Actor, Writer, & Filmmaker David Bianchi On 5 Things You Need To Create A Highly Successful Career In TV & Film

…I think if everybody wrote a gratitude list, even just three times a week, the vibration of planet Earth would shift in a way that’s measurable. If everyone took it upon themselves to spend three days a week writing a short gratitude list, putting pen to paper about things they’re grateful for, it could be something as simple as this conversation I’m having with you, my golden retriever, my girlfriend of six and a half years, or my mobile device that works. We get so caught up in trying to achieve big things that we forget about the little things. The big things are just an assembly of little things, and it’s those little things that make us happy. And that’s a movement that is practical to do, wouldn’t cost anybody any money; it would just take a bunch of people to raise their voices and say, “Do it.” I think people would really start to see themselves on a granular level. And the idea here is optics, right? Everything’s relative. When you come from a place of gratitude, it protects you from the viscosity of the world…

I had the pleasure to talk with David Bianchi. David is a multifaceted artist, actor, writer, and filmmaker whose career spans traditional Hollywood productions and the emerging landscape of digital art and blockchain-based storytelling. With more than 120 film and television credits, as well as a reputation for pushing creative boundaries, he has established himself as a dynamic presence in the entertainment industry.

Born in upstate New York, Bianchi spent much of his childhood in Mexico City and later in Brazil, experiences that shaped his multicultural perspective and fluency in English, Spanish, and Portuguese. His passion for performance began early, with his first role as Captain Hook in a school production of Peter Pan at the age of three. This formative experience ignited a deep interest in the performing arts that carried through his adolescence. He eventually pursued a Bachelor of Fine Arts in Theatre and Film at Arizona State University, where he graduated magna cum laude under the mentorship of Tony Award-winning director Marshall Mason.

Bianchi’s acting career spans major film productions and television roles across a wide range of genres. He has appeared in films such as Birds of Prey, Priest, and Filly Brown, as well as television series including Westworld, Queen of the South, Unsolved, Animal Kingdom, S.W.A.T., The Last Ship, and Resident Alien. His performances often reflect a commitment to complex and layered characters, frequently engaging with stories that address social issues or explore deep psychological themes.

Beyond acting, Bianchi has established himself as a producer and screenwriter. He is the founder of Exertion Films, a production company that has developed multiple projects released on platforms such as Hulu, HBO Max, and Paramount+. His work behind the camera includes producing and writing credits for films like All Out Dysfunktion! and serving as the executive producer of Her Name Was Jo. He has also ventured into episodic storytelling, creating, co-writing, and starring in the sci-fi thriller series RZR, which premiered in April 2024 on Gala Film and earned an Emmy nomination. Set in a dystopian Los Angeles where artificial intelligence and black-market crime intersect, RZR blends elements of cyberpunk and noir, exploring the ethical and existential questions posed by advanced neural technology.

Bianchi’s artistic range extends beyond film and television. A recognized spoken word poet, he has integrated poetry into his cinematic work, pioneering a style he refers to as “spinema,” which fuses spoken word performance with visual storytelling. His short film I Can’t Breathe, a response to the murder of George Floyd, gained national attention when it was featured as part of KTLA’s Breaking Bias series and was later sold as an NFT to support the George Floyd Memorial Foundation. His foray into blockchain technology and Web3 has positioned him at the forefront of a movement exploring the intersection of digital art, social activism, and decentralized media distribution.

In addition to his work in film and poetry, Bianchi is also an accomplished painter, with his artwork exhibited in galleries across Scottsdale, Beverly Hills, and Los Angeles. His contributions to the arts have been recognized by the City of Los Angeles, and in 2011, he received a congratulatory letter from then-Mayor Antonio Villaraigosa acknowledging his impact on the North Hollywood arts community.

Throughout his career, Bianchi has maintained a commitment to diversity and representation. He is an active member of the Academy of Television Arts and Sciences, the National Association of Latino Independent Producers (NALIP), and the Producers Guild of America. His work has earned industry recognition, including a nomination for an Imagen Award, which honors positive portrayals of Latinos in entertainment.

Bianchi’s personal journey has also influenced his creative path. After struggling with substance abuse early in his career, he embraced sobriety in 2017, a turning point that allowed him to focus more intently on his artistic and professional aspirations. His experiences with addiction and recovery inform his storytelling, particularly in RZR, where his character, Grimm, grapples with personal demons while navigating a morally complex world.

As an advocate for innovation in entertainment, Bianchi sees the future of storytelling as increasingly intertwined with emerging technologies. His work in the NFT and Web3 space has garnered attention for its potential to empower independent creators and redefine the traditional structures of content distribution. He believes that blockchain technology offers new opportunities for artists to maintain ownership of their work while reaching global audiences in unprecedented ways.

Bianchi’s career reflects a blend of artistic passion, resilience, and adaptability. Whether acting, producing, writing, or exploring the possibilities of digital media, his work is driven by a dedication to storytelling that challenges, provokes, and inspires. As he continues to expand his creative ventures, his influence in both traditional and emerging entertainment industries remains significant, offering a glimpse into the evolving landscape of modern storytelling.

It’s a delight and an honor to meet you, David. Before we dive deep, our readers are eager to learn about your personal origin story. Can you share your childhood experiences and how you grew up?

Sure, I’m not often asked about this. I was born in upstate New York and spent my early years there before moving to Mexico City.. My childhood is filled with memories of improvising TV commercials with friends on a playground. This love for make-believe led me to perform on stage by third grade, where I played Captain Hook in “Peter Pan,” complete with a painted mustache and a metallic hook.

This opportunity was significant because, in the 80s, casting a brown kid like me as Captain Hook was quite unconventional. It may have been influenced by being in Mexico City, a place with a rich mix of cultures. This role was my first taste of performing for a large audience, and it sparked a passion in me that continued through high school theater. However, I shifted gears and immersed myself in the electronic dance music scene, promoting raves and DJing for about eight or nine years. I loved the scene for its values of peace, love, unity, and respect. This experience, especially organizing a massive outdoor rave from scratch, unknowingly prepared me for a career in film production.

I eventually pursued formal education in theater and film at Arizona State University, where I graduated magna cum laude. My training there, under the guidance of Marshall Mason, a Tony-award-winning director, was invaluable. I learned not only the technical aspects of performance but also the importance of understanding the mechanics behind it. This foundation led me to direct my first short film in 2003, which was a stepping stone to my journey in Hollywood. Despite my enthusiasm, Hollywood was a tough nut to crack, a reality that I quickly came to realize. This journey from my childhood to where I am now in LA has been a rich and varied one.

I was quite the troublemaker in high school, getting expelled from around six schools, so I never actually graduated. Instead, I earned my GED at a local strip mall. This experience was pivotal, especially after returning from Mexico City to upstate New York, where I faced significant culture shock. I was bullied, and then I became the bully, struggling to find my place because I didn’t fully fit into any cultural group. I felt too different from everyone — neither white, black, nor Latino enough, which echoed my later experiences in Hollywood. In the early 2000s, being ethnically ambiguous was not recognized or valued, making it difficult for me to land roles.

Despite not finishing high school, I excelled at Arizona State University, graduating top of my class. This achievement reflects my passion for performance and filmmaking. When I arrived at university, I was completely focused on honing my craft, not on partying or socializing. Before moving to Arizona, I worked as a telemarketer, saving money and dreaming of performing on the main stage at Arizona State University. I kept a picture of that stage pinned to my cubicle, reminding myself daily of my goal. Eventually, I not only performed in leading roles on that stage but also directed my first short film.

My journey has always been about determination and seeing things through, not just making attempts. I often say I “attack the island and burn the boat” because I leave myself no choice but to move forward. This mindset served me well when I arrived in Los Angeles, although I quickly realized the city wasn’t waiting for me with open arms. Despite coming from a top-tier university theater program, I had to start from scratch in LA, couch surfing and dealing with challenging living conditions. My first job was as a waiter at Universal City Walk, which felt like a big step at the time.

For about four years, I did extra work and eventually earned my SAG card. Despite the lack of opportunities, I stayed close to the energy of production, driven by my passion. Another deep passion of mine is spoken word poetry, which has been a significant part of my journey.

At Arizona State, I started producing slam events, drawing on my background as a promoter. Unlike some actors who have the Groundlings or Second City, or the stand-up stage, my platform was spoken word poetry. This stage offered me a weekly opportunity to express myself, perform in front of an audience, and find community. It was a source of inspiration and a way to inspire others, which became a vital part of my life. Despite the challenges, like living with cockroaches or frequently visiting Check Advance America to borrow money, I found something to look forward to each week.

Spoken word poetry was my lifeline. It was the reason I managed to keep going. My resilience, developed from my earlier experiences in upstate New York — throwing raves, getting into fights, and being thrown out of schools — prepared me to navigate the difficulties of living in LA. If I had led a sheltered life, I doubt I could have coped with the realities of my early days here, including sharing my living space with cockroaches for three years, which I tried to make light of by naming them.

Another escape for me was the nightclub scene. I’ve always been a fan of house music and drum and bass, so I looked forward to weekends at clubs like Avalon, dancing until morning. However, this lifestyle also introduced me to a cycle of alcohol and drugs as a way to cope with the harsh realities of Hollywood, which felt like it was crushing my dreams. The club scene was another community for me, a place where I felt alive and free.

During my first five or six years in LA, I found myself caught between producing independent films and struggling with substance abuse. My first short film in LA, “Soldier,” was a spoken word piece opposing the Iraq occupation under the Bush administration. This project marked the beginning of my journey in producing films that integrate spoken word poetry, an approach I now refer to as “spinema.” This concept — blending cinema with spoken word — is a key reason for our conversation today.

For the next 17 to 18 years, I dedicated myself to producing experimental films told entirely through poetry. I invested a significant amount of my own money, earned from bartending, into these projects. Despite the lack of opportunities from Hollywood, I was compelled to create. These films gave me a voice and a sense of purpose. Participating in festivals worldwide, we received various acknowledgments, which honed my skills as a producer. Each film improved upon the last, embodying the essence of continuous learning and growth.

Director, Robert Rodriguez once said that every filmmaker has ten bad films in them before they can truly start their career, so it’s important to start making mistakes as soon as possible. With every short film, I sharpened my skills further. This journey eventually led me to produce feature films, starting with low-budget projects where I learned to manage teams, stretch resources, and enhance my creative output.

Fast forward to today, I have produced six feature films and numerous short films, with spokenword films becoming a significant part of my creative identity. These projects allowed me to use my art for activism, giving a voice to those who are often unheard and shining a light on important issues through the medium of film. Collaborating with talented individuals like Malcolm Jamal Warner, Mustafa Shakir, and Jovan Wade has been incredibly rewarding and a testament to the high-concept nature of our work.

A pivotal moment in my life was my decision to embrace sobriety on May 14, 2017. This choice has been transformative, leading to a screening of “RZR” on the seventh anniversary of my sobriety at the Wolf Theatre, the Television Academy. This moment feels like a divine intervention and brings me immense emotional fulfillment, reflecting on the progress I’ve made by simply getting out of my own way.

Sobriety has not limited my lifestyle; I still travel the world, attend big electronic dance events, and live a fulfilling life without alcohol or mood-altering substances. This change has enriched my life, allowing me to engage in meaningful conversations, tap into my purpose, and create my dreams. Today, I am a better actor, son, uncle, writer, artist, and human being thanks to my sober journey. This transformation is something I treasure deeply, and I wouldn’t have it any other way. This narrative captures the essence of my journey and the profound impact of sobriety on my life and career.

Such an incredible story. And it’s not just incredible; you’re an amazing storyteller too. All the things you mentioned about charisma and how your experiences have shaped you really shine through in how you narrate your story.

I appreciate that. Even as a kid, I’ve had quite a few run-ins with the law, and I’ve been in handcuffs more times than I can count. I was misguided and delusional. I thought I was on the outside looking in, but really, I was on the inside looking out. I was trapped in a fishbowl, caught in my own self-imposed limitations. And even today, I believe we all deal with these self-imposed limits. I work hard to keep them at bay. making spoken word films was crucial because I wasn’t getting cast in anything. People often ask me, “ How do I get my foot in the door?” And I say, “What door? Build your own doorway.” Your first attempt might not be perfect. You might not know how to bevel or sand properly. But if you keep working on it, improving your skills, you’ll become a master craftsman. Eventually, people will want you to build doors with them or for them. That’s been my journey in filmmaking. Now, people invite me to collaborate because I’m mastering the craft.

Fast forward to March 2021, during the pandemic, I discovered NFTs. Having collected Bitcoin since 2017, I understood and respected blockchain technology. The leap to NFTs wasn’t hard. Hearing about a $69 million sale at Christie’s for an artist I followed on Instagram, Beeple, sparked my interest. It was fascinating — the idea of blockchain for intellectual property, smart contracts, provenance, and the ability to earn royalties without human error. It was revolutionary, but I wasn’t sure how to enter this space.

Identity and branding are important to me.I’m known as a poet, actor, and filmmaker, so I figured out how to mint a short, spoken word film as a unique one of one NFT. This had never been done before. My piece, “I Can’t Breathe,” my soliloquy. to George Floyd’s murder and the history of oppression in America, caught attention in the NFT world and was acquired by a one of the worlds largest crypto art collector Metakovan, the same collector who bought Beeple’s 69 Million dollar work at Christie’s. I donated all proceeds to the George Floyd Memorial Foundation, and the story was covered by Forbes. Suddenly, I was being invited to major Web3 events and Art Basel. My NFTs, unique multimedia cinematic pieces, were being collected by prominent figures in the crypto art scene. It felt like my work had purpose, standing out on its own, beyond just being part of a film festival lineup. This intersection of finance, technology, art, and community was mind-blowing. It led to speaking engagements and performances at major NFT events, marking my emergence as a thought leader in independent film and blockchain technology. This journey began with my spoken word films, a passion I started exploring in 2005 for inspiration. It was a long journey, with many lessons along the way, until the timing was right, and I partnered with Gala Film to launch RZR.

That brings us full circle. Please tell us about RZR and why readers should get excited about it.

I’ll tell you, in 10 years, we might be discussing a completely different project — one that traces its roots back to RZR. We can’t predict exactly how things will turn out, but I believe the universe has a plan for us.

As the creator, co-writer, executive producer, and actor playing the title role of Grimm, I’m deeply involved in RZR — spelled R-Z-R. This series immerses you in an alternative, dystopian Los Angeles filled with neural implants, cryptocurrency, and black market crime. It centers on our protagonist, Grimm, who develops an artificial intelligence neural brain implant. Through a series of self-performed surgeries, he installs this technology, enabling him to access, download, transmit, and execute data in real-time.

In a city overrun by criminals, Grimm must navigate a delicate moral balance, aiming to be a force for good in a world that desperately needs it. He believes this technology can uplift humanity, despite the chaos that follows its development.

RZR’s narrative is inspired by Mr. Robot and Cyberpunk 2077, with further influences from The Matrix, Black Mirror, Children of Men, and both Blade Runner films. The genre we’re exploring is Tech-Noir.

Despite being an episodic series, our approach prioritizes cinema — a sharp contrast from much of mainstream streaming, a concept I’ve playfully dubbed TINEMA (television trying to be cinema). Unlike these glossy, melodramatic TV shows, RZR aims for grounded performances and visuals that cinephiles will admire.

So, what lessons do you think society can learn from the themes and motifs of RZR?

One of the key themes we explore in the script — crafted by my co-writer Daniel J. Pico, an incredibly talented writer who also directed episode six — revolves around the potential dangers of artificial intelligence. The script draws inspiration from Elon Musk’s Neuralink technology. I found myself wondering: what if there were a human being with a BCI (Brain-Computer Interface) implant in his brain, but it worked 10,000 times better than Neuralink, particularly in terms of latency?

Elon Musk once mentioned that when we use our smartphones, we’re essentially cyborgs. The only issue is the latency in transferring information from the device to our brains and then communicating it outward. But what if this process could happen in a nanosecond? How would that transform a human being? In essence, while artificial intelligence can pose risks, it also holds great potential for good — depending on who controls it.

The BCI technology I envision could have vastly different outcomes depending on whose mind it’s in. For instance, in the mind of the Pope, it could achieve certain things, but in the mind of someone like Vladimir Putin, the results might be drastically different. So, the danger of artificial intelligence ultimately depends on the people using it and their intentions.

These are some of the questions we explore in the world of RZR — what actions humanity can take to improve the world, despite our inherent limitations.

Yitzi: How would you compare and contrast your personal character with Grimm, the character you play in the series? How are you similar and how are you different?

Grimm in the series is a combat veteran from a world that has experienced World War III. He’s seen the horrors of war firsthand. Unlike me — I’m animated and loud — Grimm is subdued and quiet, which made it a challenge for me to portray someone so reserved.

However, one trait we do share is his struggle with addiction. His experiences and the pain that followed led him down a path of using pharmaceuticals, hallucinogens, benzos, and OxyContin. This aspect of Grimm’s character resonates with me because it highlights the frailty of human beings caught in the grip of addiction — something I understand intimately.

Grimm is an everyman. We aimed to make him as relatable as possible, using his flaws to strengthen that connection. Unlike superheroes, who often feel larger than life, Grimm’s flawed nature and human condition make him someone audiences can connect with. He’s on a mission to do the best he can with what he has, which mirrors my own approach as an artist. I strive to create the best possible projects with the resources available to me, and I see this project as a significant step toward making something truly exciting and impactful.

This is our signature question. Looking back to when you started, you’ve achieved a lot of success and have an enormous amount of credits under your belt. For someone just beginning their journey in the entertainment industry, whether it’s filmmaking, screenwriting, or acting, can you share five things needed to create a successful career in entertainment?

Five things? I love the impromptu nature of this. I wasn’t ready, but I’ll come up with something slick.

1. I’m blessed. I haven’t had to work in the service industry for over five years. I’m a self-sustaining artist. If we go back to five things, number one is to know your direction. In other words, if you aspire to be an architect, that’s what you are and nothing else. If you’re an aspiring vocalist, that’s what you are. If you want to launch a business in carpentry or ceramics, that’s what you do. So know your direction, so that no matter what, every day, you’re aligned with achieving that direction. Even if I go back to 2005, I remember vividly picking up trash on the highway in my orange jumpsuit (because I was doing community service on the weekends). And I would pick up a piece of trash and say to myself, “I’m becoming an actor. I’m becoming an actor.” I wouldn’t let the nuisance of hundreds of hours of community service get in the way of my purpose, I always knew my direction. When I was bartending early on, when I first arrived in 2005 and was still doing extra work, people would ask me, “Oh, what do you do?” I’d say, “I’m an actor.” immediately in Hollywood, they’d ask, “Oh, what have you done?” I hadn’t done any TV then, I’d say, “I’m an actor, I’m classically trained. You can’t take my dream away from me, regardless of your perception. So, know your identity, know your direction.
2. Number two, always find something to inspire you. I’ve heard that there are two things you need to be happy: something to love and something to do. There are people living in Alaska by themselves for six months out of the year, and they have something to love and something to do, and they’re probably perfectly content. So, be inspired by something. I had spoken word; I knew I could motivate people. It gave me something to look forward to. I always say, “What gets you out of bed on Monday?” That’s what you need. What’s going to get you out of bed on Monday and give you maximum purpose? So, know your direction and be inspired by something.
3. Number three, find your tribe. This means finding people who are as inspired as you, who know their direction and how to stay inspired, but are also at your level. If you’re a budding screenwriter who’s never had a short film produced, you need to find a director with a camera working on their first or second short film. This director should have a cinematographer friend who needs a reel, a production designer friend who needs a reel and some behind-the-scenes photography for their website. Then, you need to find two or three actors who are not union members and are more than happy to donate their time to be in front of a camera every weekend for two months. Scrape your money together because now you all have a unified purpose. Now, you’ve created an incubator, an ecosystem of people who will hopefully become your constituents and collaborators for decades. My co-writer Daniel J. Pico, (who directed my first spoken word cinema film in 2005) is an example. Here we are, 19 years later, working on “RZR.” Finding your tribe is really important. So, know your direction, be inspired, and find your tribe.
4. Number four, always step with your best foot forward. Just because you’ve created something doesn’t mean you have to unleash it to the world. Not everything you create is going to be good. In Hollywood you’re only as good as your last project. When you meet someone, they’re likely to check your IMDB or look at your reel. You’re only as good as your body of work. So, always lead with your best foot forward. Deliver the best possible product with the tools you have. This applies even to your pitch proposal or presentation deck, which should be succinct, organized, and professional. If you don’t know how to do that, find someone who can. When you walk into a room, be clear, sober, focused, and attentive. Even if you don’t book the job, you’ve made an impression. I always tell actors, “It’s not my job to book the job, it’s my job to book the room.” The casting director is the gateway to the job. The only thing I can control is my presentation and my performance. My job is to book the room, and then leave the rest up to a higher power. This is something I learned in my recovery: I don’t work in the results business. That’s up to a higher power; I work in the work business. These principles are fundamental, and the last part is philosophical, but it’s something I had to learn (and am still learning).
5. I mentioned this earlier: get out of your own way. There’s a whole variety of things that could mean, like your temper, lack of organization, or how you speak to people. I’ll openly admit that I’m very judgmental and quick to critique others, which is something I need to work on. Even in sobriety, my aggressiveness can be a hurdle. For anyone out there who finds themselves drinking too much, you need to step aside from that and let yourself progress. Insecurity is another big barrier. Many artists hold themselves back, feeling their work isn’t good enough or fearing they can’t compete with others. I’ve seen actors new to LA, claiming they’ll “try the acting thing.” To them, I say go back to wherever you came from Ohio, Mississippi, or wherever living is affordable, get a dog, and find a home and live your life. Cause LA ain’t the pace for you. Coming here with a mindset of just “trying” means you’ve already set yourself up for failure. When you arrive, you should declare, “I am an actor, and I will succeed.” Overcoming these barriers is a very personal journey, and everyone has their unique challenges to face.
6. And then, there’s another important piece: just have fun. If you’re not enjoying the journey, it’s time to reevaluate. For me, if I decide to make a movie, I’m committed to making it happen. The journey from A to Z, with all its ups and downs, is what I look forward to. There’s no final goal that we’re chasing. Even the most celebrated actors or musicians, after winning Oscars or Grammys, will eventually look at their trophy and wonder, “Now what?” Winning doesn’t complete you. It may bring temporary happiness, raise your profile, and increase your earning potential, but it doesn’t fundamentally change who you are. You reached that milestone because of your character and efforts. Enjoying the journey and the growth it brings is crucial. That’s what shapes who you will become, so enjoying the process and having fun is vital.

This is a final aspirational question. David, because of the platform that you’ve built and your amazing work, you’re a person of enormous influence, and people take your words very seriously. If you could spread an idea or inspire a movement that would bring the most good to the most people, what would that be?

Well, I want to do something practical, something that wouldn’t require a heavy lift. I think if everybody wrote a gratitude list, even just three times a week, the vibration of planet Earth would shift in a way that’s measurable. If everyone took it upon themselves to spend three days a week writing a short gratitude list, putting pen to paper about things they’re grateful for, it could be something as simple as this conversation I’m having with you, my golden retriever, my girlfriend of six and a half years, or my mobile device that works. We get so caught up in trying to achieve big things that we forget about the little things. The big things are just an assembly of little things, and it’s those little things that make us happy. And that’s a movement that is practical to do, wouldn’t cost anybody any money; it would just take a bunch of people to raise their voices and say, “Do it.” I think people would really start to see themselves on a granular level. And the idea here is optics, right? Everything’s relative. When you come from a place of gratitude, it protects you from the viscosity of the world.

It’s such a profound idea, and yes, you’re right, it’s practical and not impossible to do. We just need people like you to spread it. It’s amazing. So, how can our readers continue to follow your work? How can they watch RZR when it comes out, and how can they support any other work you’re doing?

I appreciate the ask. RZR will release on April 14th, 2024, on a brand-new platform called GalaFilm. RZR is the first title to debut on their platform, which is the first ever Web3company producing Hollywood content at this scale. there’s a lot on the line. Episodes 1 and 2 will drop on April 14th, and then we’ll release new episodes weekly. The cast is incredible, featuring Mena Suvari, Richard Cabral, Emelio Rivera, Christopher Marquette, Mimi Davila, Danny Trejo, and a shout-out to my producing partner, Noelle Hubbell, who has done an incredible amount of work.

RZR is led by an amazing group of women, with 10 to 12 women heads of department roles on the show, and boasts tons of diversity in its cast. I had 58 speaking roles, and 52 of them are played by diverse actors, including Latinx, Asian, African Americans and LGBTQ members. The world we’ve created is very interesting. We’re planning to release the worldwide trailer around April 1st. You can explore this new world on Gala Film. And if you want to find me, I’m pretty accessible on social media. I try to respond as quickly as I can. I’m most active on X and Instagram.

Amazing. It’s been such an honor to meet you. I wish you continued success and hope we can stay in touch. I’m excited to share this story with our readers.

Well, thank you very much. I appreciate your time, Yitzi. It’s been a pleasure to meet you.