Ads That Break the Internet: Luis Ruiz’s Viral Marketing Mastery

welcome to the know your ship podcast presented by ehub I’m your
host Frank Dolce well hey thanks for thanks for stopping by yeah I’m I’m
sitting here talking with Lis Ruiz please tell me I said that correctly Luis
Camario Ruiz you absolutely I wish I could say it like that yeah yeah I I
don’t speak a shred of Spanish by the way you just did I did saying your name
you just did I can make my way through a through a Mexican restaurant but uh
that’s about the extent of it let me ask you something since you mentioned
that because I grew up in Southern California you have lived in Southern
California most of your life yeah I was born in Southern California lived
there and my father was Professor so we bopped around a few places ended up
in Silicon Valley my formative years are Northern California San Francisco
Bay Area yeah and then back for graduate school and then we stayed so been in
La since uh the mid 90s gotcha okay here’s the question best Mexican
restaurant in La Southern California elcholo I know that’s what amazing right
I would I wouldn’t disagree with that yeah like elcholo is and they have a
couple that I heard they made their way up to Salt Lake cuz someone someone
said oh yeah there’s elcholo in Salt Lake I was like really but uh but there’s
not I’m just going to say this there’s nothing like the original yeah there’s
nothing like the original for sure so uh but I grew up in Culver City which
is also the home of Tito tacos and so I have a huge affinity for Tito Tacos
yeah Tito tacos we would run there at about 2:00 remember they used to be
open till like 2 or 3 in the morning and you could my wife and I would go oh
my gosh we’re craving Tito tacos and i’ get in the car at 1:00 and drive and
get box of tacos yeah Del absolutely it’s the best it was the best well
listen Louis you uh have been in this well I want to say the entertainment
industry that may not be correct I’ll let you tell me exactly which industry
it is maybe more of the marketing side of it um but have created a company
since what about 2015 Silo film Silo films has been around forly as a as a
corporation since 2004 gotcha and you started that company yeah uh tell me
let let’s talk about the Genesis of Silo films because I know you have a
background in kind of this film marketing space we were talking about your
experience with Mattel how did you get involved with silo or or what is the
what is the story behind Silo films yeah Silo films is a creative Boutique
meaning we do we’re both an agency and we’re a production company so we we
fulfill both needs we take everything from creative all the way through
delivery and we do everything from broadcast social um Sizzle videos any of
the content needs which is everything nowadays right and and we’re focused in
the youth market and if you would have told me when I was going through
graduate school in in the mid 90s I went to Cal Arts that there’s this youth
Market that Focus on toys and these kinds of product product and goods we
call it tabletop I would have never imagined that even existed I didn’t know
it existed and I kind of really just stumbled into that field uh I was an
editor in the 9s and I edited for I was a commercial editor uh I did a lot of
stuff like you know um Sketchers that was a new brand at the time yeah a
startup uh and you know things like Brands like Ford and the Olympics and you
know bigger stuff and at the time in the 90s these toy companies would have
What’s called the New York toy fair and it was a big deal and they would have
these entrance pieces that were epic as you came into Barbie as you came into
Hot Wheels or whatever it was right Monopoly mhm and as you enter that area
there would be this big huge video that would be playing and it was a branded
piece of content and so they used to bring commercial people in to do this
branded content and I came in as a commercial Editor to cut one year in like
9798 and uh got to know the guys and the next year they asked me to direct
one of those pieces and I had directed before so I was I was prepared and
ready for my graduate experience I had directed for a music video company in
fact I had um I was nominated for a Grammy which was a total fluke for a guy
named James McMurry in a category that doesn’t exist in the Grammys anymore
so it it opened a door for me to kind of get into music video so I had done
it and and when that Unity came to direct this piece for Mattel it turned out
well and it turned out to be a big hit and it opened up more doors and the
next thing I know I’m going down that path you know so it was unplanned it
wasn’t part of a business plan that I wrote out and said this is where I’m
going to go I’m going to work in the youth market and I’m going to do
products and goods uh it just kind of the path led me there but I was
prepared when I got there and when the opportunity presented itself um I was
able to you know ultimately provide something that was was really
extraordinary for them yeah what what would you be doing if this wasn’t the
path that you took what like what what were your passions prior to this yeah
well I went to film school at BYU and I thought oh I’m going to be a
filmmaker I think we all thought we’re coming out of film school and we’re
going to be a filmmaker yeah uh and I I certainly did my fair share of films
I realized how difficult it was to pull off a really good film how costly you
your chances of making a great film and not going totally bankrupt are are
not very good right I mean you have a greater chance at winning the lottery
than you do of making a great film yeah you know is that true I think it is
true 100% I would bet that’s true but you know we only hear you hear about
the flops for sure but mostly you hear about you know the the Mavericks of
the world like the you know the the films that go so Star Wars of the world
and so you come out of that and you think well I’m going to be I’m going to
be that guy yeah yeah and you naively move forward and you should you have to
uh you know and luckily I had a marketable skill I knew how to edit there was
a new uh nonlinear editing system called Avid and I knew how to run that and
so I had this marketable skill so while I was trying to pursue things as a
director um I was also making money I also had two little two little kids MH
so I had the responsibility of I I got to pay the bills so I couldn’t just
sit around and go hey I’m fantasizing about someday being a director and
making a movie I had to actually go make money I had to go work so by just
going and doing there were opportunities that I never imagined that came
about and I think there’s some value in that you know sometimes we just think
pie in the sky and hey we’re going to just go out and do do this or that and
sometimes we just need to just let the rubber hit the road and go do yeah you
know yeah I think that’s great advice and sometimes people just get stuck
like you’re not going and doing but you you had opportunities and you seized
you seized upon that and and are the were those things uh did that lead you
to where you are today were they Rel they related to the things that you’re
doing today or or was it just like more experience that you could lean on as
you start building your your own career well as I started doing as I started
editing I basically started skipping around in a bunch of related fields and
I kind of learned how to make the sausage in a way so I edited I was a
director with a music video company I directed a bunch of music videos um as
I got to know the guys at Mattel they had an in-house agency so they hired me
to come in and work as a creative oh so I was kind of learning to do all
these things you know and as I was and I was learning from others too so the
education continued Beyond Graduate School uh and so that was really valuable
because around ‘ 04 I was represented by a uh production company MH as a
director called Green Dot films and they had a threshold they wouldn’t do any
work below a certain amount MH and so I had the head of Mattel ended up going
to another company and he said hey I’ve got all these spots for you to do
would you like to do them and I I went to this company and I said hey I’ve
got these opportunities and they said that’s below our threshold you go do
them on your own and so I went and did them on my own so in ‘ 04 I did this
this little package of spots that the company thought was too risky to do and
it was probably too risky for them it wasn’t too risky for me it was an
opportunity right so I took it and those five spots the next year turned into
like 30 spots so what was4 $500,000 all of a sudden turned into millions of
dollars wow and then all a sudden the company’s like we’ll take it I said
actually we’re going to part ways they were great they were fabulous and it
made sense at that point we parted ways and I started my company that that’s
the beginning of yeah that was the beginning I just went it’s a no-brainer
I’ll just go do this myself why Silo what what’s the what’s the name my
graduate thesis project was uh initially called Silo and it was a story about
these gen aers that are on a road trip they hear about an apparition of
Christ on the side of a silo some Rust that’s been left over from a farmer
that’s been sand blasted sand blasting The Silo and it’s become a location of
much religious fervor so people in the neighborhood and all over have come to
kind of witness this incredible Apparition and and by the time they get there
in the road trip it’s over there’s nothing there um and they just kind of
hang it’s just really it’s just it’s it’s a road trip yeah so the film
initially was called Silo and so um that’s was my DV and I just continue that
gotcha I I had a theory about how you came up with Silo yeah and it was based
on the fact that you were student at BYU yeah pretty close to Lehi roller
mills the silos sure inspired by the silos so inspired right or maybe I was
really into missiles something like that your story is way better and there’s
nothing like a uh there’s nothing like a story about a road trip I mean
that’s kind of a classic totally yeah two guys two girls and and it actually
was inspired a friend of mine got this old muscle car uh Sports Fury Big
Orange massive car and it was so cool and I said wow this car is amazing I go
we got to figure out a story or a movie that we can make that uses your car
and so I had taken a road trip myself the summer before on something called
the green tortoise where you it goes from San Francisco and goes all the way
across to Boston and everybody on the bus it’s like a hippie bus it takes 15
days to get to Boston and everybody votes on the way they want to go it’s
like oh let’s go to Nashville let’s go to you know Austin whatever it’s like
a Choose Your Own Adventure kind of I mean you just have to get to Boston in
15 days and I just thought so everybody on the bus kind of bonds yeah because
you’re stuck on this old called the green tortoise and I just thought
something about the road and I’ve always loved road trips so it’s these two
guys two girls that you know go on this road trip they stop at all these cool
places and it’s just about self-discovery and they’re just yapping and you
know it was inspired a lot by um Jim jish and some of the European filmmakers
Ben venders where they just kind of wander and they talk and there’s not a
not a heavy duty plot that’s driving it it’s just character driven yeah so I
wanted to do a film like that I saw the car and I was inspired yeah
absolutely you’ve seen The Green Mile I’m sure I mean that’s like a that’s
like a road trip film but it has a deep there’s a deep message totally in
that film as well but it’s a road trip I mean it’s said these two guys from
completely different cultures discovering each other you know driving across
the country that’s what it is it’s real simple yeah yeah so anyway that’s
that’s where the the name of the company comes from that’s amazing I love it
okay you mention that you did a few music videos mhm and you know once upon a
time I was I was of the generation you may be as well kind of the generation
where MTV really started to explode and music videos were of course I’m from
that generation music videos were all the rage so and you got to be in that
in that industry so do you have any I mean I think people have this kind of
romanticized vision of what a music video is and what it looks like and how
it’s produced and the Glamour and everything else can you what’s the story of
music videos and and do you have a favorite or do you have just a story about
making a music video well yeah I definitely came from the era of music videos
and in the 90s it was sort of at its height um and I worked with the company
I was with represented mostly R&B and uh rap so not exactly the genre I
wanted to be in but it was a huge genre to be in and you know at the time
David Fincher and some some of these other directors were huge and they came
up through the ranks and obviously they’ve done very well in their careers
and they’re amazing so the videos I did you would never hear you’ve never
heard of those artists so they were all upand cominging artists uh at the
time you would have to make a video sometimes to get a record contract so you
would do a video and then you would pitch your song or album to the record
label got so I was doing a lot of you know I was doing entry videos and kind
of the $50 to $100,000 video which at the like now that’s a pretty good
budget mhm but at the time they were spending half a million to a million
minimum on music videos in the 90s and I was in that $50 to $100,000 range I
was literally putting sometimes I would put my own director’s rate back in
the video just because I wanted it to look cool gotcha so it wasn’t a very
profitable effort but it was Again part of the learning process and we had
some crazy we shot a a a rap group and paloalto when they say you live on the
wrong side of the tracks literally the tracks cut through paloalto Stanford
on one side with those tracks the tracks on the other side yes it’s a rough
part of town yeah and we shot in that part of town and it wasn’t until about
halfway through the day that I noticed there were I had a police escort
everywhere I went and I I remember talking to the policeman and I said do you
have to be here with us he goes oh 100% he goes if I leave your side your
camera and your gear are gone I went whoa I feel really sa wow yeah so it was
Wild and the guys you know like we had a start time at 700 am. or 8:00 a.m
they didn’t show up there were some other people that were like oh the the
rap groups they’re sleeping in they’ll be here a little bit later but I’ve
sent so and so and um and he’s going to take his place I go he’s not even in
the group they go yeah it’s all right just put him in the video he’s going to
rap to the song just stuff like that just crazy stuff and then there was a
whole scene with like low riders and they’re bouncing up and down and all
that I love it and I I was like you know we had knew two or three cars were
going to come they’re like oh don’t worry we’re going to put the word out in
the community and there was literally a row of like 12 low riders I was like
where do these guys come from but they just showed up we have these cool
scenes of these cars bouncing it was those kind of videos yeah uh a lot of
rap a lot of crazy stuff some R&B stuff some stuff that was a little
smoother and cooler and um I wanted to do stuff that was very conceptual and
sometimes that was it was a little bit limiting like they wanted to kind of
do the the uh standard cliche stuff plain dominoes throwing down a 40
remember the roof they literally I shot a couple groups they would raping on
the roof I don’t know if you remember that Trend in the 90s so the rap group
was up there why are they rapping on a roof I don’t know but that was the
trend there they go on a ro yeah absolutely okay so when you’re shooting a
music video I mean I think when when you think about shooting a film at least
what I think of okay there’s a script and there’s you know all these
characters and there’s this process that you have to go go through and it
feels like maybe shooting a music video maybe there’s some element of that
but but maybe there it’s a little more loose than that and you’re kind of it
can be improvisational depends how how narrative the music video is but
typically if you’re building sets you might have like two or three really
cool sets and you would play out the music video multiple times like maybe
you would do your heroic single of the of the main singer the performer in
one particular set then you would do the group in another set I mean there
are strategies you can see there’s a lot to shoot you figure you shooting
three and a half minutes worth of content in one day is that that’s the next
question I was going to ask how long does it take to shoot a music video are
you doing that all in one day yeah typically they only have the money now on
on a a Taylor Swift video that could go for three or four days they’re also
spending you know 2 million on a video so for PE you know most other videos
you’re shooting three and a half minutes worth of content in one day to give
you some perspective a commercial a 30 second commercial you get one day to
shoot yeah so you know to produce that much content you’re moving quickly and
you have to kind of just have some generic setups that you can get a lot of
footage out of uh so that when you get to the editorial room you can kind of
piece this thing together yeah okay well this brings up another question
which I think will lead into the stuff you’re doing today yeah uh with Silo
but and what is the what’s the ROI on a music video like what are you what is
the music iny what is what is the artist trying to do is it sell more records
is it just get more views I mean what is the how does that translate I think
yeah I think that’s why you’re not seeing many videos produced these days
because your rate of return is not very good so for big stars like a Taylor
Swift some of it’s branding mhm some of it is to promote a particular song I
mean when she drops a music video and within 2 or 3 hours it’s got 2 million
hits on it it’s getting a lot of traction yeah so that that’s pretty rarified
error but for maybe some of the beginning bands they’ll do these videos now
that are so cheap and done so so simply and poorly but sometimes it’s just a
way for them to get some recognition they go hey look if we can just put it
on YouTube maybe someone will discover us or we get some eyeballs on it but
yeah um yeah that’s why most record companies aren’t spending much money on
music videos anymore you know before if you had MTV you had a funnel yeah you
knew that hey look if I can get into the rotation I’m going to get some eyes
on it right and if you remember on Friday nights they would have Friday night
music videos and I remember a whole group of us would get together to watch
him yeah it was it was an event yeah it was an event well now you can do like
I me I mean Once Upon a Time like Mike Mike Tyson fights were an event like
we all everybody the neighborhood would you get together and it was the same
with like MTV oh wait you know the new videos coming out everybody all your
friends would get together you watch this he’s gonna be at another event
coming up Mike Tyson yeah hi yeah yeah hopefully he hopefully he does the
knocking out yes I’m I’m hopeful I’m wondering if I should put a bet on that
I don’t know okay so uh music videos one last question about music video
since you you dabbled in that industry a little bit as you think back or as
you look across the music video landscape is there one video in particular
that you think of that’s like that is the iconic music video I’m only
thinking of one right now because it’s the time of year and that of course is
Michael Jackson’s Thriller I was just goingon to say Thriller 100% And what
happens like at a at a club nobody goes to clubs anymore but they would be
playing that video and everybody would start doing Thriller by the way that
was the night I met my wife so we were at a yeah we were at a club and we
ended up talking all night long and at the end and we had not gone out to the
dance floor and they played Thriller I was like oh we have to go out that was
enough to get us up out of our chairs to go out and dance and the rest is
history to this day when you hear that song If You’re a art generation yeah
then you’re like all of a sudden you’re like well and the moves just start
coming out and the season you can’t even help coup weeks you know yeah
absolutely it’s Thriller season well let’s talk about your industry a little
bit more that’s not necessarily music videos but I’m interested we we’ve
watched a lot of your videos preparing for this it’s it’s a lot of kids stuff
there’s also there’s also adult stuff yeah uh as well and really cool I mean
like watching your stuff I think one all of us were impressed by the quality
like it’s very easy to watch high quality entertaining all of those things I
have a lot of questions about that one is something we talked about with like
music videos and film when you’re when you’re trying to put together a piece
to Market a kid’s toy what is there a director is there a choreographer is
there I mean I do all of the pieces still apply to the things you’re doing in
on that side of the film World well two things people are surprised when they
come to a set and they see 40 people making it happen I would be very
surprised it’s you know it’s as big as anything else and it takes a lot of
very specialized people we have somebody that’s just a toy Tech and his sole
job his or her sole job is to figure out the toy sometimes we figure little
tricks out that he has to um kind of create and set up so that we can get a
specific shot so he’s got a rig it um we have someone that’s just a doll
stylist and they just their entire job is to style those little Barbie dolls
and to comb their hair and to curl them and they come in U we did a thing for
a company called spinmaster called unicorn acad Academy and the show’s really
big on Netflix right now and so all these dolls with unicorns and their hair
has to be groomed and styled and every time you put it in front of a camera
the hair can’t there can’t be any what we call flyaways so they’re out there
grooming them and it’s a painstaking process but they’re a specialized
individual and they pose the dolls and they make them look Lively um and then
there’s everybody else there’s the cinematographer and his whole crew first
and second camera you have Gaffers and key grips and art Department our art
department for the PAW Patrol job was 16 people W all making little
Miniatures and building these things and coming out and having Rigs of things
that pop up out of the back and stuff that you can’t even imagine you know
and then you have the production staff which is three or four people and you
have Pas and you have uh what we call the vanities hair and makeup we did a
thing with some girls that were dancing so we had a dance choreographer and
they came in and did a prep day they practiced learned the whole routine and
then we had the dance choreographer for his assistant on set and then you have
all the vanities the hair and the makeup and if there’s a lot of talent
sometimes you have two of those you know yeah um so yeah it’s you walk on set
you go wow these are a lot of people for this little teeny piece of plastic
yeah yeah that’s fascinating yeah and and so the stuff that you do are you I
on your website by the way what is your website address again silop films.com
silop films.com go check it out and check out the the work I think that’s
what it’s title as the work or work and you can see all of the videos of
everything that you’ve promoted and marketed it’s fascinating uh I as I’m
watching that I’m thinking okay Louise and and you write it in there
somewhere about you’re a Storyteller you guys are storytellers so is that how
you approach each of these projects as as you’re trying to tell the story of
whatever it is to the to the audience how do you approach it 100% there’s
always some narrative component and you had mentioned earlier that the work
has a high production value and that’s something that we own as a brand so in
the ’90s as I was coming into this industry I noticed these commercials just
look so cheesy and they’re so poorly executed and I and I think that’s why I
got the opportunity to do more work is the first job I did they were like wow
this looks really amazing and it’s imaginative and it’s different and I’d
come from music video videos where it was more conceptual so I kind of
brought that same approach to toys and the one thing that we always hang on
to is we don’t do every job sometimes jobs come in and the budgets just
aren’t good enough and I know we’re not going to be able to live up to our
brand and maintain the quality that we always deliver for our for our jobs so
we don’t say yes to everything MH and we take pride and knowing that the work
has a certain production value additionally when we approach the job so we
get briefed by clients and you asked earlier would you say we’re in
entertainment space or marketing we’re probably both but we’re probably more
marketing and I’ve learned a lot about marketing I didn’t go to business
school but I’ve learned a lot about Marketing in the 26 years I’ve been doing
this and so the one thing we always try to do is couple the product we’re
showcasing the features of the product with some narrative element usually
there’s some fantasy associated with with the the play right there’s a play
pattern uh we did a thing for for Play-Doh which was a little pizza delivery
scooter so what’s the fantasy associated with that oh that I can be a pizza
delivery guy or that I can own my own Italian restaurant and make a pizza so
the front end of that uh spot is all about these kids who believe they’re
delivery pizza delivery guys yeah right so there’s a narrative element that
we try to include before we get into the showcasing of the product and it
kind of it it it demonstrates the play pattern and then once you get into the
play pattern The Narrative sort of tells itself now whether or not we do that
through a voice over or we do that through first person like the kids
actually walking you through it or we we write a song you know Jingles are
really impactful if you can create anything that’s really sticky right you
find yourself humming the same song over and over again we’ve done our jobs
as advertisers well it’s funny that you mentioned that because I was playing
a video for all of these guys uh today MH and there was a song in one of the
videos and Sierra said oh now I have that song stuck in my head yeah so there
you go it worked sticky that’s what we try to do is get something that’s
really sticky yeah right so if you can hum the brand hum the song then you
either the kid what we’re trying to do is create um you know a call to action
mhm so the kid or something goes hey Mom I really want this or the mom vice
versa says I think that’d be really fun for the kid when you go when they
walk into the store they remember that and they go oh there it is on the
Shelf let’s get that yeah absolutely so so are you said you’re writing you
you write a lot of your own stuff some some of the jingles yeah I don’t I
don’t write it but we have a creative team sure and so what we’ll do is the
process is we get briefed tomorrow morning for instance we’re getting briefed
on some products from SP uh from Hasbro M and we hear from the marketing team
what their marketing goals are and then that we learn about the product
sometimes there’s been a lot of testing so there’s a lot of science that goes
into this they do testing they learn from the testing groups here are the
features that rank the highest we can’t talk about everything in 30 seconds
no so sometimes it’ll be two or three things that we’ll key in on and they’ve
learned that already from testing we then figure out okay what’s what’s the
smartest way to creatively represent this product so that’s where creative
and commerce kind of come together right and we we then try to couple that
together we then go with our creative team and we’ll brainstorm ideas and
we’ll come back and Pitch the client oh three or four Concepts got that we
think would be really smart for the product yeah and they typically there’s a
little bit of a you know a menu approach they’ll go we like this script but
we like concept to but can we change them and that’s all ad avocado yeah
exactly exactly it’s and it tends to be modular yeah and the people we work
with are very smart you know they’re all nbaers they’ve been doing it a long
time they’re they’re really these are all blue chip companies these are you know
attracting some really top business people from The Business Schools yeah so
they’re all really great smart people and um and then we just try to turn it
in Creative but we also know that we we have to you know talk about the
product and showcase what’s great and different about this product versus the
other product right so the marketing team at say like a Hasbro will come will
have a concept like the these are this is the marketing concept this is what
we wanted they don’t even have the concept they just know here are our
marketing objectives and then you’re coming up with the creative side and how
involved do you are you still involved in that 100% de yeah yeah I’m the
executive creative director so I bring our team together and sometimes it can
be a creative team of three four people our writer we have an in-house uh
creative director sometimes we bring in an outside art person just depending
on what the need and how big the campaign is um so for a new campaign that
we’re doing we’ve been asked and tasked with coming up with a new visual
pneumonic so that’s a big thing it’s a pneumonic that’ll last hopefully for a
number of Seasons so if you think like coming up with a pneumonic McDonald’s
da da da da da you know or de you know whatever you think those things they
got to have legs and they got to have longevity so that’s a big process so
for us you know the bigger the ass the bigger our team yeah uh some sometimes
if it’s a launch of a new product you know and it’s not an existing product
and and there’s not the brand Equity MH um we’ll bring in a lot of people to
really kind of brainstorm it yeah and then we just put it together we go to
concept they select a concept at that point then we flesh out that concept
and we turn it into a storyboard yeah how do we execute this concept and then
the storyboard gets approved and then we start creating set renders we create
like what’s the look for our talent what are what’s the talent wearing you
know so it reflects the concept A little bit reflects the people that the
demographic we’re going after yeah so there’s a whole process we get into
casting and then finally we get into production so all that leads to
production how long is that process because what you’ve described is like
making almost like what it would take to make a feature film like step yeah
there’s nothing different in terms of our process and what Steven Spielberg
does for one of his movies um it depends ultimately on the client the bigger
the corporation the more layers the more approvals and so we can move very
quickly with smaller clients um because we’re working maybe directly with the
person that’s making the final decisions um at bigger places like a Hasbro
Mattel a Spin Master these kind of other companies there are there’s a
collaboration of people and so there’s a lot of directions and things that
they’re considering you know that we might pitch something and the
international team will have to way and they’ll go oh this doesn’t resonate
here because we don’t have this particular like we we’ done a pitch for um
neighborhood parties block parties MH and the international European team
said that’s a very American thing we we don’t do those kinds of things here
and so it doesn’t connect with our Market here so we had to rejigger the idea
a little bit yeah you know so fascinating something we do here in America
maybe in Canada but elsewhere it just didn’t connect yeah yeah so you know
when we’re dealing with a lot of different teams at and multiple layers that
process takes longer wow yeah well I’d love to if if if you’d allow me I’d
love to come and see some of that any any piece of that if that’s available
so my studio is in Gardina just east of just down the 105 we’re we’re right
next to SpaceX I don’t need much excuse to go