#363 From the Stage to the Screen: Niki J. Borger on Storytelling, Resilience, and NFTease

Niki J Borger
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Welcome to the Crypto Podcast. You can find all our episodes on the CryptoPodcast.org. My guest today, Nicky Borger, she'll probably kill me if I butcher it, an award-winning actress, writer, and producer, whose short films, Because I Could and A Portrayal of a Subtle Suicide, have picked up 20 selections, seven nominations, and four awards between them, all from a short film that reportedly cost $367 to make. She's also the author of In Between, a collaboration of eight gender-neutral one-act plays exploring life, death, and purpose.

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Right now, she's creator and star of NFTs, and that's with a T-E-I-S-E, it's not with the usual where you'd see NFTs, an upcoming scripted sitcom, Think The Big Bang Theory Meets Silicon Valley, about three nerdy NFT founders whose last shot at saving their startup means partnering with a group of influencers who turn out to be something else entirely. She's fluent in four languages, has performed across Europe, Russia, and the Americas, and joins us today as a genuine crossover guest, not a crypto expert, but someone using entertainment to make the whole world more accessible. So please welcome Eddie.

Hi, thank you so much for having me, and thank you for this beautiful introduction. So, I mean, like I was looking at your stuff, your acting, because I was just curious on the stuff and the dancing and everything. So you've, I mean, you've had a very interesting career and like, you know, with the awards and everything.

So you kind of take us through your career before we get into the NFTs. Sure. Well, I'm originally from Germany.

I grew up in the southwest countryside of Germany, and I never had depth perception in my eyes, actually. I grew up with 10 percent depth perception, so I had a hard time doing sports, especially the stuff that is common on the countryside, such as soccer or handball, volleyball, anything like that. So my parents got me into dance pretty early on, and into music.

I started musical education when I was four and still in kindergarten, and then I started dancing when I was six, and that was what got me started. And dance got me through college. I did a master's in political science and administration with a focus on international human resource management and management in general, and I was dancing all through that time.

I had a dance school as well, and I was performing, and I realized that I really love it so much. I want to make that my primary career. So I became a musical theater actor, and then I transitioned to Hollywood just to reach more people and be able to do this for a longer time, because in musical theater, you're kind of done by the age of 35.

So I wanted to keep doing it, so I went to the U.S., did another training there in acting, the Meissner training specifically, did a bunch of short films, got a bunch of awards, and yeah, then decided to do my own productions, including now NFTs. Excellent. What you call, I think, depth perception or something that you have, is it? Yeah, I have a lack of depth perception, so I can't see, I can't perceive very easily whether things are far away from me or closer to me, or especially if they're moving.

So you have two eyes, because with the two angles, right, your brain estimates how far things are away or how close, and whether they're moving one way or the other. And for most people, these are coordinated, right? It's something that happens in the womb, when the baby is made. And then it happens automatically, like your eyes just know that if a ball is thrown at your face, you will instinctively catch it, because your brain knows this.

For me, my eyes were not developed at the same level when I was born, so they weren't coordinated, so I didn't have that, which means anything depth-related, like how big a step is, whether that ball is moving in my face or not, whether a car is coming fast at me or not, none of that I would have an instinct about. So I had a lot of accidents growing up, and I had this embedded belief that I was not good at anything physical at all, like anything sports or movement related, because I had so many accidents, right? I broke my nose, I broke my collarbone, I bit a hole through my tongue, I lost all my front teeth just before I started school in a bike accident. So from that mindset, becoming a musical theatre actor, which is basically a professional athlete, was a huge step, right? So if there's anything you need to know about me, I do think I'm really good at overcoming challenges and figuring out my way in doing things.

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Because when you were telling me that, and I was looking at your dancing, I was thinking, how many times did you get a kick into the head, thinking it was further away? See, that's the thing, like with dancing, I got so much better at it, but it's more of a feeling thing, like I can feel and perceive where other people and bodies are around me or what I'm doing, right? Because there's always the movement happening. So at that, I'm actually really, really good at this point, yeah. Very good.

So the movie that I mentioned, 367, like 20 selections, I don't even know what that is. I mean, I know what nominations are. Well, first of all, how can you make something for that? Did you have to whip out enough slave labour and things like that? Well, no, you have to tell a good story, right? That's what it comes down to, is telling a good story.

And social media is proof that you don't need necessarily quality of production for a story to resonate with people. And what I did, so the 20 selections and four awards, that was actually only for Because I Could. That short film, that was the one we shot on $367 on two iPhone 6s in a garage.

And it's just a short film, so it only runs for five minutes, right? The idea is set 20 years in the future, for people, I think, talk about their climate sins and why they didn't do things better. And so it worked really well to just have the super crappy setup to begin with. It's a garage slash storage room with IKEA bags in the background.

And we just had two angles of the iPhones, we had crappy lighting, because the idea was that, you know, the apocalypse has happened, so there's not a lot available. And out of that, it was a mockumentary. And they were, you know, talking about why they didn't do things better.

So I was just really smart about combining a story that resonated with a setup that was cheap to do. And a selection is that it's picked, and then nominations, they take apart some of them that go to nominations, because I don't understand selection. I'm not in.

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Yeah, sorry, I forgot to say that. So there are film festivals around the world, thousands of them. And usually for filmmakers, they're important for exposure, for meeting other filmmakers, potentially investors, press, and so on.

For me, as an international, they're important, because awards are one requirement to get a talent visa to the US. So for these festivals, you can submit your film, they all have different timelines and deadlines, and different price points on how much it costs to submit. And then you submit at the festival, there's a jury that watches these films, and they select the top however many they can fit into their festival schedule.

Then those films are screened at the festival in front of a live audience. And the best films get nominated, and then the very best one gets an award. So I don't have precise numbers.

But for very big film festivals, like Cannes, Venice, Berlin is another really big one. They get thousands upon thousands of submissions. Southwest, South by Southwest, that's what it's called.

There's thousands of submissions, and then a handful, a few dozen are selected. So the chances are pretty, pretty slim of getting in there. But there's a lot more festivals that are actually more accessible, or at least somewhat more accessible.

It's still, um, getting that top spot out of like a drama short film, which is what both short films were, is, is really, really tricky, because that's where most of the submissions are. Because that's where everybody starts out with, right? Every film student on the planet does a drama short film. And so that's a big category.

Yeah. And it's, it's technically would be a cool experience. For me, it was a little bit tricky and cool, because I did my festival runs in 2020.

When the pandemic shut everything down, and about two thirds to three quarters of the festivals were cancelled, which was very unfortunate. But the ones that took place, most of them went went virtual, which was super cool, because I was nominated at the Kuala Lumpur Ecofilm Festival in Malaysia. And they had the Malaysian Crown Prince and the ceremony and made it virtual.

So I could attend that and be addressed by the Malaysian Crown Prince for my work with the film. So that was pretty awesome. And more experiences like that.

Yeah. Excellent. Excellent.

Well, let's get into NFTs. I mean, it's a cool name anyway, because you know, it's kind of playing with words. Yeah, um, yeah, I'm really excited about it.

And if he's was originally created for a web three startup that like, six years ago now, five, six years ago, and but that deal fell through. So now that it was back in my hands after so many years of developing it and working on it and preparing it and making a production plan. I was super excited to have it back and to be able to produce it myself.

And you already said it, it's about a group of super nerdy and inhibited college graduates, right? They're very insecure. And they are doing this project management class where they were just supposed to plan a business, but instead they launched the business and it went horribly wrong. So now the teacher is saying, well, you gotta make this right, or I'm not giving you an A. And so they freak out about this a little and they try to collaborate with a bunch of different artists.

None of that works until they get hooked up with a group of influencers, so to say, and I'm not gonna spoil anything more, but they signed the deal with the influencers and then find out that those people are a lot more than they thought they were. Yeah. Yeah.

And I understand why you wouldn't tell them, but it sounds interesting because I've seen, I've read it about it. And because you're an actress in this as well, yes? I am, yeah. Acting is my passion, what I love and care about.

But I also, when you're starting out as an actor, it's so hard to get roles that are interesting and it's even harder if you have a certain level of integrity. Like for me, I care a lot about uplifting and stories that help people believe that they can be more than what they are right now, because that is my story, right? So I don't like stories that either put anybody in a box, and I don't like stories that leave you feel sad and devastated afterwards. And that's kind of hard to access.

So that's what got me started in making my own stories, and this is one that I find so funny and intriguing, and I'm so excited about it. And we have such a cool cast that I can't wait to dive into all that comes. I mean, I'm in it, but like dive into the publicity part of it and share it with people, which is happening soon.

(13:34 - 16:08)
Like, is this series you're going planning on doing a series of it, or does it see how it performs and then that determines kind of keeping it going as like a pilot kind of thing or what? No, we want to do the entire series. So we're gonna, our characters are gonna come live on social media on September 9th, and we will show who our characters are and have them interact and prove that this is a great and fun concept. And then from there, we're gonna raise the funds for the entire series and shoot the entire series.

Yeah, not just the pilot. Pilots are boring. I mean, you know, it's such a hit or miss, and you don't really, it's so hard to really show what the show is in one pilot episode, right? So if you don't have anything to follow up with, then what are you even doing? And also streamers are not really picking up pilots.

They're picking up entire shows, but not just pilots. So our goal is to shoot the entire thing. Yeah.

So, I mean, I'm not sure with getting the funding, is that something like that there's a return on investment for funders? Because I mean, a lot of the people that are crypto have a lot of money because of they've done it right and everything. I don't know how this kind of model works. What way is it for people that actually are interested in investing? Oh, yeah, there's absolutely a return of investment for sure.

So how it works for investors traditionally is for 100% that you put in, you get 120% back. That is standard. And that is assuming you get distribution, which for our case, we're going to build the audience first through social media.

So I'm not really worried about distribution because first of all, you can self-distribute these days, which is super easy through Amazon Prime or to me or anything like that. Second, if you can prove that you have an audience, streamers are going to take it, right? So for investors, you get, how do I put this? The distribution waterfall is what we call this, right? From the money that is made back after production through various types of distribution, which can go on for years and decades, right? The first thing that is paid are the outstanding production costs, which is usually at this point, just a little bit of marketing. But that outstanding production costs should have been in the previous budget already.

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The second thing that gets paid are the investors. So for 100% they put in, they get 120% back. And after that, the profits are distributed equally between the cast and the investing side.

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So that goes, or not just the cast, I would say the creative team, which is the cast, the director, DP, producers, writers, of course, and so on. And the other 50% goes to the investors. So it is an opportunity to make long-term revenue for sure.

That's how all artists survive on this, right? Like as an actor or producer or writer, you spent most of your time applying for the next job and you do dozens, if not hundreds of auditions for that. And during that time, your residual payments from the previous job are the ones that keep you afloat, right? Does that answer your question? No, absolutely. And I'm just curious, is there a kind of minimum investment amount before it's considered? Is there a limit? People need 50 grand, one grand, 200 bucks, is there? Yeah, so we'll probably, so for the actual investment, it'll probably be 10 grand.

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That's not set in stone yet, because it'll be a little bit further down the line, right? So we haven't written those contracts yet and those setups, but it will most likely be 10K, yeah, as a minimum investment. And if that is, we may go lower than that, we may go to 5K, I don't know about this yet. But for anybody who will just be curious, not in investing, but in being a part in this, we will have a lot of other opportunities to get involved.

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There will be options to come on set or to have probably a poll-in lesson with one of the characters or to see Video Village, a lot of things like that. So we're doing this in huge parts for this community, right? And the idea is, aside from entertaining and providing a good entertaining product, we want to show a world in which crypto is normal. Because I do think that would help a lot with normal people getting accustomed to the idea of cryptocurrency and what life can be like in that way.

It's always easier for people when they actually see the goal and not just hear about it, but see it, right? So we are doing this for this audience and for this community, and we want our audience and our community to be involved as much as possible. And I'm just curious because I know crypto isn't your thing, like I said, but are you going to do it like smart contracts, which is on blockchain technology? Because if it's done the way the royalty, it can be done that once payment is there, that it goes out set up properly rather than somebody kind of determining, oh, I must pay this. And I think a lot of the people that are involved in blockchain technology would probably embrace that.

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Oh, yeah, that is actually like the smart contracts are part of why we're sticking with the name NFTs, because it is a huge part of the show, where it is providing, I think it's such a great tool for artists to provide a way of creating long term revenue and protecting their artistic product, right? So that's why we stuck with the name NFTs. And about the technicalities, that's not my area of expertise. So I can't promise that it's going to be that I will ask someone who knows really well how to set this up.

But it's definitely an avenue that is very, very high up in our desired outcome and ways to go. Yeah, for sure. And there's another thing then is, and I'm not sure if it's something that you thought about is actually creating NFTs that people can buy, because obviously people have heard of the and everything.

But when you're creating something new with a limited amount, people would want that then when they trade bought, the way that that's done as a royalty can be said that when it's sold, you'd constantly be making money. So that'd be in your interest that the price would keep going up. It's just revenue.

Absolutely, that is definitely something we're going to do. We're definitely going to have NFTs for the show. And part of that is like, that's why I'm so excited.

We have such a great cast of people. We really have. We had 6,000 applications for all the main roles and went through these people.

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How do you even navigate that? I mean, I used to hire people. And if I went to like 20 interviews or something like that, it was like, your head is exploding. Like, so is it one of them ones where you get the pilot and you troll half the way and say, they're just unlucky or how to navigate 6,000 applications? Yeah, well, it was a lot for sure.

As on the casting side, we do have systems to navigate that, right? And they help their setups to make this a lot easier. And then for casting, there's always various stages. So the actors apply, we look through their headshots and their material.

That's what we did for all 6,000. And that was a lot of work. Yes.

And then they get to do a self-tape with a scene. And then we had a Zoom callback in groups. And then we had an in-person callback where we actually brought them in the room with our entire production team there and saw their work there.

And that's how we got to our cast. But because they're so essential for creating the NFTs and the appeal for the show, let me tell you, all of them are very good looking people. They're super interesting, they're super fun and cool to work with.

And that's part of why I'm so excited and so ready to get this live and to get this going. Yeah. I mean, because I don't know much about kind of production and all that.

How many people are actually needed between actors, actresses, and all the different... How many people are we talking about would be involved in something like this? In something like this? Well, we're going to keep production fairly small because it's the first season. We want to make this on a budget that makes sense. So on a day on set, we will probably end up having between 30 and 50 people on the crew side, I would say, which is still fairly small.

And yeah, then our 10 main actors, probably in every episode, you get a handful of recurring or day players. So that's another 3 to 10 people. So yeah, it'll end up being something between 40, 45 and 70 people on a day on set.

That's what I'm estimating, which is still small. If you have bigger sets, like a full movie production with a $100 million budget, you easily have 200 to 600 people on set. Not all on the same set, because they may have various locations where they're shooting or preparing.

But the logistics behind that stuff just gets ridiculous. And then on the other end, like a small short film can work with as little as 3 or 4 people to like 15 or 20 people. And what about, because I mean, obviously you've went through a lot of selections, but not obviously on this, but on previous experiences.

Is there times that somebody kind of goes off the rails, maybe goes on the drink or just kind of doesn't turn up like they should, because that affects the whole writing process? Like what happens? I don't know, does that happen? But I'm sure it does, because if I look at reality and life in general, things like that happen. Things like that happen. And on a good set, they happen only once and then that person is gone.

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You got to think of a movie production, like a really big machinery. And everybody plays one moving part in this. And the part that is needed at a time changes.

Like for example, early in the day, you need the hair and makeup people to get your cast ready. You need the production designers to set up the background. Those are the people that put in decorations and make the place look good on camera, right? You need the lighting people early on, because all the lights need to be set ideally for all setups of the day.

But then when the camera is rolling, production design and hair and makeup has to be quiet in a corner, right? Because they're not doing anything then. But then it's the camera people that have a lot of work at that point, and the sound people that have to make sure lighting always has to be there and has to adjust. Once a take is over, or we do a new setup, hair and makeup flies in and they touch up your makeup and then they disappear again, right? So it's this huge machinery.

And every second costs a lot of money. For big productions, you can literally do the math that one minute of delay costs 5, 10, if not more, thousands of dollars, right? Every minute. So imagine out of these 200 people, one person being late and not knowing their job, right? That's like, if you think of five minutes, five minutes only, that's 50k out of the window, $50,000.

That's some money. People like an entire family can survive off, right? In some places, because one person screwed up. So that's why so many in film rely on the people they already know and trust.

It's kind of hard or unlikely to bring someone in that you've never worked with, just to make sure that any issues there don't happen. And it doesn't have to be anything that somebody shows up drunk or high or whatever. It can be little things that communication didn't work out, or that they're not as present as they should be, that they don't understand what a director or producer needs at what time.

A lot of this is, the more you can get in vibe and learn how the other people work, the more flowing and easier and well working the machine is going to be. And that's why most directors and especially directors, crews in general, stick with the same people from film school that they've known since the beginning, because it just becomes more and more efficient. Interesting.

And like you've been an actress on a lot of different shows. What's the life like when you have to kind of go in and make the film and everything, and you're kind of living, I don't know, you're living out of a kind of mobile home or what's the thing, but you're kind of moving from destinations? It seems glamorous, the actress, but is it that it's great and you're connecting with people? Or are there times that it's like you'd rather have a base? It really depends. The long-term traveling is rough, for sure.

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There's a lot of things that go with that, the planning. What do you do with your place? If you have pets, what do you do with them? Well, let alone a partner and kids, right? There's so many logistics around what to bring, sometimes language, right? Depending on where you work. I worked a project about the Russia-Ukraine conflict before the actual war broke out.

So in between the taking over of the Donbass and all of that and the Kremlin and the actual war breaking out, I did a project, a documentary theater project with those countries and I performed in both places, in Russia and in Ukraine. I don't speak either language. So things like taking a flight and then getting to your hotel and even getting food while you're there are challenging.

(28:44 - 29:58)
So it's certainly a lot easier and nicer to be filming and working where you live and where you're at, but that's nowadays just not the reality for most productions. And that's part of the deal you got to make. At least for actors, we're so passionate about what we're doing and we get to do a lot of fun stuff.

We also get to do a lot of hard stuff. Crying on cue is not easy. All of this is a craft that requires a lot of training and so to say, staying in shape with your craft.

But we do get the rewards of this as well. There are other jobs on set that are a lot more miserable and have harder times and way less validation. So how they do it, I really don't know.

I guess they love what they're doing as well. Excellent. And just curious with like say the green screens and the reason I'm asking is, I know it's kind of like a lot of the higher production stuff as well, but I think I see a disconnect when there's too much of that because I can actually see it on the telly and my youngest son as well can see it and a lot of people can't.

But it's like straight away I'm disconnecting and I'm just curious like which stuff you've done. What's your thoughts on that? Yeah, green screens are weird. They're really awkward to shoot with as well.

(29:59 - 40:27)
It gets even worse when you have a mocap suit. When you do mocap on a, that's a motion capture suit where you're like in this suit which has a lot of buttons and cables in between and captures your movement and your face and then you have a helmet on or something with a camera in front of your face that captures your facial movements. It's kind of, you may have seen this like they filmed Gollum that way for the Lord of the Rings.

It's really awkward because you're like, there's so many things to distract you and it's so hard to find your authentic acting place that it's really tough work. There's people who love it. I like it a lot better when I have real sets and I do think everybody agrees that we can see green screen very easily in most situations which is why we're moving away from it, right? Like productions with the budget now use the LED backups which was developed for the Mandalorian originally as far as I know and so the Mandalorian is shot largely in the newer version of the replacement of green screen and I feel like to me that one looks pretty freaking awesome.

And with the NFTs you're not gonna have green screens I presume you have studios? No, we're gonna have two locations that are well lit and look really cool. We're gonna keep it very very simple because it has to be done on a realistic budget, right? We're talking way less money than what is common for studio productions. For a studio show even in a first season they start a five million dollar budget usually or something in that ballpark.

We are gonna operate at way less money than that for sure. And this is, I mean these things are just coming to my head now but like how do you navigate when like for example this could be extremely successful which I hope it is and it goes far not just for you but for the other actors and stuff like that but even there's other stuff that you've done say and then you don't know you could have 10 years with this but then again you mightn't and then you have to go on to like how are you planning your kind of because you're not getting paid while you're not doing other stuff if if you know what I mean it's kind of you have to because you still have bills and stuff to do for all actors actresses it's a hard one I'd say to navigate. It's a hard one yeah it's not just the actors it's the creative people as well directors producers writers.

I feel like the the bigger difference is that actors are so dependent on the others while like a writer at least you know can still find other avenues to write or to publish and a director is usually the one in charge of the project right so they can find something. Yeah you have to be smart about business you have to be smart about personal finances you have to ideally build passive income in some way or another and that is a huge part of why the industry is so tricky for people right now. It used to be that commercials would pay like 10, 15, 20k for one commercial for two years of advertising rights and when those two years have passed you get another 5 or 10k of money and that is already good money to survive right but that's not happening anymore.

Commercials first of all are no longer union commercials most of them they're non-union commercials and they pay you a minimum rate a day which is something between 150 and 250 bucks. So you're giving away your likeness and your face and your uniqueness for next to no money and have nothing on the back end and that is unfortunately what the industry has moved towards and it's been getting a little bit worse with streaming because streaming as of recently is not paying residuals either right so artists have little to build with. Their argument is that they don't have the numbers of how many people are actually watching something but on the artist side we see when we pull up Netflix what says what the top 10 shows are in your country right now.

You know everything just tracking on the television they know everything. Yeah and that was a huge part of the strikes were about a couple years ago when it was the writers and then the actors on strike with against AMPTP so that is and they're negotiating and you know figuring it out it's always a process when you have new technology emerging and things changing but it's certainly anything but easy as an industry and you have to have a healthy sense of personal finance and how to conduct your own business so to say to make it work or you'll be a starving artist your entire life. And with AI especially for the writers because they're trying to do that but also with the actors they're trying to get them to sign their rights away that then they can because some of the AI is so good like how do you navigate that to protect yourself because unfortunately some people they just need the next month's rent and they'll actually agree to whatever is there but the reality that should never be done where they're using AI for writing or using a person's image for future films.

Yeah personally I think you should be smart enough to navigate to never navigate yourself into a situation where you need to make the money now or or else. Of course that's not always possible because life happens and I've certainly been in tricky situations myself. I would never sign away my rights in that sense and I'm actually actively looking into any options we have to protect our actors from anything that can be done there to harm their image or can be copied because I think each of us owns their likeness per se and I don't think anybody has a right to use somebody else's likeness to do anything of it.

If you want to use a clip from a movie that exists which is fine like which you know is done plenty in social media I think that's fun and totally fine but to alter what an actor did without their consent especially if it's coming from a private person is to me a violation of their human rights and I know I'm very extreme about this but I'm also not gonna go ahead and tell any like I'm not gonna use my neighbor's picture and do anything ridiculously weird and then sell it online or something right. It's a matter of mutual human respect you wouldn't want that done to yourself so why would you do it to anybody else. Right now the unions are in the process of negotiating things there.

California already passed an act for some level of protection and I do think SAG-AFTRA the actors union will come up with something more for protection in that sense. Generally speaking I'm absolutely not against AI at all. I think AI is going to be great for very specific things such as pattern recognition because of the amount of data it can process it can draw conclusions or see things that humans can't perceive because we can't process so much data.

So one thing I this is really weird and I may totally be wrong about this but I'm kind of excited to let AI do the algorithms for Los Angeles traffic lights because I think that would be something where AI could absolutely excel and make something better for people. But I don't think AI should replace creative jobs that humans want to do because we're all born as creators. Creativity is something so natural and inherent to all of us that if you take that away from people you take away the point in living to some extent.

So why would you do it especially in an area where there's already so few jobs available and that doesn't mean everybody has to work in something artistic but it means we should not destroy what we have but use AI to make that more accessible. If we have robots cleaning toilets right what nobody wants to do then we have more room for those people to do jobs that they're actually interested in where they're better in the jobs where humans excel robots and always will. And this is also another controversial opinion.

I still think I still have to see the AI that is better at writing than a human. I have not seen it yet. So hopefully that will never happen.

And in the meantime we're gonna like for NFT specifically we firmly believe that humans want to be artists. So we let humans do the art and I do believe that will create more resonance than anything that can be AI created. That was a long speech.

No it was good. I mean the robotics I'd like them to replace the city officials because all they do is they kind of just annoy you and get you to do stuff that you don't get paid for. So if we could replace them then we're not affecting anybody.

So that would be something I think most people would go for. So I suppose just finally give a few maybe teasers as well something that people can expect because you know you're going to be doing the social media on the ninth as you said and you just talk a little bit maybe just tell something else that would just kind of get people pique their interest. Absolutely.

We have the coolest characters in the show that I'm super excited about. So on the nerd side we have like it's a group of three and it's kind of led by Kelly. Kelly is this girl.

She's you know she's short hair. She's kind of like cute in that sense though she would hate it if you told her so. And she really wants to get an A. So she's the driving force behind this and she's played by our amazing actress Natalia Montgomery.

(40:27 - 41:45)
Along with her we have Aaron and Dom. Dom is played by Kapila Kanagasabai and he is too shy. Like he really struggles to to talk to hot girls specifically.

So that's a bit of an issue with him. He's still coming out of his shell. And then we have Aaron who's a business major.

He's played by Keith McKay. And Aaron he just wants to get the business going. He's got that driving force and if he you know can get some action along the way even better.

So that's our cast on the nerd side. And they will have to work with our influencers. For the influencers we have Angela who we all lovingly call Boops.

And she is played by Amanda Wilkerson. And Angela is really really sweet. She cares a lot about animals and cooking and you know being nice to one another.

And she obviously has what she's named for. Then there's hang on let me think. Oh yeah there's Carly our dominatrix who's played by Madison Rodriguez.

(41:46 - 42:01)
Carly is you know all about making you do the shit you should do. And she's really fun. Really really fun.

Really intense. Really fun as well. And also it's impossible to lie to her.

(42:03 - 42:31)
Then we have Vic. Vic is played by Sophie Steele. And Vic is a wild card.

You just never know what you're getting with her. She like one day she will walk out a princess. The next day she will walk out as a demon and everything in between.

And she just does what she likes in that moment. And she's cool with everybody. Just you know be you.

Be you. Do you. And embrace your own kink.

(42:31 - 42:37)
And then we have two couples. One of them are Jude and Samira. Jude is played by Nyren Winter.

(42:38 - 44:20)
And Samira is played by Grace Colbert. They are an influencer couple doing very specific type of content that has a lot to do with fantasy and roles we're all interested in. And that's all I'm going to say there.

So they're really fun to watch. And then there is Calvin and Olivia. I'll be the one playing Olivia.

And Calvin and Olivia well they still need to find out whether they actually like what's going to happen there. They've known each other but then they lost touch and they will you know see one another again for the first time in the pilot episode. So we'll see what will happen there.

They're gonna make it or not and what that's gonna look like. So that's that's what I can tell you. I can tell you that there's gonna be a lot of parties because all the influencers live in a mansion together.

And they were all selected by the owner of the mansion to live there and have to live up to that legacy. So part of that is that there will be a party in the mansion in every episode a themed one. And it's gonna be so much fun.

And obviously the nerds will try their best to actually just get access to that you know let alone be integrated. But yeah there's obviously worlds colliding. And gosh I hope you can tell I'm so excited about this.

Sounds that sounds fascinating. I wish it super success. So you might let the listeners know where they can find you and find out more about everything.

(44:21 - 45:44)
Yeah I'd love to. So you can find our website at firewolfent.com slash nfts or if you just put firewolf entertainment and nfts into google it'll pop up. Because from the webpage just all the links on there and everything we're doing.

We're right now on TikTok and Instagram under nfts. And we are most likely going to set up Macedon and Ditto as well. And then go from there.

But the webpage will have all the social links for sure. And yeah social media is where we're going to share everything that's happening. So so that'll be a lot of fun.

Excellent. Totally enjoyed it. Make sure I put all the links both on the audio and the video.

Thank you. Thank you. So that's all for the crypto podcast.

And I'll say the speaking podcast as well because I think this conversation would actually suit as a podcast. And you'll find everything about me. Scan the QR code.

Go to ycolin.com. If you're interested in a private business group you'll find the details of that in it. If you're looking for virtual assistance go to va.world. Sure to give us thumbs up five star it and share with maybe three friends. When this comes out do the same thing because I don't know can you do reviews and stuff like that but it really helps and gets more people to see it and maybe they get a better budget.

So until next week take care.