Tony Robbins and the City of Dreams ft. Tony Robbins and Mohit Ramchandani
Slavery hasn't actually disappeared from America. It just exists in a very different form. Millions of people, exist in a vast international network of underground slave labor. Author and motivational guru Tony Robbins joins Charlie to talk about his new film, City of Dreams, which offers a dramatized look at this dark reality. The film's director Mohit Ramchandani joins to talk about his artistic vision and why Hollywood is so offended at films exposing the reality of modern migrant slavery.Support the show: http://www.charliekirk.com/supportSee omnystudio.com/listener for privacy information.
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Okay, everybody, welcome to this episode of The Charlie Kirk Show.
Honored to have two amazing guests with us, one of which has changed my life, and he knows that, and it's worth repeating.
I've been listening to him for well over 20 years.
It is Tony Robbins, who could just best be called a force for good in this world, but also executive producer of what we're here to talk about today, City of Dreams, an amazing film, and also Mo Ramchandani, I think I got that right, who's the writer and director of City of Dreams.
Welcome to you both, welcome to the program.
Thanks very much.
Tony, let's start with you.
Tony, what led you to want to partner with this film and be the executive producer of this very powerful movie?
Well, about eight years ago, my wife and I, you know, we're involved in all kinds of things, feeding people, because I was fed when I was a child, and we've had the privilege now of feeding over a billion people through our partnership in Feeding America just in the last 10 years.
So, I've been involved in a lot of projects, and because of that, when I do business programs, I invite the audience that are making more money to say, what are you going to do for the world?
You're going to be fulfilled by things you give, not just by what you get.
And one woman got up and shared this story about her own child, a dear friend's child being abducted and so forth.
And she was crying, talking about she wants to save children.
And she said, there's an organization that really is making a difference and she wants to sponsor and didn't have enough money.
And I said, well, how much does it cost to save a child?
And she had $3,500.
I said, to save a child from slavery?
She said, yes.
I said, I'll put up a quarter of a million dollars.
Let's matching funds.
Let's see how much you're going to raise.
We raised a couple million dollars in about 35, 40 minutes.
And so that started me on a journey. Then I went out actually undercover.
They use movie makeup, put scars all over me and I spent four and a half days down
in Haiti while we rescued 37 children. And it was the ugliest thing I've ever
seen in my life.
Children tied to a bed, 10 years old, doing tricks all day.
But it was also the most beautiful thing I've ever done, seeing them be freed and seeing them on the other side now
here.
So my wife and I got involved and now we've funded about 51,000 children's rescues during that time.
But there's only so much you do by yourself and a film can change that.
So I helped executive produce, uh, you know, another film that you may have seen called the sound of freedom last year and it caught hold, but it also showed it more overseas.
And I was really interested in not just sex slavery, but labor slavery.
And because, you know, 10 million, 11 million people come across the border, we know we've lost 325,000 children, the government's reported, but it's just too big.
People get overwhelmed when they hear numbers like that.
You go numb, it's a headline.
But if you can follow, you know, through a movie, one child's life and experience what they go through, First of all, it's a thriller.
I mean, this puts you on the edge of your seat every moment.
It's just pure entertainment.
But while you're doing that, instead of educating someone or preaching to them, you're firing people up and waking them up.
And so the purpose for me is, you know, if you say, what ended slavery in the United States?
You know, the number one factor was a person who wrote a book who told the story to everybody.
You know, Harry Beecher Stowe created Uncle Tom's Cabin in 1852 because she lost a child and it made her feel for women who were slaves whose children were sold off.
And so it made her emotionally associated.
She was mad because a new law got passed that said the people in the North had to send these slaves back.
So she wrote this book, and it captured the imagination of the country.
It sold 3,000 copies the first day, 300,000 copies the first year, a million copies in the 1850s the next year.
And guess what?
Lincoln read it.
And so the storytelling woke people up, and then people started saying, enough of this.
That's how things change.
So to me, you know, this isn't do that by itself.
But this film will wake you up to what's really going on, and it'll wake you up that it isn't just numbers coming across the border, what these lives are happening, and I think people will be, I know they will, they'll be deeply moved.
It's got a 92 score on Rotten Tomatoes, so the audiences are really responding to it.
It's an incredibly powerful film, and Tony, you're right, it takes, okay, so we hear that there are 320,000 missing kids in the country, according to the Department of Homeland Security, but then it personalized it, because that's just an abstraction, it's a number, okay, it's a statistic.
So, Mo, you have a family story that connects you to this.
You're the writer and director here.
Introduce yourself to the audience.
What is your family's history, your father, that makes this more than just a typical Hollywood film?
Yeah so you know I'm my family originally from a province in Pakistan called Sindh that used to be India and then of course you know when the British left the partition happened and my father was seven years old he was kicked out of his home he had to move into the Hindu majority of India and that's where you know his his my grandfather was a public defender and they didn't have a lot of money and this was a new system so he worked in a sweatshop he worked as a t-boy he worked in sweatshop like conditions and it sort of informed I mean he got out of that And he became, you know, he sort of went, he had the American dream.
And I will say that that experience though traumatized him.
And in the film, I based three of the characters on him, the little boy, one of the enforcers, and ultimately the guy that runs the sweatshop.
Because really for me, I didn't write this initially thinking, you know, when I started writing the movie, this wasn't the hottest issue in the country.
It was something that you barely heard about.
For me, I wrote it as a way to forgive my dad, as a way to understand why he was the way he was.
And so that was deeply personal for me.
And obviously now it's become this whole thing that I didn't expect.
Again, you know, I wrote the first draft of the script 10 years ago when I read about the Almonte case in Southern California where there were 72 immigrants trapped in a residential location.
They couldn't see light for seven years.
They were sewing.
It was interesting because it wasn't sex trafficking.
And as I started working on it and trying to get it made, more and more cases were coming to light.
And that was really sort of shocking to me.
But my heart was always in wanting to tell my father's story.
Yes, so Mo, I just want to follow up really quickly and telling your father's story because it adds a personal element.
Introduce the audience to at least a picture of, I believe it's Jesus in the film, is that correct?
Who is a young Mexican farmer who travels to LA with the promise of training at a soccer camp and the movie really goes off from there.
So just kind of, now speak about the movie itself of the story you guys tell.
Yeah, so it is about this young boy who, you know, he has dreams of being a soccer star like many, many kids in Mexico.
And when I went to Mexico, I noticed even in the poorest areas, these kids were wearing soccer jerseys of their local teams.
Like that's the only shirt they had.
So what I did was I wanted this character to be a metaphor for the 12 million children that are enslaved around the world that don't have a voice.
So in the film, he's a mute.
He doesn't speak, and the way we learn about him, his goals, his aspirations, his fears, is through his dreams.
So, you know, even when the movie opens, he ends up, you know, he's playing a game with his friends, and the camera goes around, and we're transported into a soccer stadium, and later, you get to see his nightmares as well, and his hero's journey, because it is a hero's journey.
It's about a boy who, ultimately, whose voice was lost, and by the end of the movie, he gets his voice back, and he fights back, and he fights, you know, as a Almost modern-day messianic figure.
I mean, you know, I've always been deeply curious with Christianity after I saw Passion of the Christ, and so that's why his name is Jesus, his mother is Maria, his father is Jose, and even the guy who punishes him, before he punishes him, he washes his hands.
There are all these little, little allegories and archetypes in the movie that make it a relatable modern-day messianic tale.
And that's what was really interesting to me, is giving people Hope through the movie.
I love that.
I want to play the trailer.
And Tony, part of this though, and Mo mentioned it, and you do this at Date with Destiny,
and you've changed my life here, is we must not forget once they're freed of this, they
have to also, they got to work through the trauma, right Tony?
And we believe Christianity is the way, I believe, the way to partially do that.
But can you talk about that Tony?
Because your life is about improving people's lives, and you've done a great service to
Billions of people have been impacted literally by all of your work, but that's probably one of the harder ones you ever have to encounter, right, Tony?
I mean, you deal with people that are suicidal and depressed, but they come to a seminar and they say that they were a sex slave at age eight?
I mean, talk about that.
Well, it doesn't get solved in a minute, as you might guess.
It has to have an experience where safety and certainty can be returned.
If you can imagine, human beings, you get more and more crazy the more you think events control you versus you control events.
That's how our entire self-esteem is wired.
The more you feel like events control you, the more out of control you feel, the more crazy you feel.
And so the ability to get somebody back to where you can anchor in their body that sense of certainty, that sense of security, that sense that, hey, that's over.
This is a different life.
That's the process.
We have to take people through it.
And quite frankly, you know, you can make a huge change in a few hours.
But what we have is a whole process.
We work with several different organizations that do this.
That don't do it over a period of six months to two to sometimes three years.
But most of these kids, there's a group I work with in Indonesia, for example, also that does this.
They're some of the most effective because they use big data and they use what he called AI to track who the kingpins are and get them out.
But the kids that will go through this process and be rescued, a huge number of them go back in to help us rescue others.
They work within the organization.
So my pain has a purpose.
You follow me?
It's like we can all deal with a horrible today if we have a compelling tomorrow.
And what gives our life meaning is to serve something more than ourselves.
You'll never be happy by what you get, but who you become will make you really happy or really sad.
And so these kids become something more.
They become rescuers, they become social workers.
And so that's the ultimate healing that happens when you can take your worst experience of your life And converting to one of the best experiences of your life.
That's in my own experience, even what really transforms life and makes it worthwhile.
So the, again, the film is think of this film as a heroic journey, but also a thriller.
You're on the edge of your seat every moment.
So it's not preachy, but in the end, boy, you're definitely moved.
And you know, what's really going on when you're these abstract numbers and you'll be called basically to want to do something, right?
You're Congressman.
Maybe after you show this clip you can ask Mo a little bit about some of the solutions that are possible that really can put a dent in this.
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Let's play Cut 151.
This is the trailer.
Again, the film is City of Dreams, and I believe it's available everywhere now, right guys?
In theaters, is that correct?
So, okay, it is out right now.
Let's play Cut 151, please.
Any reason you rolled through that stop?
I'm sorry.
That your son?
Yes.
Any ID for the boy?
Yeah.
Watch the stops.
To a 2018 red Mustang belonging to Rodrigo Ramirez.
Rise and shine, homie!
Rise and shine!
First shift, 6.30.
Second shift, 12.30.
Last shift, 2.11 and boom.
Lights out at midnight.
You crush it.
I know there's more of them in there.
Well, fake password isn't gonna cut it.
Yes, sir.
These people have no criminal history whatsoever.
What kind of business you in?
The busy kind.
We've got evidence that they're harboring illegals.
Plus four warrant denied.
Copy that.
I'd quit poking around.
Catch my drift.
Wow.
So, Mo, again, that is so chilling, and it's tempting for us in America to turn a blind eye to this kind of evil.
It's happening here in the States, is it not?
And then, if so, let's talk about some solutions as we proceed.
Yeah, I mean I think when for a long time when you said the word sweatshop it was India and China, India and China.
You know like that's what would come to your mind but I think today made in the USA doesn't mean what it did you know 15 or 20 years ago.
I think it's gotten a lot worse. I think the last four years has been, you know, the inflow of,
you know, people to this country that are now being in the supply chains of the biggest
corporations in America. And look, you know, I'm not a politician.
I'm not a lawmaker.
I'm a filmmaker.
My job is to inspire people and move people emotionally.
But I did have an idea.
I did go to London School of Economics, so I had some sense of government.
My idea, which I presented to the Labor Department last year, is I said, look, I worked on Wall Street for about three months and every single Wall Street third party trading office, if Goldman Sachs opens an office in any country in the world and in multiple offices, every single trading office has to have an SEC compliance officer there.
It's that simple.
That's mandatory.
It's law.
If that same law was applied to every single industry and every single corporation in America,
what it would do is cut off the demand for this cheap labor because there would be financial
consequences to every time they violated it and there would be someone reporting it.
And there were these initiatives, even in India, they had a, India and Pakistan, they
Like you had to have a rug mark approval on all the carpets in order to prove that you weren't made with child labor or with bonded labor.
And so to me, that's a very simple solution.
It's something I presented to the labor department.
And it was interesting because the lawyer for the labor department last year was like, Hey, that's a good idea.
And I'm like, no, no, no, I'm, I'm, I'm a nobody.
Like you're the labor department.
You guys should be figuring out way more complicated stuff than this.
But I noticed that.
You know, this is going to be something hard to enforce to get all these major corporations to basically agree to be monitored and penalized financially for every single human rights violation in every single facility.
So Charlie, the challenge is a lot of these companies.
A lot of these are really big companies that you and I might really enjoy and like, but they, you know, they subcontract and then subcontractors subcontract.
So it may not be them actually trying to take advantage.
They just want the cheapest product.
They just don't know what's happening.
But if, if you made a requirement where people have to be able to report that, that's one way it could shift.
But again, it's, if you can take out the demand, the only reason it happens is because they make money doing it.
So, Tony, I have a question.
Your career has been about understanding the human mind, understanding what drives us.
And so help me understand why the way we're wired, the way God made us, why this topic and topics like it, we don't seem to care as much as we should.
Why films like this are necessary?
What is it about the human condition that seems to be indifferent towards evil that might not be right in our face?
I think people do care, but I think what's happened is we become so overwhelmed.
You know, people used to call this the information revolution, the information age,
the information age died a long time ago. There's too much information. We're drowning in information
and we're starving for wisdom. And so what happens today is people are just constant inflow. That's
so overwhelming. And we also hear so much negativity because, you know, in the news,
we know it's happened for decades. If it, you know, if it bleeds, it leads, right? That's how
it works. People know that's what drives eyeballs. And so the economic models of the news, the
economic models today.
You know, the news comes to you in your pocket, and something happens in a country you didn't even know anything about, and somebody drowns, and it's the first thing that you're going to hear about.
So people's brains can't take it all.
So what we do is, the human brain distorts, deletes, and generalizes.
If you try to take in everything that's going on in this moment, your brain will be overwhelmed.
Your conscious mind, at least.
The clothing touching your skin, you're not thinking about that until I mention it.
The heartbeat, or the sound of something, the smell of things.
So we mostly delete, distort, and generalize to get through our lives.
What's useful about movies is when you take this massive problem and you bring it down again to just one human being's life, that's when people connect to their heart.
When they see and they feel and they have a chance to process it and you're cheering for this person.
You know, in the end this is like a Rocky film because in the end this kid is the one that fights back against all all odds and you just free himself, he frees everybody else
as well.
And so that set of emotions, it's like, you know, I use this example.
Usually it's like, you know, where you were at nine 11, if you weren't even
American, I traveled the world by saying who members, where you were, who was
around you the moment you were at about nine 11, everybody knows if they were
alive at that time, if I ask you where you were at eight 11, no one can tell
you because information without emotion is barely retained.
All these headlines don't mean anything.
It doesn't mean people don't care.
It just means they don't have time to emotionally digest something because it's overwhelming.
So it's not a lack of caring for human beings.
And here's the other part.
It's the idea that someone else will handle this because I'm so overwhelmed.
That's right.
I, you know, it's like someone else has got to do this.
And so some of us have a mindset because we've been emotionally hit.
I mean, I've witnessed this directly.
I didn't read about it.
And so the direct experience, you can never get it out of your head.
And so it's driven me to do both these films.
And we did sound of freedom.
And now this film that this film though, I think has even potentially more power because it's happening right here.
Those 12 million children that are in slavery right now around the world, a third of them, are in America and in some first world countries. I mean,
people don't have any clue. So we need to wake up and the storyteller, this is the most power. The
storyteller has the capacity to wake people up. Again, that's what, you know, Aria Beecher Stowe
did with Uncle Tom's Cabin. This is, this is just another one of those hits that hopefully
wakes people up. And right now, unfortunately, it's also become politicized.
I'm personally an independent.
I've voted on both sides of the aisle.
I've worked with both sides of the aisle.
I remember working with President Clinton and leaving his office and going over to work with Gingrich on the same day.
Today, somebody would shoot you in the head if you tried to do that.
We're forgetting that we all, like, people say, let's take guns.
Some people are, guns should be confiscated.
Some people say we have to have guns.
What we agree on is we want our kids and our families safe.
Yes.
We just disagree about how.
And what's been a bit frustrating, I know for Mo, is he's not, he wasn't political in making this film, but oh my gosh, we've got, you know, it first came out and it had 100% on Rotten Tomatoes amongst critics and testing.
The highest rate the studio's seen in five years.
And then, you know, 92 from the audience itself.
But then, you know, Variety does an article and they gave him zero out of four stars, you know, and they complained.
So it's interesting.
But Mo, you want to share what you've experienced?
Yeah.
I don't know what to say, man.
Charlie, I've got to tell you, like Tony said, I've actually been a Democrat my whole life, and today I'll say that I'm a frustrated and confused independent, and I feel that we're incredibly divisive at the moment.
I don't personally believe in pointing fingers.
I believe in bringing people together and having conversations.
That's something that I learned from my hero, Tony Robbins.
That's the only way change is going to happen.
I think what Tony said was shocking.
When I finished the movie, I couldn't get anyone to watch it.
No superheroes, no werewolves, too much violence.
It's no more violent than Slumdog Millionaire.
It's less violent than 12 Years a Slave.
It's less violent than Euphoria, less violent than Narcos.
And I truly was naive.
And I will say that, you know, I pride myself on my intellect, but I almost feel like, how could I not have seen this?
We didn't get into some of the major festivals.
We got into one festival.
We won it.
We won everything.
We got the 100%.
And then as the movie came out, It was really interesting.
We got this scathing review in Variety.
It started where it looked like what I was told by somebody from the studios, this is a Latino beating down a non-Latino for telling a Latino story.
Because it was like City of Dreams director squanders top cast.
Like I had this great cast of actors, all Latin Americans, and it talked about the cinematography and how great everything is, but the story was terrible.
And it was the tabloid interpretation of what this issue really is.
And then the same thing happened with Roger Ebert.
They gave us zero out of four stars and they, in Roger Ebert, they started complaining about,
well, yeah, they were like, if this movie's mission was to raise awareness, done.
You did it.
Now what?
Why don't you have a website that says all this stuff on it?"
And I'm like, dude, I'm a director!
Is that what you say to Christopher Nolan when he makes Interstellar?
Why haven't you solved the space-time continuum at the end of his movie?
Like, I was really pissed off.
I was like, are these people, are they serious?
And then they're upset because I had people from, you know, I had conservatives like Vivek Ramaswamy, who's my Indian brother, And he's a Hindu, and I don't necessarily agree with everything he says, but I love the fact that he wants to make a difference in the world.
He came on and supported me as well, and I'm getting attacked for that.
Like it has been so heartbreaking for me.
And it was only recently that somebody said to me and they didn't want to be quoted.
They said, Mo, look, you do have liberals.
You have Michael Phillips who won an Oscar for a taxi driver and Close Encounters as an EP.
You have Tony Robbins, you have, but you do have the VEC.
And it doesn't matter how many of these like, you know, liberals you have.
The truth is you are pointing at the biggest vulnerability of one of the two largest political parties
the country in an election year.
And what do you think's going to happen, man?
And I just, I didn't see it because as I was making the movie, it wasn't the biggest political issue in the country.
When I started making this movie, everyone was anti-Donald Trump, you know, like that's what was going on.
And I thought, okay, you know, he talked about the wall and everyone was pissed off them.
I thought, oh, this is, we're going to look good because we're actually fighting for migrants' rights here.
We're actually showing, you know, in the film, I show Mexico as a heaven.
I show it really beautiful, green, lush.
I don't show Mexico as this dirty, like, deserty place that American films always portray.
And I did that purposely to say, the American dream is where you are.
You don't need to go anywhere.
And in fact, this kid being brought into the L.A.
garment industry was his nightmare.
That was the sort of garbage heap that he got thrown into.
You know, I'm sorry I'm a little animated.
I'm on day five of a water fast.
So I'm very passionate.
You know, when I'm challenged, I fast.
I love that.
But you know what's so crazy is the audiences love it.
I mean, that's like, go look at the ratings, you know, it's got an A rating and cinema rating, you know, 92 and rotten tomatoes from the audience.
So that's what matters.
So hopefully more and more people will be exposed and people like you, Charlie, Getting people to know what this is about that they don't have to go to be educated.
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These types of films usually are actually ones that are most celebrated in Hollywood, that have a missional component, where it's not just Superman, Superwoman, you know, Avengers 92, or Fast and Furious 76, right?
It's something that has some sort of redemptive quality Either one of you, can you speculate, is there something I must have missed?
I'm a very political person, obviously, but that's not what we're here to talk about today at all, and I didn't ask a political question.
Is there something I missed in this film that makes it so verboten where Roger Ebert says you get zero out of four stars?
Yeah, well I have two things I can say to that, right?
The first thing is this.
My job as a filmmaker, the reason I became a filmmaker is because of how much films inspired me.
They're where I got my education.
They were almost my religion, right?
It was movies and Tony Robbins videos.
That's all I did growing up.
So what happened for me is I just wanted to deeply move people and this is what I noticed.
I now take The zero out of four stars from Roger Ebert as a massive compliment.
Because you know what?
I moved that person.
I affected them.
I got them out of their apathy.
And I don't care how long it takes, at some point they're going to have to come to the reality of the situation.
And what I think it does is when you go and watch a movie, one like this, it's going to emotionally trigger you.
And if it aligns with your ideals and values, you're going to support it.
And if it doesn't align with your ideals and values, you're going to reject it, like anyone.
It's like Tony Robbins going to someone who doesn't want to grow and change, who isn't ready for that yet, and trying to get them to take action in their life.
They're going to go, Oh my God, this guy's not a good guy.
He's forceful.
He's a charlatan and whatever it is.
So I think that's sort of number one.
And I think number two is, I don't want to say his name, but I spoke to someone who was a senior advisor to the Biden administration for Latino rights and other rights.
And at that time, the movie was called Dreamer.
And this was about eight months ago.
And he said, change the name.
Don't call it Dreamer.
And I said, why?
And he goes, well, because that's going to, you know, that's the whole Obama act.
And You're going to point a further finger at what happens to Dreamers, which, you know, the Dreamer Act was supposed to protect these children, and you're going to point a further finger and you're not going to get support at all from the left, which is why I actually changed the title to City of Dreams.
I personally didn't believe it.
I thought that the movie was emotional enough and powerful enough That we wouldn't be rejected.
But seeing now what's happening, I mean, Tony will tell you, we've had a bunch of influencers come back to us and say they're being shadow banned on Instagram.
There were all these rumors on Twitter that AMC was turning people away.
And the CEO of AMC actually came out and made a statement, which to me was, you know, ridiculous.
Like, I can't believe that this is happening in the same week that Donald Trump Jr.
posted about the film.
And I don't understand why We're not able to look at these people because whether it's Donald Trump Jr.
or whether it's Mark Cuban and Gavin Newsom, it doesn't matter.
At the end of the day, they're human beings and we can all agree that, you know, modern day slavery is wrong.
But I think because of the election year and because the way the mainstream media, I mean, I'll tell you something, man.
We haven't been invited to mainstream media.
Like, we have not gotten one mainstream media interview.
You know, we were supposed to go on Morning Joe, and then it was canceled.
And that's also kind of unheard of for a movie like this that's released by Roadside Attractions, which is one of the most liberal companies in Hollywood.
Howard and Eric, who run it, are good friends of mine.
They're really good guys.
They're also, you know, they believe the issue is bipartisan.
So it's been shocking and crazy, and it's why I started this water fast.
Also, Uncle Tom's Cabin was celebrated in the North, and it was outlawed in the South, right?
Some things don't change.
When you're trying to make change like that, and people have their own alignment, they forget, again, the deeper issue.
The deeper issue is our kids, and that's an issue that everyone cares about.
So, I think that's why the audiences are responding, because they're thinking about their own kids.
I think that's the difference.
So, Tony, I know you gotta dash.
It's City of Dreams.
Tony, last question here for you.
What did you learn in the exploration of this film?
What you did not know prior that you now know that you want the audience to know?
I didn't realize that the... I was familiar with the slavery of children for sex trafficking, but I didn't realize how big it was here in the United States for labor.
Like you said, the very first, you know, story he read about, and then he got all these other ones that were sent to him by a friend of the Labor Department, Was, you know, 70 children underground, working in a sweatshop, never seeing light for seven years.
I mean, these are, you know, I thought of a sweatshop as a bunch of people working really hard and they're, you know, they go home at night type of thing.
I really did not know this.
I understood the other side because I'd experienced it.
But what this is happening in LA and Miami and New York, I mean, it's happening right here, right now.
We've got to do something about it.
So this film's the first trigger to say, go on a wild, beautiful, thriller, emotional ride where you see a hero being formed.
But also be inspired about this issue.
And there's lots of things you can do.
And by the way, we do have a website with a listing of things you can do.
So you can see that as well.
Thanks so much.
The movie is City of Dreams.
Mo, just one minute.
Final thoughts here.
And I'm sorry you guys are being treated this way.
I mean this.
There's not a political element to this.
I wish you guys were celebrated and lauded.
But you know who is political?
Mainstream media becomes political if they think a non-political movie is somehow not going to be resonant with their audience.
Mo, final thoughts, please.
Yeah, I just, you know, I'd like to say I hope everyone goes and watches this film.
It's in theaters right now.
It's releasing on Video On Demand on the 27th.
We'll be doing, you know, we'll be having media for that.
And please visit our website cityofdreamsmovie.com There are lots of things to do.
Mira Sorvino, who's one of our executive producers, she's been in the fight for human trafficking for the last 20 years.
She has all her resources up there.
You know, she was also in Sound of Freedom, so there is a lot that people can do.
And I hope that those who watch this movie get angry and join me and Tony and everyone on our team to save and protect these innocent children.
