YouTuber Casey Neistat’s secrets to filmmaking
In this episode of Digital Spaghetti, musician and Patreon founder Jack Conte dives into YouTuber and filmmaker Casey Neistat's creative process.
Casey Neistat, filmmaker and founder of media production company Beme, details his creative process — from the use of music, cut scenes, three-act narratives, going unscripted, and everything in between. Using his video "The Greatest Moment," as a jumping off point, he chronicles his quest to create a boosted board surplus while highlighting close friend and veteran Jariko Denman's extraordinary feat.
Casey takes us through his filmmaking philosophy, the delight apparent in his storytelling, and how his gut instinct guides his process. "It's like when you make 800 videos in 800 days, something happens," Casey says. "Or you have to find the story, you have to figure out the best way to tell it. At this point in time, [it's] pure intuition."
Transcript:
Jack Conte:
I'm in New York City. You frickin' kidding me? Are you kidding me? Down there? Casey Neistat just made a video using Chat GPT to write the script, and it turned out terrible.
Casey Neistat:
Today we're exploring downtown Manhattan. Let's go!
Jack Conte:
I want to see if I can get to the bottom of why Casey's storytelling is so much better than AI. That's it, that's it right there. Oh, it's this one.
Casey Neistat:
Yeah!
Jack Conte:
The new video. Was the worse video you ever made.
Casey Neistat:
For sure.
Jack Conte:
Yeah.
Casey Neistat:
That sucked.
Jack Conte:
That sucked.
It was the worse. I wanna talk about why.
Video clip:
It worked.
The thermal cover is closed.
Jack Conte:
I wanna go through one video of yours. I think the one I wanna do is, "The Greatest Moment."
Casey Neistat:
Oh, that was such a great moment. That was a pit point in my entire existence.
Jack Conte:
But I wanna watch it and talk to you about the narrative structure with you.
Casey Neistat:
Yeah, let's sit.
The greatest moment of my life, not including when my kids were born, or my wedding day, or any of those important things. The greatest moment of my life happened to be captured on —
Jack Conte:
Pause. That bass that comes in.
Casey Neistat:
Yeah.
Jack Conte:
Right when you say, you get quiet. And you go, "The greatest moment of my life," and then the bass comes in. Why did the music come in there? When do you decide to put music in?
Casey Neistat:
So my favorite YouTuber, slash, the greatest YouTuber in the history of YouTube, a guy by the name of Van Neistat.
Clip of Van Neistat:
To me creativity is that trance. You are not really conscious, you are just the thing that you are making.
Casey Neistat:
Van edits his videos completely. And then has someone score them. By the way, I will not stop talking for sirens.
Jack Conte:
Don't fucking stop!
Casey Neistat:
Bulldoze over it.
Jack Conte:
We're gonna blow through it.
Casey Neistat:
And I don't know how Van does it, because for me, I have sort of two rules when it comes to editing. One is that I can only edit chronologically. I start with the first frame, and when I get to the last frame, the movie's done. I don't edit clips, I don't do string-outs, I don't do any of that.
Jack Conte:
Do you edit? So you do color?
Casey Neistat:
I don't color anything.
Jack Conte:
You do sound?
Casey Neistat:
I use straight from the camera.
Jack Conte:
But you do sound on the way?
Casey Neistat:
Yeah, yeah, yeah.
Jack Conte:
Automation on the way? Everything on the way?
Casey Neistat:
Everything. Titles, everything on the way.
Jack Conte:
And when you get to the end —
Casey Neistat:
It's done.
Jack Conte:
You don't go back and —
Casey Neistat:
I may go back and finesse. But the point is like, like right now, when you came up here and interrupted my day. I was four minutes into —
Jack Conte:
Fuck you, too.
Casey Neistat:
I was four minutes into editing a video. That will probably be a six or seven-minute-long video. And I'm four minutes into the edit, and those four minutes are complete. And the reason why I do that is, I then export those four minutes, and I'm sitting here watching them. And this is a little special, this doesn't always happen. Usually, I shoot the whole video, and then edit the whole video. But I finished those four minutes, I'm like, "What am I saying here, and where am I going with this?" So, four minutes of the movie is done. And I don't even know what the rest is.
Jack Conte:
So, you're not planning the narrative ahead of time?
Casey Neistat:
No! No, no, no.
Jack Conte:
So when you start shooting, you don't know where it's going?
Casey Neistat:
I have an idea.
Jack Conte:
So you edit, and that's a way — So, you know what this reminds me of? There's some people that say "writing is thinking," when you write, it helps you think. And for you, editing is thinking. Editing is storytelling, it sounds like. It sounds like it helps you actually make something better by editing it together.
Casey Neistat:
Yeah, my wife says to me, she doesn't say it anymore. She's like, "I only understand how you feel through your videos because you have no other way of communicating your emotions," I think that's fair.
Jack Conte:
Yeah. Okay, so why does the music come in at 12 seconds?
Casey Neistat:
Okay, the short answer is, I don't know, it's just intuition. But the long — like if you're asking me to really analyze it now, I think it's just about emphasis. So, by starting out with thisdrumming bass line,it's saying you don't have to pay attention to anything but what you're seeing in front of you. And what you're seeing in front of you is literally text.
Jack Conte:
Right.
Casey Neistat:
And then, it sort of drops out of the perfect —
Clip of Casey Neistat:
"This is the greatest moment of my life, not including —"
Casey Neistat:
This isn't score, that's a song that I'm chopping up.
Jack Conte:
Yes.
Casey Neistat:
It drops out in a beat. And then it's like boom, let me set up this video for you.
Jack Conte:
Right.
Casey Neistat:
And then the opening line is tied into the title, which the title, this is not even the title of the video. I renamed the video. Originally the title of the video is about Jariko. But he's holding, he's a soldier, and he's holding a firearm in the video. And I posted it, and just nobody watched it. And then, I called YouTube, and they're like, "If there's a gun in the video, it can affect —" And I'm like, "oh shit!" So, I renamed the video without changing the edit at all, to "The Greatest Moment," which is the first line in the video.
Jack Conte:
That's so interesting because I was gonna talk about how you flipped the script on us.
Casey Neistat:
Yeah, I did, no.
Jack Conte:
Called "The Greatest Moment." You intended to have it be about Jariko.
Casey Neistat:
Yeah.
Jack Conte:
Okay, great. So what you're saying though, just to get to the answer to the question, what you're saying is, the music comes in there to emphasize the point that you're making. Which is like something about your videos...no? It's not to emphasize the point?
Casey Neistat:
Well you originally asked why the second bass line comes up.
Jack Conte:
Why does that bass line come in there? I'm trying to get to the bottom of when you add music. What is going on in your brain? 'Cause I'm trying to get to the bottom of why is Casey better than AI? Is what I'm trying to figure out.
Casey Neistat:
Music is just, it's another guide, it's another tool to help the viewer through the story. So that's how I use it. It's like letting the viewer know what they should be paying attention to and when. It's letting the viewer know the sense of momentum. It's a crutch to let the viewer know how they should be feeling. Like a fun, boom-da-boom-boom, fun bass and jazz, and whatever the hell kind of music this is, is letting the viewer know this is not a serious movie. This is a fun movie! We're gonna have a good time. And here we go! Here's your setup.
Jack Conte:
Great, perfect, keep going.
Clip of Casey Neistat:
Not including like when my kids were born, or like my wedding day, or anything, any of those important things. The greatest moment of my life happened to be captured on camera, in my daily blog. ♪ Ha, ha, ha, ho, ah ♪ Here I am.
Jack Conte:
Okay, can we pause there? Archival footage. You use a lot of it.
Casey Neistat:
Yeah.
Jack Conte:
Can you just tell us a little bit, like how did you find that clip?
Casey Neistat:
Took me 45 seconds.
Jack Conte:
How is that possible?
Casey Neistat:
Everything is referenced.
Jack Conte:
Where? How? What's your organization system?
Casey Neistat:
It's all cataloged by date. Year, month, week, day, chronological order based on the camera that it was shot on.
Jack Conte:
But you must have literally hundreds of terabytes of footage. So how do you access that footage?
Casey Neistat:
It's just, it's all in the back, I don't have it on this machine. But I just use a little SSD drive as a, run it back there, and plug it in, pull it up, drop it on there, bring it back, plug it in.
Jack Conte:
On little individual drives?
Casey Neistat:
It's just what I use as a shuttle. I have a monster back there.
Jack Conte:
Oh, you have a big server thing back there, with all the footage on it. Okay, and then you take it back and forth in a little drive. Got it, okay.
Casey Neistat:
But I can bring up anything like that. Unfortunately, only from when I began to blog, sort of. Going further back now, it gets pretty complicated. A lot of that is still on DV tapes, that are right there, up in that shelf.
Jack Conte:
I have a 100 hours of mini DV tapes.
Casey Neistat:
I probably have a 100,000 hours of mini DV tapes. A lot of that has been digitized, though.
Clip of Casey Neistat:
Boosted board.
So fast!
Casey Neistat:
That clip is archived clip, the "so fast" clip. We went out of business right around the same time.
Jack Conte:
Okay, cut here. So, new shot, new location. When you're telling a story to camera, do you write out a paragraph of what you're gonna say?
Casey Neistat:
No, never, ever.
Jack Conte:
You just say the first bit of the story, and then you change locations and you're like, "Okay, I've recorded three lines here, "I'm gonna change locations." How do you — why do you think about changing locations like that?
Casey Neistat:
Because this is moving the narrative forward. So there's a slight pivot in the narrative. I've told you what the greatest moment was, and now I'm giving you context. It's not a different thread of the story, but it's a little bit of a pivot. So it's a straight line, and now it's turning this way. Solet me let you know that with a different angle.
Jack Conte:
So like when you started recording this video about your boosted board, did you know that you were gonna hang with Jariko, and that this was gonna be tied in with Jariko? Or did you just start by talking about?
Casey Neistat:
Jariko is just like somebody I love and I think he is a fascinating, incredible human being. And I don't remember where the hell he and I were. It might have been here in the city, he had like a free night and we jumped on boosted boards, and we were zipping around. I think I posted an Instagram clip of him. And my younger brother, who's also a veteran. And is also very close with Jariko. Texting me, and is like, "I've never seen him smile like that." So I immediately called and was like, "Jariko, I got a brand new boosted board for you in the box, whenever we're in the city next." And then it was like two years before we came together. And the coming together happened just as he was completing this around-the-world trip, where he was looking to raise money. I was like, "You know what? I think I can make a video where we tie all this together."
Jack Conte:
So you had a sense that you were gonna tie boosted boards in with Jariko? But you didn't really know how?
Casey Neistat:
I just knew that sitting down with a veteran and talking about how he's trying to raise money for children who have lost their parents, or parents have been disabled in combat. I mean, that's very compelling. But this is a hard, cold world that we live in. And people don't give a fuck. Everybody has their own problems. That sucks. So let me give you a fun thing. Let me let you know why you should care. Instead of just telling you to care. And why you should care is like because Jariko is an awesome guy, and this is why he's awesome. Like dedicated so much of his life to this because it's that important. And if you still don't care at the end of that, that's also okay. But at least I know you have the same understanding that led me to care, and maybe it'll get you there.
Jack Conte:
Andrew Stanton, the director of "WALL-E" and those Pixar films, he describes the first five minutes, like the first five minutes of "Up," he's like "make me care like I want to care about this thing that I'm watching.Make me care in the first 10 minutes of the movie." I think that's one thing about Chat GPT, or GPT4, in general, does not do a good job of, that you do a really good job of. When I watched the first three minutes of your video, it feels like something important is about to happen. I have no idea what the fuck is about to happen, but it feels like it's gonna be important.
Casey Neistat:
I try.
Jack Conte:
Okay, let's keep going.
Clip of Casey Neistat:
We decided to move back to New York City. And I had this bleak realization that someday in the not-too-distant future, I will both be living in New York City, and all my boosted boards will be dead. Bleak. So, I decided —
Jack Conte:
Okay, right there. You just say the word "bleak," but it's a different angle, it's punched in, you're emphasizing it. I'm just curious, when you're recording that vlog, what goes through your mind after you finish that line that makes you wanna pull the camera closer?
Casey Neistat:
The most important word in that line is the word "bleak." And I glossed over it the first time. I had this bleak realization that I might not have the boards. Bleak. Without that word, it might be "I have the board." Like, where's the emphasis? And it's like emotion is the most important thing. And bleak was the emotion tied to the idea of not having a boosted board.
Jack Conte:
How do you know that what you're feeling is what your viewers are gonna feel? That's a dumb question.
Casey Neistat:
Oh, I don't give a shit what the viewers feel.
Jack Conte:
So, it's just what you're feeling?
Casey Neistat:
Yeah.
Jack Conte:
So when you watch that back, you're just trusting your own response? And thinking well, maybe other people will feel that way, too.
Casey Neistat:
I don't even go to the second part.
Jack Conte:
It's just your own response?
Casey Neistat:
Yeah. I don't care what the viewer thinks.
Jack Conte:
But you do.
Casey Neistat:
I don't know that I do. If I like it, and I think it's great, and it works for me, then that's it.
Jack Conte:
Is that really true?
Casey Neistat:
Sure.
Jack Conte:
What if your videos didn't get millions of views, would you still make videos?
Casey Neistat:
Yeah!
Jack Conte:
And you did, you did still make videos.
Casey Neistat:
Yeah!
Jack Conte:
Yeah. So you really don't give a fuck.
Casey Neistat:
I used to make them and put them on VHS tapes and give them to people, and hope they'd watch them, I didn't care. I had dreams and aspirations that I thought my videos could get me there. Like I don't wanna, I'm wasn't, I'm not like some pure artist who makes a perfect painting and hangs it in the basement somewhere. It's validation. It's meaningful to me that these movies mean something to people. But the minute I stop trusting how they make me feel, and start looking to how they make others feel, that's when you fail.
"But there's something sort of Sisyphean about the creative process, where if you hit the breaks and stop, the ball rolls right down to the bottom."
Jack Conte:
So how do you know though, that when it's making you feel something, like how, when I get to the end of a project, and I've been working on it for fucking two weeks, or whatever. And I watch it back or listen back, and working on a mix, I kind of feel a bit stale to it after two weeks. How do you know that it's still there? How do you trust yourself when you've lost perspective? Or do you not lose perspective in the middle of an edit?
Casey Neistat:
Well I don't, unless someone interrupts me, and says "Hey, let's record a video about your fucking videos." And I have to stop, that's how I lose it. And I said jokingly, but it's like, I don't take meetings anymore, period. I don't do calls, I don't do Zoom calls. And it cost me an ungodly amount of money and opportunities, I lose all that stuff. Because if you're a ditch-digger, which I've been, many times in my life. You start digging that ditch. You can drop the shovel, come back the next day, the next week, the next year. And the hole is gonna be exactly where you left it.
But there's something sort of Sisyphean about the creative process, where if you hit the breaks and stop, the ball rolls right down to the bottom. Like the video that I'm literally making today, is about procrastination. And I would have thrown it away, I would have given up on it, a week and a half ago, but there's like a branded deal, a brand deal tie into it. And that's how I make a living, and I have to finish it. But I would have given it up a week ago, because I got distracted mid-shoot, and went somewhere else in my brain, and did something else. And just lost it, like I lost the threat.
And it's funny because how I'm ending the video is talking about this idea of like, anytime I've taken on a big project, I have sort of failed invariably. 'Cause I lose focus. And why I love making little videos is, I can start and finish in a day, is 'cause that's a straight line from A to B. Just get rid of all distractions. Like my studio is filthy right now because I have no employees. I don't have an assistant. I don't have somebody to help clean up my phone calls, or my schedule. I don't keep a schedule, I don't have a calendar. I don't take phone — nothing. I am just not. Like, my agent doesn't know how to reach me, and that's fine. Because I just wanna sit and learn, and figure out how to make videos.
Jack Conte:
Let's keep going, I love that.
Clip of Casey Neistat:
Then and there, to build out a boosted board surplus that would last me for the rest of my life. Lifetime boosted —
Jack Conte:
Some music comes in there. Classic, talked down Casey Neistat shot, you're planning some shit out on whatever paper and pen you have around. At this point, we're 52 seconds into the video. I think we're gonna watch a video about your boosted board journey to get, to make sure you're covered for life on boosted boards. That's what it feels like at this point.
Casey Neistat:
And by the way, I shot that. Like, this is the boosted board part of this, which I think is maybe 90 seconds, it could have been a 10-minute video. And I'm editing, there's so much on that. I'm editing back, and I'm like, I'm losing the script here. Because I have that. And this is such an abbreviated tease about my lifetime-boosted surplus philosophy.
Jack Conte:
So you chopped that out?
Casey Neistat:
We cut all of it out. I cut all of it out. This is like nothing.
Jack Conte:
Now wait, when you said, "I'm losing the script." The script in your head?
Casey Neistat:
No, no, I'm losing the script of the movie I am trying to make.
Jack Conte:
But that's what I mean. How do you know what movie you're trying to make?
Casey Neistat:
I didn't, I figured it out in the edit.
Jack Conte:
Did you shoot all the Jariko stuff first?
Casey Neistat:
I shot everything first for this video. This is in a day, not much time. Like the whole boosted part, Jariko's getting here at 10:30. So the whole boosted part was shot between nine and 10:30. Frantically.
Jack Conte:
Oh my God.
Casey Neistat:
Yeah.
Jack Conte:
Okay. And Jariko got here, and then you edited that night?
Casey Neistat:
Yeah, the next day, it was a quick turnaround.
Jack Conte:
When you said "I'm losing the script." You knew you were gonna get to Jariko, and the boosted stuff was taking so long, so you chopped it to 52 seconds?
Casey Neistat:
It wasn't that it was taking too long, it was just too distracting. If I was starting, me as a viewer, I was starting to get so invested in the boosted storyline, that when that 180 happened, I was mad. Like, how dare you? And instead, let me just keep the boosted part, as sort of a preface, a contextualization. Like a teeing-off of a bigger story.
Jack Conte:
Beautiful, beautiful.
Clip of Casey Neistat:
Surplus. I need to prepare for 33 years of boosted. Means I need, that means I need about 11 boards. So, let me walk you through my — Okay, that part, where I dropped the notebook, that was six minutes of monologue. Before I dropped it, all shopped out.
Jack Conte:
Wait, can we go back to?
Casey Neistat:
11 boards.
Jack Conte:
Right there.
Casey Neistat:
There was so much more. There was like an encyclopedia.
Jack Conte:
And watching it back, you're like, I'm losing the script.
Casey Neistat:
Chuck it.
Jack Conte:
Cut it.
Okay, so when you have those top-down shots, and you're doing the math, it looks like you have a plan. But often in your videos, it looks like you're like concocting something, and you're using these visualizations to take us along in what's in your brain. How do you think about when you visualize something? Because that's not like a super-complex plan. You're like doing multiplication, figuring out how many boards you need. But it makes the video so much better to see it written out on a piece of paper.
Casey Neistat:
Yeah I mean, hearing somebody explain math doesn't work. It's like hearing somebody explain a color. Just show me, and I'll understand it. I'm not that good at math. This is very, it's like very basic arithmetic. So if I can show it to you, that makes sense.
Jack Conte:
Okay.
Clip of Casey Neistat:
Let me walk you through my current boosted board inventory. These four are my —
Jack Conte:
This shot is so square and symmetrical. Do you do that on purpose?
Casey Neistat:
Yeah, always. I get super frustrated where shots are skewed.
Jack Conte:
Even a little bit?
Casey Neistat:
Yeah. Skewed shots or, I mean, no, sometimes I like leading lines and things like that. Typically square shots I find to be the most satisfying, calming to watch. And then, I fucking hate camera movement. I hate camera movement.
Jack Conte:
Really?
Casey Neistat:
Sometimes it's necessary, totally necessary. But if you watch my videos, nine out of 10 shots are static. I hate camera movement.
Jack Conte:
Why? Do you know why?
Casey Neistat:
Because as a human being, if you watch any mom film, or kid at the park, or the dog running around, it's always mimicking how your head works. But, I don't know how many frames per second our eyeballs are. But, our eyeballs and our brain can process so much data. And these wide-angle eyes, and we can process this data. See you would think intuitively you could do the same with the camera. You absolutely cannot. So there's so much fucking information in this shot. If the camera is moving, it's wow! Let the action move, not the camera. And that's it. And I hate camera movement. And for some reason YouTubers, like I remember, at least when I started vlogging, every vlog was just this. And it's unwatchable. I cannot watch it. I can't watch it.
Clip of Casey Neistat:
Daily drivers. Four boards, fully-charged, ready to go at all times.
Jack Conte:
So that sequence there, you're very commutative, and it kind of works. It looks like it works just super-well. Like you just say it, and it's exactly as you would say it. It feels very natural, normal. Do you do multiple takes?
Casey Neistat:
Sometimes. If I catch myself being inarticulate, or circular, that's kind of my biggest insecurity. Being repetitive.
Jack Conte:
And how much do you think about what you're gonna say before you say it? You don't? You don't write it out? You don't plan it out?
Casey Neistat:
I mean, if you go back and watch I'll be like, whatever that line was, yeah. This is, that line was like, this is my daily drivers, four boards, fully-functional. So if, there's probably a clip of me where I'm like, this is my daily drive. Just to, like did that? What I just say make sense? Yeah, that's it. And that's at the most, but typically, no.
These —
Jack Conte:
Jesus Christ! So you just have a little bit of fun before you pan away?
Casey Neistat:
At all times.
I mean, it's just a calculation of interestingness. Like every frame has to embody, for me, like a level 10 of non-interestingness. If it doesn't, I'm bored when I'm editing it, and I don't care. And if I don't care, then like how is anybody else? I just don't care. So, this shot, you've already seen. Like we're at 1:14, we're at whatever this is.
Clip of Casey Neistat:
So, let me walk you through my current boosted board inventory.
That's a long shot. We're at 1:08 to 1:14, we're look, this is like a six, or seven second shot. I'm fucking bored of this shot. Make it interesting. There's a little bit of motion. And that's a fake swish pan, by the way.
Jack Conte:
Oh, that was a fake pan?
Casey Neistat:
That was an actual plan. But there's a lot of cuts going on.
Jack Conte:
Oh, I see, 'cause right, all right, all right.
Casey Neistat:
They're invisible.
Jack Conte:
So, you do the pan twice, and you fade in between them to get to the shot of the boosteds.
Casey Neistat:
That's why I panned 50 times I couldn't get the land with the boards centered.
Jack Conte:
Oh, really?
Casey Neistat:
Yeah, super hard to get that. None of these work. So like this shot's not square, but you see the symmetry in where the lines are taking you.
Jack Conte:
Yes.
Casey Neistat:
These lines are pointing to that direction. These lines are pointing in that direction. I honestly don't remember if I have to guess when I interframe, I'll be centered, so all the lines are pointing straight to me.
Jack Conte:
And wait a minute. So you're saying, these lines of those boosteds, are pointing to those boosteds? And these lines are pointing upward?
Casey Neistat:
It's a triangle, so all these —
Jack Conte:
The couch, you're saying?
Casey Neistat:
All the lines are pointing in.
Jack Conte:
Yes.
Casey Neistat:
All the lines are pointing. My eyes are just, land here, no matter how hard I wanna fight that.
Jack Conte:
Yes.
Casey Neistat:
And if I have to guess, yeah. So then I'm centered.
Jack Conte:
So I just wanna point out, we're a minute, 25 in. And there's like four stop-motion shots. There is switch back pans. Literally, there's probably like, I don't know, 20 cuts —
Casey Neistat:
Way more than that.
Jack Conte:
40 cuts?
Casey Neistat:
Way more than that, yeah.
Jack Conte:
I mean?
Casey Neistat:
We're a minute and half in, and a minute and a half is, you know, 24 times 85.
Jack Conte:
Do you know what your average cuts per second is?
Casey Neistat:
No, but I think fast cuts, and chop, chop, chop, can get really annoying. I think it's cool, at one point in time. But I think it's really annoying. So my goal is to have you never notice the cuts.
Jack Conte:
And you don't, is the thing. Why? Why don't we notice your cuts?
Casey Neistat:
I don't know the answer to that. But when I'm editing, it's like, if you notice the cut, it's a failure on the part of the editor, and the cinematographer.
Jack Conte:
How much do you think about cutting on action?
Casey Neistat:
You know, maybe. I know that rule. But I've made a thousand videos. All I do is this, so it's pure intuition. So I refuse to learn any more editing software. All I need to use is straight cuts. I don't wanna learn anything else. Having to learn something new fucks with my intuition. It needs to be pure flow of consciousness.
Jack Conte:
What is the software that you use?
Casey Neistat:
Final Cut. That's not an endorsement.
Jack Conte:
It's not?
Casey Neistat:
No, I like Adobe, I like Adobe.
Jack Conte:
Is it X or seven?
Casey Neistat:
X, you can't run seven anymore, really.
Jack Conte:
Okay.
Casey Neistat:
It was iMovie before that.
Jack Conte:
Yeah.
Casey Neistat:
Final Cut's fine. I think Adobe really, really makes some kick ass software. All the like, all the people that I work with, they all use Adobe, so I, I think Adobe is great. Final Cut definitely does the job. But I, no —
Clip of Casey Neistat:
Remaining dead stop, that is like brand new boards, that you can still buy. And I bought all of them. But!
Jack Conte:
So, you say the word "But," but this is just, this is a Jack theory. This may not be how you think about it. You do a thing where you set up a mystery, by asking a question, or saying something, or saying, "But my friend just did some shit "that no one has ever done before." And then you often cut to a time lapse, or a montage, or some action, something, some sequence, or going somewhere. Is that intentional? It feels like you're giving us a reason to keep watching. And then you make us keep watching, and you get us through the action sequences like that. Are you thinking about posing a question, or creating a mystery for us?
Casey Neistat:
Maybe, I guess. I don't intellectualize my process, or the videos ever. Like you're challenging me right now.
Jack Conte:
Yeah.
Casey Neistat:
And I'm comfortable and confident in answering anything you ask. And I think that most of your questions are spot on. But none of this shit is considered. I just, like, there's nothing more satisfying in lifethan surprise and delight. Surprise, I was not expecting that. Delight, I like that.
So, if I can figure that out in here, when I'm talking to people in conversation, or as soon as you leave, I'm going to Big Wong to get lunch. And I like to bring friends to Big Wong. It's like, "You're not gonna believe this place." And they come, and it's this crazy Chinatown restaurant. And they're so surprised, and it's so fun, and they're delighted. And surprise and delight are the most lovely thing, right? Children love that. So with an edit, yeah,if there's an opportunity to do that at every turn, especially when I'm introducing new information. Like, you're not gonna believe this! You love it! That's great! As a viewer, that's my favorite thing! That's why I love comedians.
Jack Conte:
What I'm doing, by the way, is whatever you have that is your calling intuition, I don't fucking have that. And I don't have it with songs, I don't have it with videos. And I have to, for better, for worse, I have to fucking think my way into it, which I'm not proud of. But I have to think about it really hard to order to figure it out. And I'm trying to figure out how you just intuitive that. I guess it's just decades of filmmaking.
Casey Neistat:
Yeah, I think it's like whatever the 10,000 hour rule is. I probably have 100,000 hours.
Jack Conte:
Yeah.
Casey Neistat:
Into editing. It's like when you make 800 videos in 800 days, like something happens. Or you have to find the story, you have to figure out the best way to tell it. But yeah, at this point in time, pure intuition.
Clip of Casey Neistat:
But! You see how that's blinking like that? That's an error message. This never before ridden boosted board does not function. Maybe it can be fixed. Maybe that battery needs to be replaced. Two, two of my last six irreplaceable, brand new, unopened boosted boards, two, don't function at all. These guys here, they're toast. And today, January —
Jack Conte:
Again, these lines are just pointing right at you.
Casey Neistat:
Yeah, same order look, without losing what we're talking about.
Jack Conte:
Yeah.
Clip of Casey Neistat:
24th in the year of our Lord, 2023. Today, today I am giving one of these away. I'm giving one away to a most extraordinary friend, because he just completed something that literally no human has ever done before.
Casey Neistat:
The reason why there's no music here, is this is a reverential statement. I want you to know I'm not joking. I want you to know I mean everything I'm saying. This is not hyperbole, this is I very much, I'm being sincere here.
Jack Conte:
Right.
Casey Neistat:
And by getting rid of the fun music, and the campiness, it's also why this shot is handheld.
Jack Conte:
Yeah.
Casey Neistat:
It's a level of intimacy, it's so you, the viewer, you're sitting right in front of me. It's am amazing story.
Jack Conte:
Okay, so we're now at 2:11. Now, I feel like you've done this flip. Where you just set up a new thing, but you haven't told us what it's gonna be yet. You just said, "I'm giving it away, to somebody who did something fucking incredible and it's an amazing story." Now we're at two minutes and 17 seconds. I thought I was watching a video about boosted boards, but you just told us the video is about something else.
Casey Neistat:
Yeah, it's a basic three-act narrative. It's setup conflict/resolution. It's Jack and Jill went up the hill, okay cool, why? To fetch a pail of water. Got it. Jack fell down and broke a crown, and whatever that —
Jack Conte:
Right. See where it goes.
Casey Neistat:
That's like a three act narrative. Every good story has that.
Jack Conte:
Really? Do you think these, like your videos, do you think in acts? No?
Casey Neistat:
No. But invariably, you could click on anyone of my videos, and, I'll find the three acts for you.
Jack Conte:
So they just come out, that's how your brain works.
Casey Neistat:
Storytelling, it's like, if you want me to tell you a funny story about my daughter, what my daughter did last night. I promise it will come out in three acts. Like it's just, I think it's good communication.
Jack Conte:
Yeah.
Casey Neistat:
Yeah.
Jack Conte:
Okay. Long montage here.
Casey Neistat:
This is not a long montage. That is like, that shot was 30 frames.
Jack Conte:
I'm saying this whole sequence.
Clip of Casey Neistat:
...This level. It's a little too good.
Jack Conte:
So I feel like, now we see the person's face, but we still don't know who they are.
Casey Neistat:
Well, that's important. You, the viewer, need to be asking who is that.
Jack Conte:
Right. And is that?
Casey Neistat:
Yeah, yeah. That's super concious. Because like, he's just another handsome, cool guy on a skateboard. Why should I give a shit?
Jack Conte:
Right.
Casey Neistat:
And I'll just let you know, because I care.
Jack Conte:
Right.
Casey Neistat:
But yeah.
Jack Conte:
Yeah, J.J. Abrams talks about withholding information. And releasing only bits and pieces of information.
Casey Neistat:
The scariest monster movies never show the monster.
Jack Conte:
Exactly. And you're doing the same thing. You show us the face now, but you don't, we don't know his name yet. And, we don't know what he did yet.
Casey Neistat:
Yeah.
Clip of Casey Neistat:
He's flying!
Casey's Friend:
Oh my God!
Casey Neistat:
What's up?
Casey's Friend:
What's up, bro, bro? I love your style.
Casey Neistat:
Jariko, what's your background?
Jack Conte:
And now we learn his name. But that's like 30 seconds-ish, between when you set up there's a person, and then we finally find out his name, 30 seconds later.
Casey Neistat:
Yeah, and the text is up there, so you know. This is, like he is the guy. And that's very important. And then also, I didn't give this too much thought. But initially I wanted, and I told him, Jariko, we'll just sit down and we'll talk about what you did, and that's it. And then, we'll go ride skateboards. But I was thinking about that at the time, and the thing about Jariko, and for what it's worth, a lot of really bad ass veterans, a lot of really bad ass soldiers that I've had the pleasure of getting to know in my lifetime, they are the most humble, reserved people, who do not want to talk about why they're so special. And Jariko is the same way. This is a guy who spent his entire life fighting. Not teaching, not on a boat somewhere. Fighting. Like multiple, I think it's 13, or something like that, combat deployments. That's insane, that's wild. I don't know any soldiers that, like he is an extraordinary soldier, but he doesn't talk about it. He's a very good friend, he never talks about this shit. So I realized that when he came over. And I was like I need to get some stuff from him that's more spontaneous. That's why the shot is hand held, it's kind of fucked up. He hasn't even taken his coat off yet. He hadn't sat down. He just walked into my studio, and I asked him very easy, friendly questions, as a way to introduce him, that feels very natural.
Jack Conte:
Nice, so you're also thinking about, or at least, it's part of your intuition is, getting the right shot at the right time, to make the person is comfortable and can open up and say the right things and all that kind of stuff.
Casey Neistat:
Yeah, and it's shot, it's easy with like, it's a double-edged sword. It's easy with other YouTubers sit around, talk to camera. But it's a double-edge sword, because they're gonna be their YouTube character to camera. So you're getting something that you know is gonna work, but it's inherently a little —
Jack Conte:
Yeah.
Casey Neistat:
There's a veneer over it. The other side of that is someone like Jariko. He's been on camera a lot. But he's on camera as a talking head for the news. He's an expert on things like that. This kind of thing he doesn't know. And he doesn't know to speak in soundbites, because he's a real person. He speaks the way humans talk. Not in sound bites. And that presents all kinds of challenges. All kinds of challenges. Even this sequence here.
Clip of Casey Neistat:
Jariko Denman:
How far back?
Casey Neistat:
Give me the long one, and then I'll edit this.
Jack Conte:
Oh but it's so real, super real.
Jariko Denman:
I was in the Army, so I was an Army brat, I grew up all over the world. I lived in Korea, Germany, all of the United States. And then when I was 17 years old, I joined the Army. And I spent 20 —
Jack Conte:
So the camera's tilted at an angle. Is it because you're not looking through, you're looking at him?
Casey Neistat:
Yeah.
Jack Conte:
Because you don't want him to feel like he's behind the lens, is that why?
Casey Neistat:
Of course, more importantly, I can still hold the camera at the side of my head perfectly steady. But I need the audience to know that I'm paying attention to him, not the camera. What do they call that? A something tilt?
Jack Conte:
Yeah. Dutch.
Casey Neistat:
A Dutch tilt.
Jack Conte:
Yeah, okay.
Casey Neistat:
It's a way of letting the audience know that I'm not paying attention to the camera.
Jack Conte:
Wow!
Casey Neistat:
Yeah!
Jack Conte:
So that's what you're thinking about in that moment?
Casey Neistat:
Super deliberate. Yeah.
Jack Conte:
Okay, keep going.
Clip of Jariko Denman:
That put me into some freelance journalism opportunities. Film producing, some film tech advising.
Casey Neistat:
By the way, so that was 15 minutes.
Jack Conte:
And you chopped it down to —
Casey Neistat:
Yeah, I needed like what's the minimum? What's the minimum viable amount of information that is not disrespecting his unbelievable bio? But also, if I'm, I don't know this person. I know Casey, I'll listen to him blab. I don't know this person, like just, why? So it's not like you don't need to know him. I just need you to know him a little bit. And that's a very challenging thing to do while being very respectful, of whomever it is that you're interviewing. It's a very hard line to walk.
Jack Conte:
Why is it hard?
Casey Neistat:
Because my biggest insecurity is that I'm somebody that is taking the time to film with me. I'm not doing justice to who they are. Because it's not good enough for my video. I'm compromising the integrity of his biography.
Jack Conte:
For your gains.
Casey Neistat:
For my gain. That was a tremendous insecurity of mine. And certainly with someone that has dedicated his life to fighting in combat, and all of that. But even when I'm looking at this preview here, it's like my dad. Say my dad, or with you. Like, I don't wanna step on your toes. 'Cause it makes my video better. That's a very big insecurity of mine.
Jack Conte:
Okay.
Clip of Casey Neistat:
So, why I interrupted you there, Jariko, is because Jariko and I met on set for "Project Power." Which is the Jamie Foxx movie. And he was there to make sure everybody was handling their, like the fake prop firearms correctly, right?
Jariko Denman:
Right.
Casey Neistat:
And I was just there because I'm friends with the director and they gave me a spot in their movie which —
Jack Conte:
Can we cut again, for a second?
Casey Neistat:
He's laughing, because he knows the reality of that story. I was the biggest nightmare on set. Even Jamie Foxx was like, "Why would you cast this guy?" And then halfway, and by the way, we talked about this, and I cut it all out. It's too in the weeds. But I left that, it's like a $200 million movie, and I just left halfway through, because I wanted to go home. But in any event, it was like the last time I'll ever be in a big movie. And he was there as sort of a technical supervisor. But he and I got along really well. That's why he's laughing so much.
Jack Conte:
What proportion of all your shooting do we see in the final video?
Casey Neistat:
If it's a video like I'm making today, where it's just me in total control, you're seeing, I'm hyper efficient, 60, 70% of it. Even like when I'm flying my drone, I set the shot. Once the shot is locked, I click record, stop. I hate it when people let the fucking camera roll. You really learn to shoot when you're editing. And there's all this fat and noise, and I don't wanna sift through that. I know exactly the movie I'm trying to make. So hyper, hyper efficient. Though, with an interview like this, this interview is maybe 60; no, 60-75 seconds tops. We sat here and talked for 25 minutes.
Jack Conte:
Which you kind of have to do with interviews.
Casey Neistat:
Otherwise, again, you start to get disrespectful, and I know what I'm looking for.
Jack Conte:
Totally. Okay, so there's an exception for interviews. Keep going.
Clip of Casey Neistat:
And Jariko, why is your parachute, why is your parachute on my coach, Jariko?
Jariko Denman:
They're the parachutes that I used during our most recent adventure where we —
Jack Conte:
Did you just get that idea in the moment, when you were interviewing him? I'm gonna pull up the camera, and go over to the coach and show the parachute?
Casey Neistat:
No, that was probably 20 minutes after the previous line. I chopped out 20 minutes. And the thing is like, it's just not, you have three cameras rolling, I say cutting between. These shots are still fucking boring. I just had one camera. And if I'm the viewer, I'm bored of it. I'm bored, I've seen these two guys talking, I'm starting to fade, starting to lose interest in whatever the fuck they're talking about. Okay, let me, like, I wanna be in the room with them. So, by having them handheld, camera motion there, there's such deliberate intentionality with that camera movement, how it's moving. So me, the viewer, I'm out in the room, and it's fun. And I'm like looking around. I'm like breaking down the fourth wall.
Jack Conte:
And do you feel like what you do, by the way, all the time, you're about to do right now, because you tell him, "Hey, I'm trying to set that up." It's like the big thing for my audience. You tell him, which is like, such a self-reflective moment in the video. We don't see that coming from AI, either. Yet. But keep going.
Clip of Casey Neistat:
Jariko Denman:
Recent adventure where we went and skydived in all seven continents in the shortest amount of time possible.
Casey Neistat:
Jariko, I'm trying to set this up, as the big thing that you did, that I'm trying to share with my audience. You just glossed over the fact, that you —
Casey Neistat:
But you see like the laugh between he and I, that is just a beautiful —
Jack Conte:
Yes.
Casey Neistat:
You can't script that. I wanna show that we are friends. Like, he's not some stranger. Like this, what is this? WFLA, NBC. They're not friends with him. This is static, this is boring. He's my friend! So by me calling him out and teasing him, and then he starts laughing. It's letting you, the viewer, me the viewer, as I'm watching it, be like ha-ha. That's why I like these guys. I like him because he's Casey's friend. And he's got a great sense of humor. And Casey can tease him about something that is completely non-consequential, in-consequential, and they're buddies, and I wanna be friends with those guys.
Jack Conte:
So in this sentence, right before it, you don't finish the sentence. Listen.
Clip of Casey Neistat:
You just glossed over the fact that you —
Casey Neistat:
Yeah, you know what I'm saying. You get the fucking point.
Jack Conte:
Right. I'll say no more.
Clip of Casey Neistat video:
[Narrator #1]:
U.S. and Canadian military service members broke three world records. No one else has ever done before.
[Narrator #2]:
A world record.
Casey Neistat:
And I think the most important detail is the why. Why?
Jariko Denman:
The why? Um, because we all know. I mean, as people watching this video. We all know you have to do something kind of, a little bit jazzy to get attention. And fundraising for non-profits is extremely difficult. But then to make them click again to donate, super-hard. So, we wanted to do something really special. Something that everyone thought would be impossible. Doing it in under seven days, in order to get people to follow along and watch. And the more they follow along and watched, and the more they got onboard with their team, the more that they would wanna donate to this organization.
[Narrator #3]:
Now this was all done to —
Jack Conte:
So right now, at least to me, there's a sense of purpose that I get now, as a viewer. I feel like I'm using my time well. Is the feeling that I get. I feel like you are using your time well. I feel like I'm being responsible, or something, by watching this video, because there's something bigger that we're doing. You're sort of delivering on the promise of make me care at the beginning. How much do you think about delivering on that promise? And how much do you think about purposeful time spent?
Casey Neistat:
That's the hard part. Is like it took five minutes before I believed, as the viewer, before I cared. And I care because it's like, I already forgotten about the boosted board thing, but I'm sure that plays a role in here somewhere. And then this guy that Casey's friends with is really awesome. Like you can tell, he's just a good guy. So I care about all of this. And he did something that's like, doesn't even sound humanly possible, it's crazy, it's on TV. And then it's like, okay, why? And at that point in time, I'm willing to listen to learn about a charity. That's a lot to ask. I don't wanna, like you walk down the street, you have two minutes to talk about saving the whales? You have two minutes to talk about saving our ocean? And it's like, "No, I don't have fucking two minutes. "Fuck off! I'm trying to eat." And it's like, everybody is trying to pull, pull, pull. So why should this, why should you care about this ask? And so I took five minutes to try to help you understand why you should care about this. And me as the viewer, the only arbitrator of whether this is a good video, or a bad video, I'm like by this point, it's almost like I care. I really like that guy that Casey's friends with. He's fucking cool.
Jack Conte:
It's so the opposite of how we're taught in school to write. Where you start with a topic sentence. Here's the point of what I'm trying to say, and then, here's my evidence for that point. It's like if you were to write this video, like you would write a paragraph in school, it would be like, "My friend is raising money for charity. His name is Jariko, and he just did some cool skydiving.Now watch this video to try to get you to donate." Which is the worse video in the world. And is a little bit like the last video you made.
Casey Neistat:
That was the worse video I ever made. That video sucked.
Jack Conte:
But it's funny how editing and storytelling flips like that writing structure on its head. It's the opposite of how to make a good story.
Casey Neistat:
Fortunately, Jack, I never went to school. And was never taught the wrong way to do things.
Jack Conte:
Beautiful, let's keep going.
Clip of from Casey's video:
[Announcer #1]:
To raise money for scholarships for children of fallen service members.
[Announcer #2]:
Looking to financially support families of fallen special operation soldiers get an education.
[Announcer #3]:
100% of all the donations will be going to Fold of Honor.
Casey Neistat:
This is an easy device I use when I can, which is like, I don't have to explain a charity. So by letting these news broadcasters really articulate what the charity does, it's a way of elevating it, and also encapsulating it in a much more concise way, than just listening to me and my friend explain yet another thing. Like, let's just show this, this is a really big deal. This is like a profound thing. We're talking about helping children go to school. It's a huge deal. And by having news broadcasters say that, not us, it puts it on a pedestal that we otherwise couldn't achieve.
Jack Conte:
It gives it credibility.
Casey Neistat:
Sure.
Jack Conte:
Yep.
Clip of from Casey's video:
It's called the Folds of Honor Foundation. And they provide scholarships to kids who's parent was killed, or severely disabled during the course of the last 20 years of our nation being at war.
Jack Conte:
Music!
Casey Neistat:
Yeah, I mean, so this music is again, if music leads emotion, this music is much more intriguing, it's more reverential, more pointing. It's building, it's taking me somewhere.
Jack Conte:
How do you find your music?
Casey Neistat:
I have a catalog. People all around the world send me music. With permission to use it. And I keep it, I usually listen to a preview, and then respond, say thanks, and immediately delete it. But about 10% of it, I like, and I put that into a big catalog to keep track of.
Jack Conte:
How do you name it? How do you categorize it?
Casey Neistat:
I don't, I just use whatever name they have. So, I just start going through it, song list, song list, song list.
Jack Conte:
One big dump of —
Casey Neistat:
No, it's all categorized by the —
Jack Conte:
By the name?
Casey Neistat:
By the creator. So I can keep track of how to give them proper accreditation.
Jack Conte:
Okay, and but —
Casey Neistat:
It's pure intuition.
Jack Conte:
You're not like — okay.
Casey Neistat:
It's like dating. I know in the first one second of dating if she's not the one that I'm gonna marry. But it takes me a little bit longer to figure out she is the one I'm gonna marry. It's the same with music. I knew in a heartbeat if it's wrong. But sometimes it takes me a minute to figure out if it's right. Sometimes I have to drop it in there. And fuck no, we got that one wrong. But I know within a second, first beat that's not right.
Jack Conte:
'Cause this music feels profound, it feels important.
Casey Neistat:
Yeah.
Jack Conte:
It's pulling on my heartstrings.
Casey Neistat:
At this point in time, that's what the narrative is, too.
Jack Conte:
Right.
Casey Neistat:
This isn't a goofy video about skateboarding any more.
(Driven music)
Jack Conte:
Just bad ass.
(Wind roaring)
Casey Neistat:
It's to show you like, what did he do that's such a big deal? And you see it, and like, most people, every person, actually I can say unequivocally no one else in the history of humanity has ever done this, or seen these images, at least in the same manner that Jariko and his friends did. So to put them here and to show you what he saw is like, oh shit, like that is huge.
And by doing that shot, it just shows you, this is not my footage. Jariko is showing me his footage. And I'm showing you.
Jack Conte:
Makes you feel like you're on the inside of it.
Casey Neistat:
It just, yeah, you're me, here. You're with us in the room, you're not, we're not showing this to you, you're, we're in this together.
Clip of Casey Neistat:
Can I know your favorite?
Jariko Denman:
The, hm, the time under canopy in Cairo is my favorite. But my actual favorite, favorite jump was the one in Barcelona. 'Cause it was just super illegal.
Jack Conte:
It makes you love him, you know.
Clip of Casey Neistat:
So that's it, that's why! This how video by the way, is about me giving you a boosted board.
Jariko Denman:
Oh, sweet.
Clip of Casey Neistat:
So, that's why…[laughs]
Casey Neistat:
He's so good! It's so good. By the way, us sitting, we didn't sit back down, this is from the initial interview.
Jack Conte:
Oh. So you chopped it out of time.
Casey Neistat:
Yeah.
Jack Conte:
Yeah.
Casey Neistat:
Yeah, this is . But like the beauty of Jariko not throwing his arms in the air, being like "I did it, I get a fucking skateboard." And the beauty of like, not to like toot my own horn. Me de-emphasizing that I'm giving him a skateboard, it's so necessary. And it does underline, underscore the absurdity of the emphasize that I put in the first three minutes of the video about a fucking skateboard.
Jack Conte:
It also, there's something that it does to me where it reminds me where you started the video. Which is like that nice re-incorporation thing signals the third act, signals that we're coming to the close of the story.
Casey Neistat:
And that's where we are, we're about to pivot.
Jack Conte:
The two stories are coming back together. And so, it feels like you mashed up these two unique ideas, and now they make sense together. But you took us on this journey first. It's a powerful moment.
Clip of Casey Neistat:
This whole video, by the way, is about me giving you a boosted board.
Jariko Denman:
Oh, sweet.
Casey Neistat:
So that's why, that's why... And he says "sweet." I wanted to give Jariko a booster board...
Casey Neistat:
That's so funny... I mean...
Jack Conte:
Also the fact that you say this whole video is about me giving you a booster board. No, it fucking isn't. It reminds you of when Hansel is like, I only care about myself, I don't care about anybody.
Casey Neistat:
Right, but it also is like, I just don't want the audience to feel like that I tried to trick them with that first act.
Jack Conte:
Right.
Casey Neistat:
I wanted them to know that all that effort that I put into that awesome sequence, I'm gonna deliver on. And I respect the fact that you probably thought that's what this whole video is about.
Jack Conte:
Right.
Casey Neistat:
Because there's a point in time when that's what this whole video is about. And, I'm not being dishonest. Things just changed.
Jack Conte:
Yep.
Casey Neistat:
When Jariko showed up. And that's okay.
Jack Conte:
Yep.
Clip of Casey Neistat:
I would of given it to him anyway, but the fact that you and your team did such an unbelievable thing, and not just for vanity, but to raise money for an unbelievable important cause... And this is me... It's pretty special, special enough for a fucking YouTuber like me. To give you one of my skateboards, Jariko.
Casey Neistat:
Without that self-deprecation, you have to acknowledge the absurdity. I'm a grown-ass man, and it's a fucking skateboard. Like that is absurd. I never lose sight of that. And it's important that I want everybody to know I'm not losing sight. Jariko knows, that's why he's laughing. That's why he's smiling.
And then this is just like... So, I'm gonna put all the information...
Casey Neistat:
You know, this is just informational, but I owe the sequence to the audience of seeing Jariko sort of like explore. Most people never get to open a brand new boosted board. You saw me doing it, and getting all excited in the beginning. So let me just show you what it's like when Jariko gets to do it. And then it's like him riding his new skateboard for the first time.
Jack Conte:
This is like the victory lap of the video.
Casey Neistat:
Yeah! This is! Honestly this is like the third, this is just like the fun payoff.
Jack Conte:
This is riding into the sunset.
Casey Neistat:
Yeah, completely. And it's also a good tease for me to sort of once again, just hammer home why I did this with this video, what the opportunity is for the audience.
Clip of Casey Neistat:
It's not jumping out of a plane over Antarctica, but how's the boosted board ride?
Jariko Denman:
I mean, it's just as good. It's just as good.
Jack Conte:
And that's so beautiful, what a great answer.
Jariko Denman:
It's just as good. It may not be as once in a lifetime, but it's just as good.
Casey Neistat:
Yeah, great guy, great guy. You know, surrounding yourself by good people makes videos like that so much easier to make. All right, go, you have to leave.
Jack Conte:
This was insane.
Casey Neistat:
Great job.
Jack Conte:
Thank you so much.
Casey Neistat:
Great questions.
Jack Conte:
Thank you. This is so special, thank you.