very simple choices, you know. I I went to buy this clothes today in a shop here in London, that is very similar. I was like, do you have this in a different size? No, there was none of that.
1:02:36 Let me try to ch- No, it’s just this size, and then the store opens at 11 and closes at seven, or a coffee shop in Berlin that opens when uh from 12 until three when you drink coffee, but there is something there, there is something about it’s a saying. Now is it about optimal service right now? No, I’m not about optimal service right now, I’m about doing my thing over a decade, I’m about doing my thing in the long term, and that’s what I’ve been trying to do.
1:03:17 And I absolutely think you’re right, these tools should be approachable and accessible for these kids, and it will allow them to develop into their own personal best and also to develop a community which is far better than our current version. So still it’s in my mind. Speaking of decade, what are you going to be doing in a decade? I have no idea, no idea whatsoever, I continue to react, I continue to unfold and continue to observe, to look back, to look forward, and still also being a lot in that moment.
1:04:07 Maybe I think maybe I reach the end expansion and then I start to go in again. Maybe that’s the right thing, that’s where I will be. Maybe I will go avant-garde, maybe I will go inwards, I reached the size now, I decrease the size until I’m left alone. So you’re gonna disappear? Maybe, maybe we all are gonna disappear, but maybe also the ideas should be evolving in such a way because I do get nauseated from my own work.
1:04:47 I know. Yeah, um, you didn’t want to do a movement for this film because you didn’t want it to be about you, right? You want it to be about the ideas. Yeah, yeah, there is I can still use it, I can still, wow, I can still backflip from here and sit down and but also I want to not base myself in those things and I don’t want to continue to. It’s temporary, why would I invest so much into it?
1:05:16 And it would be nice to have a small beer belly. Would it, would it be nice, it would be nice, it would be nice to, it would be nice to not base myself. You know, many times people think it’s about the body, it’s not about the body, it’s about movement. They confuse the two things. It’s not about health, I’m not about health.
1:05:43 There is some orientation that is very, are very healthy, I never drink, I never smoke, I practice my body but I also destroyed my body in practice, so obviously it’s not about health, and I don’t want to base myself on this temporary things. Some people came to me recently, someone had told me like, how are you doing, how are you doing, you lost a lot of muscles. I say, yeah, they got in my way, they had to go. It’s not about, was never about that, or the health, it’s about the movement.
1:06:22 Yeah, what is health? It’s another nauseating concept. It’s another, what are you clinging to? You’re all going, you’re all going in the other direction, so like you’re clinging, you know, the old bodybuilders with, you know, the dried prune face and the 16-year-old body, it’s sad. It’s sad, and what are we clinging to, you know, the health of the, but life is not about that, and when you base yourself only on that you do reach some problematic moments.
1:06:56 Life is not about beauty, it’s not about the aesthetics of it, so it’s important for us to practice some of our orientation towards more long-lasting things. Ultimately nothing is long-lasting perhaps, or maybe we do carry it, who knows, but I want to base myself at stuff that will serve me 50 years from now, and that’s not my one-arm handstands, my muscles. It’s not about the aesthetics of it, it’s not about, it’s not about the sexiness of it, it’s about the adventure, it’s about developing yourself, it’s about pushing yourself or discovering, it’s even not about some of those things.
1:07:42 Okay, it’s because these things will also be, how much can you push yourself? Okay, so you’re gonna hit 50. And then what? And then you compare yourself back, it’s like, no, I’m not pushing myself as before. So you know, even for the hardest workers it’s important sometimes to stop pushing yourself and to realize, don’t base yourself in that, in another addiction.
1:08:08 I’m the hardest worker but now it’s easy work because you just push yourself, you’re used to it. Let’s see you not push yourself, that’s for me huge, it’s very difficult. You try that. Yeah, recently my dear cousin who is here and told me to stare at the ceiling, so I practiced. How’d it go?
1:08:33 It lasted a few minutes. I stayed in bed, I tried, I tried hard and it didn’t work really well, but I’m a new practitioner, so but really, really, it’s not a joke, really. That’s my lesson right now with that specific thing because we don’t want to be in a blur, we want to be present, so we have to make the choice again now, and I don’t make the choice anymore when I work hard because I’ve worked hard all of my life, I’ve outworked everyone, I’ve made many sacrifices, now it’s easy work, I’m just the hard worker, so it’s easy work, so I’m not choosing again, I’m just going on automatic.
1:09:20 Oh yeah, I’ll outwork him. So no, choose again. What do you want to do? And sometimes what it takes is to stare at the ceiling. When we had lunch with the crew you told them about this new meditation technique you had with your eyes open, and they all went back to the flat and tried it that night and uh, it didn’t work out so well for them.
1:09:50 Um, is that something you still try to do? Um, I do a lot of different things and currently I’m doing something else, but I’ve done it for many, many years. Yeah, the crying meditation, keep your eyes open for long periods of time. Yeah, no blinking, no blinking for sometimes hours. It’s uh, interesting.
1:10:12 Yeah, I couldn’t tell if you were just winding my crew up, but you’re not. Not at all, not at all. Some people here have done with me extended periods of time of death, and it’s powerful. What happens? Uh, well, first you gotta cry, there is no other way to sustain it because you’re not wetting the surface of the eye, and once the tears start flowing down continuously there is a change in the state of mind, in the emotional capacity.
1:10:40 It’s something that I discovered alone, maybe some meditation teacher probably someone have done it before, but I didn’t learn it from anyone, I just started to do it out of certain intuition, and then when the tears start to roll down and you stay and it keeps going for an hour, you’re just standing and you just cry, it’s very difficult, it takes a long time to get there because you people just blink and then there is a change, there is an emotional release, there is a change in the state of who you are, in the state of the awareness also, not focusing the eyes, not moving the eye, it’s another form of undoing what we need, and we are all about doing and we can’t get to the next level because the next level is about undoing, it’s about staring at the ceiling sometimes.
1:11:29 Okay, two more questions, we’re done. Uh, raise your hands up, I’m gonna go one to the upper level here. Yeah, you. Was there a female? All right, I’m gonna go with Gareth’s sister.
1:11:39 Can you stand up? Sorry, so Gareth is one of my former banking colleagues and he’s the only one that comes to my movie premieres. Gareth, stand up. Yes, he always supports me, he’s the first one to buy tickets. Thank you, Gary, thank you very much.
1:11:54 Why are you here, by the way, Gareth? Why do you keep coming? Tell me. Yeah, I’m just very impressed that you’ve uh, you know, you’ve got, well basically when Brian was my bro, he’s my broker, actually he worked for ICAP, I work for, I work for Lehman Brothers actually, which no longer exists, but um, LeBron never really wanted to be the broker, he was always taking me to like butchery classes, he was always like going on exciting like adventures, and it’s nice to see him finally kind of doing something he really loves, and it’s really exciting to see.
1:12:26 Thanks again. So sir, you gave me a wonderful introduction to my question in that last conversation with Brian because I’m all about health. I’m a doctor, in fact I’m perhaps, I think, the most simple yet most complex form of doctor, I’m a GP, that means general practitioner, and just like you that means I’m constantly practicing and striving to learn. I think the human body is amazing and magical, and every single one of us has an amazing magical body if we listen to it, and I in watching that movie thought, well, you listen to your body more than anyone I’ve ever encountered, and you feel it, but then you hurt it and then you carry on, and I guess I want to know, the two parts to this question, I want to know what the worst injury you heard was and how you rose above that, how you dealt with that.
1:13:20 Yeah, thank you. Um, I don’t have any injuries, never really injured myself badly. I broke a lot of noses, well actually people broke my nose many times, and I had some teeth flying out of my mouth getting kicked in the face in capoeira. Yeah, yeah, capoeira, and also in boxing a few times. Um, some, um, I’ve had some aches and pains but really I’m surprisingly good because my real secret is I’m a coward, and as I said before I’m a coward that goes into the fear, so many people might see it as brave, but I go in very, very specific ways, I’m very, very careful and I don’t take big risks, and I mean that in comparison with other practitioners that have been around me.
1:14:24 I don’t take big risks, I never did, um, and that kept me safe. As for hurting the body, that question comes from the Cartesian state of mind, and this is the problem. I don’t listen to my body, I am my body. I don’t hurt my body, I hurt myself, and I want to do with myself whatever the, I want to do with myself, and sometimes to have this passion is more important to me than a sore knee, and to have that connection. I don’t look at my body from outside, this is the problem, I think in many, many different ways.
1:15:08 It’s also the problem of modern medicine where we separate, but actually it’s the coin you spin it around and you can see both sides of the coin at the same time, only when you stop do you see one side. I never stop. I’m in motion and hence I always have the feeling that it’s one big entity. Um, and I definitely understand your orientation and seeking, and I respect that pursuit, especially from someone, a doctor. My sister is a doctor and she saved the many lives, I’m sure still to this day continues, and now she lives here in the UK, she continues to pursue that direction, but I also believe there is a major problem in the sense of basing yourself in saving lives or in the preservation of health, there is another problem there because ultimately that would be taken, it’s more valued by us but not the actual person that it happens to sometimes.
1:16:22 There is more to it, and that’s why some people just say sometimes, I’m out, I’m done. For us it’s terrible, maybe there is another way to look at it, who knows, I never reached that place but I can see there is more there than what meets the eye. Thank you, thank you. One last question, someone who really wants it. Let me see.
1:16:47 All right, this channel in the back, you’ve been waving, give him a microphone, it’s a good question. Thanks, uh, first of all Brian, I hope you’ll get to sleep after tonight, it was amazing, well done. Thank you. Um, you know, I was checking out a formal conversation here with Brian and you uh, you mentioned death and you mentioned today’s a good day to die. Um, I’d love to hear a bit more about your relationship to death and what are your views about death getting in the way of people living their full lives.
1:17:19 Er, I have the usual relationship with death really, it’s an ambivalent relationship and there is a certain luring of the, of the, the the drop, how do you say that, the void, the void calls your name, right, there is something about it, it’s like it’s constantly, and then the same times it’s fear. Anyone here who has fear of heights knows it, real fear of heights, I have, so when I’m in the height my body actually throws me off, I’m attracted by the void, it doesn’t make any sense, and at the same time I’m terrified by the falling, by the possibility, so I think it’s extremely similar, um, the relationship there. It’s a big question, you constantly redefine it in your head, I think of it daily, death, death of closed ones, my own death, and continue to work within that, those, that perspective in my own practice, which means I practice the art of dying.
1:18:29 I am, there is no real art of living actually, there is the art of dying. We are all dying right now, we are in the process of dying slowly over a period of years, some of us have five years, some of us have 20, some of you maybe have a day, maybe statistically here someone is gone tomorrow. But um, that’s something that we need to, it’s the art of living, it’s the art of dying, it’s something that we need to develop a relationship with. Some cultures did that, really pursue that.
1:19:03 Our culture, I can say, I can call all of us generalization a culture, and we have suppressed it, we have hidden it below the rugs, we don’t talk about it with our children, we don’t, if you don’t learn in school about it you don’t receive tools, and it’s in the back of everyone’s mind, it’s the pink elephant in the room. So this is something that I bring into the movement practice, into my community, into the culture, and I try to practice it myself as well. I know, but at the same time I have nothing simplistic to say about it, you know, I just have some practices to do, like slowing down your breath to the level of a discomfort where there is a panic, I need more air, but actually you don’t need more air, you can keep going like this for a long time, and then there is a working within those parameters, you are confronted with that and it becomes a practice and then you can observe, you don’t just do it once, you do it for three years and then you have some observation about it, so that’s what I can offer.
1:20:19 Any final thoughts, anything you want to say? So much, is this, uh, did you, do you enjoy things like this or not really? I enjoyed it a lot. Um, I think you did an amazing job and you completely transformed the way that you’re doing things from, from Dorian’s, um, documentary. I think you’re on a different level, and I have a lot of criticism as always, which you’re going to give to me.
1:20:54 Correct, as always. Thank you, as always. You are a person that uses that and works with that, and I think it’s a beautiful piece that um, I would never be able to live with myself on the screen in total peace, but it’s important that it does its job and it will serve people and help, and I want to thank you and all the crew for that amazing stuff, and most of all thank the people traveling from all over the world. For me this was the real fun, is to meet people, to be around some very close people here who came, my family, to have this opportunity to share, and this is where the real heart of it.
1:21:35 Thank you for taking such good care of us, sending care packages and creating uh social possibilities for us to interact, this is the most important thing, and that’s it, big, big gratitude. Cool, thank you. Well your family, your family is my family and you guys made me feel so, so great in Tel Aviv and you know it was special. I don’t know if like if that was shown on the film but you know it’s a special vibe in there and you know everyone around you is special.
1:22:08 Um, you sent me a text last night, he said good people attract good people, something like that. Thanks for watching, and you have some good people. I have the friends, the first time I met Odelia at the Hoxton Hotel, you know, three years ago, it’s just, you know, everything has been has been that way. Um, so yeah, um, thank you for letting us in, thanks for trusting me, thanks for letting us build this thing, and uh, we can thank Ido and them.
