David Bianchi on Spinema and Cinema on the Blockchain | NFTS.WTF Interview

David Bianchi explains why he believes the blockchain will become Hollywood's next "mini major" and how he brought his cinematic spoken word films on-chain.Interviewed by David Cash. Book David to host, moderate, or speak: https://davidcash.ca

David Bianchi is an actor, independent filmmaker, and poet who creates high-concept spoken word films he calls Spinema. Recorded in November 2021 during NFT.NYC 2021, on a rooftop above Times Square next to the New Year's Eve ball, he talks with David Cash about coming to crypto in late 2017, minting I Can't Breathe as an NFT, seventeen years of hustling in Hollywood, and his SuperRare series The Revolution Is Being Televised, built around the Guy Fawkes mask. He also covers Break the Bars and its premiere in Decentraland, his plans for long-form film on-chain, and why he donates proceeds from his drops to nonprofits.

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Chapters

1. 00:00 Intro from the rooftop at NFT.NYC 2021
2. 0:59 From actor and filmmaker to crypto
3. 1:40 On-chain file limits and I Can't Breathe
4. 2:24 Showing the teaser to a crypto art icon
5. 3:38 Multidisciplinary artists and the Hollywood hustle
6. 6:00 Residual income, IP, and a call to artists
7. 7:18 The blockchain as Hollywood's new mini major
8. 12:50 The Revolution Is Being Televised and the Guy Fawkes mask
9. 19:08 "We are the metaverse": community at NFT.NYC
10. 23:07 Inside Fiat, Computer, and Veritas
11. 27:42 From the first drop to an anti-gun violence film
12. 30:05 Donating proceeds in crypto

Speakers

• David Cash, interviewer and editor-in-chief, NFTS.WTF
• David Bianchi, actor, filmmaker, and spoken word artist

Key topics

• Spinema: spoken word poetry produced as theatrical short films
• On-chain file size limits for film and video NFTs
• Royalties and residual income for artists through NFTs
• Why long-form cinema could matter to serious collectors
• Break the Bars and a red carpet film premiere in Decentraland
• The Revolution Is Being Televised, a six-part 1/1 series on SuperRare
• The Guy Fawkes mask as a symbol of revolution and crypto culture
• Web2 audiences versus Web3 communities
• Socially conscious art and donating proceeds in cryptocurrency

In their words

"I really believe that the blockchain is going to create a new mini major for Hollywood." David Bianchi

"Trailblazing is terrifying, and it's really, really hard." David Bianchi

How to cite

APA: Cash, D. (2021). David Bianchi on Spinema and cinema on the blockchain [Video]. YouTube. https://youtu.be/8H0C8eNAFMk

Chicago: Cash, David. "David Bianchi on Spinema and Cinema on the Blockchain." Recorded November 2021, New York. YouTube video, 33:18. https://youtu.be/8H0C8eNAFMk.

About NFTS.WTF

NFTS.WTF was a Web3 culture publication and interview series edited by David Cash. It covered artists, collectors, and builders during the 2021–2022 NFT boom. It ran for two years and closed after a board decision by the NFTS DAO, which left many of its interviews unpublished.

More interviews: https://www.youtube.com/@davidcash888/playlists

Recording details

Recorded November 2021 at NFT.NYC 2021, Times Square, New York. Original release: NFTS.WTF. This edition: archival re-release with chapters and captions, 2026.

Transcript

Machine-transcribed and reviewed. Timestamps link to the moment in the video.

[0:06] Hello, NFTS.WTF audience. My name is David Cash, editor-in-chief, and we are here in New York City for NFT.NYC 2021 with the one and only David Bianchi. David, how are you doing today? I'm great, man. Super excited to be here. I mean, I mean, look at this. We're at the top of the world. There's the actual ball that drops every year. I mean, we're in this city post-pandemic. I don't think I've ever seen it this up close. It's kind of fun. Yeah, and this is the most luxurious way to do it. Like, forget being at ground level, but we're here celebrating NFTs that are changing the world. Super happy to be here at the top of New York City and supporting NFTS.WTF. Thank you. Thank you. It's a real pleasure to have you here. So being a Dowback publication, you know, we're very much in this decentralized realm. I know you also, like myself, come from the traditional realm and now you've kind of really broke into this NFT space super hardcore. What got you started in

[0:55] here and what really excited you about this whole decentralized aspect of the space? Wow. So a lot of people know me as an actor, as an independent filmmaker, also a globally known spoken word poet. And, you know, I've been involved with cryptocurrency since late 2017. And so I understood the underlying technology of the blockchain. But when obviously the big news is when people sold for 69 million at Christie's, it's like everybody paid attention, at least anybody that was involved in crypto. So I started to look at the space and this was like during the pandemic and I was trying to find a new way to invigorate my creativity while Hollywood was relatively dormant. And I've been producing high concept spoken word films for about 17 years. It's our genre that I created called Spinema, spinning cinema through spoken word. And I hold the trademark for that. So watch out, you guys. You heard it here first. Yeah. And so I poked around the space. And what I found was

[1:42] that the struggle of the space is that most of the on-chain megabyte capacities were significantly lower than what I'm used to working with. Because working in a visual media, I'm used to larger file sizes. Most places at the time were 50 megabytes, 75, 100 megabytes. And me as an artist, I'm not as widely known as a fine artist, even though I am not as widely known as a photographer. You know, I have I wanted to enter the space doing what I do best, which to me I think is Spinema, which is being a poet, being a filmmaker, being a writer, being on camera and talking about socially conscious issues. And so I ended up finding a platform that allowed for 250 megabytes on chain. And I minted the first award winning spoken word film as an NFT called I Can't Breathe. Beautiful and super full circle moment. Of course, you went from being inspired by people to last night getting some selfies with people. So, I

[2:30] mean, here we are in New York, absolutely fulfilling journeys and turning things around. It was super fulfilling journey. And, you know, I had a great conversation with people and, you know, we spoke for a while and I actually showed him the teaser trailer for The Revolution is Being Televised, which we'll talk about here shortly. And he looked at he's just like, that's cool. He's like, that's cool. I he's like, that's that's cool. I've never seen that before. He's like, this is something that the best thing you could ask for the goat bat for the goat to be like, I've never seen that before to me was like, not only really refreshing, but it gave me a sense that I'm on the right path, right? Because what absolutely because nobody's doing what I'm doing in the NFT space as it relates to NFT and crypto art. And so it's really exciting to hear directly from him knowing that him, who is arguably the most important crypto artist in the universe,

[3:22] basically said that, you know, what I'm creating is compelling, sophisticated and it's something he hasn't come across really, really meant a lot. That's incredible. Congratulations. And I want to talk a lot about your upcoming collection and about a lot of things going on here in New York that you're launching. But first being that you came from an acting background, but you also are so multidisciplinary being that you're so multidisciplinary and have been for so long. What excites you about this space? Because I feel like finally us multidisciplinarians have a place to exist where you can be an actor and a filmmaker and a producer and to be taken seriously for it and sell that work for a lot of money. So tell us about that journey and how you've you've been able to be your true self, I suppose, thanks. Thanks to NFTs and thanks for the space. I mean, isn't it exciting to be an artist and be taken

[4:06] seriously, right? I mean, what a novel idea, right? You know, I I made my first painting when I was in like second grade. My mother still has it framed, you know, so I've been an artist my entire life. I've been a poet my entire life and you know, I came to Hollywood in 2004 and got my SAG card doing extra work. You know, I lived on an air mattress with cockroaches in the kitchen, you know, and I remember I didn't have a blanket and I used to lay on an air mattress and I put on three shirts and two pairs of pants and I'd bunch up my used clothes and a ball and stuff like this on a floor in Silver Lake. And so for 17 years working as an actor and being a waiter and a bartender for easy a decade and a half, you know, cutting my teeth as an actor getting to like, you know, the recurring guest star level and getting the credits in studio films, etc. It's a very very challenging hustle that I never set out to not win that game. But when the NFT

[4:59] space embrace my work and has sort of propelled me to the blue chip level, it's like this is something that really makes my heart pump. It's something that gives me the the the rise of inspiration that I haven't experienced in Hollywood. I probably since I first showed up, you know, where I really feel like I'm not only creating art that is important that is impacting the world. I really feel a sense of belonging and I don't see that there's a ceiling and I believe that the blockchain and NFT art is limitless. Absolutely, especially coming from like poetry, like some of these mediums that have been very much overlooked over the past, you know, decade or two being that you can be taken seriously and make money as a poet and doing the different like doing the specific things that you enjoy and that you are passionate about. I think it's so exciting in this space. You can just if you take it and run with it and it's really high quality and you believe in it

[5:50] people will follow that and people will you know, be attracted to that and I think you're a testament to that in the space. So congratulations. Well, I appreciate that. You're absolutely right and being able to be a self-sustaining artist is what we all fight for, right? That's what every actor, that's what every musician, that's what every muralist, that's what every street artist wants. You want to be able to be self-sustaining and that's exactly what NFTs in the blockchain affords the artist, which is basically passive income, residual income, which is how actors survive. You were a child actor, you're aware how that works. And so now, you know artists can earn equity in perpetuity through the assets that they create through their intellectual property. For the first time in human history, we're monetizing ideas and controlling those ideas at source without an intermediary to take commissions or tell us what we should or shouldn't do. And

[6:38] what's really cool about why I'm so inspired is what you just alluded to, which is my signature as an artist being a Spinema artist. I am identified and I am embraced for what my signature is. Absolutely. And that's what we want. And so I invite any artist, this is my call to action to you and I'm going to look directly at the camera, that if you're an artist and you don't believe you can do it, get out of your own way and get started. Because if you believe that you can, then you absolutely can because this blockchain is available for you and it's available for anybody that wants it. So don't wait, don't go half in, go all fucking in and get it done. Amen. I love that. Coming from LA and coming from Hollywood, because also you have worked in traditional media for some time, how do you feel like that industry is going to be affected over the next few years? I feel like, you know, people have seen like obviously art came first

[7:28] because it made sense, you know, artists needed a new way to monetize the gallery system. Never has been changed, like since the 1800s, the art gallery system has remained more or less the same. And then music was kind of the logical next step. We now see music companies coming in because they already had royalties so they can justify it. We also see sports and other people who've sold tickets, like everybody has their link in. But I do feel like you're one of the first people really pushing cinema into this space. As you see, we're transitioning into the whole Spinema conversation. But how did that start for you? I know you've been doing Spinema for a really long time. And how do you see things getting maybe longer form and more? Your work is so highly produced and I don't see a lot of people doing that in this space if anybody. So how do you see the next maybe five years panning out in terms

[8:05] of the film industry? Well, I think it's a really layered question. But yeah, I am pretty singular as it relates to the NFT art that I'm creating. There's nobody in the ecosystem that's creating sort of super high concept, cinematic, socially conscious work, or any spoken word poets that are doing things at a very, very high level like I am. There's a couple other poets that are sort of coming and I hope that I can inspire them so they can follow my footsteps and sort of do what I'm currently doing right now. And Spinema, just so anybody knows, you know, these aren't poems that are shot with an iPhone. Like these are treated like high-level theatrical experiences, you know, 15, 20, 30 person crews, we shoot on a Lexus, we shoot on reds, I enlist award-winning cinematographers. These are beautifully scored sound designs. So I treat them like theatrical pictures, right? So the bar is pretty

[8:53] high for anybody that's following me. But I do want people to follow me. But you know, to get to your question about cinema and me sort of creating, penetrating the NFT space with cinema, for lack of a sexual metaphor, it's something that is terrifying but also really exhilarating, right? I just, I said this on Twitter the other day that trailblazing is terrifying and it's really, really hard. But it's not anyone's perceptions by which I identify, right? I have to do what my heart tells me to do and forge through and create a path. And I'm happy to take that role and that responsibility because I know that intrinsically I'm built for it. And you know, we really connected you and I on Break the Bars, which is my last Spinema drop, which was on Maker's Place. And that piece was the first ever film to have a red carpet premiere in all of the metaverse in Decentraland. We had almost 2 ,000 people attend with POAPS. And it is currently

[9:51] a solo exhibit at the Maker's Place Gallery in Decentraland in the Voltaire district. So it's really exciting to see cinema coming to the blockchain and what I'm trying to do. And at an independent level, I really believe that the blockchain is going to create a new mini-major for Hollywood. You know, if we look at the 90s and we look at like focus features and we look at, you know, the Miramaxes and these sorts of smaller mini-majors back then, Screen Gems at the time, they sort of changed the Hollywood landscape. And I believe that we are the new mini-major and that we're going to give Hollywood a run for their money. As the technology evolves and we have higher capacities on chain, that's only going to open up the doors for more opportunity for people like us and you to come in as filmmakers. Once we can get, you know, a gigabyte on chain, and I believe that that day is coming soon, there is going to be a day where cinema is going to explode from an NFT art

[10:44] perspective, but also long-form from a fine art perspective, I think is going to be king. White glove collectors, I believe, will find more value in long -form NFTs than they will in a static image or short-form NFTs. And I think that artists, especially like 4D cinema render artists, 3D cinema render artists, are going to want to be more expansive when they have more megabytes to work with. Yeah, because right now it would take people, you know, days, weeks to export something more than a few seconds long if it's a really high-end 3D image. And I think, you know, coming again from cinema, it's interesting to see the parallel between the evolution of the initial technology, like a video technology, and now the evolution of being able to store that on chain. Because it used to be, you know, films could only be 10 minutes long, six minutes long because the film reel would run out, and they had very limited capacity to edit. But now we see that

[11:34] really being perpetuated through digital media. And I think, as we saw, like the really innovative people who took shorter-form cinema, you know, in the initial days, like in France and these innovators, I think we see a new resurgence of that now with you and people taking short-form cinema, like really cinematic premises, and bringing them to the blockchain. So, speaking of, I mean, please. And I want to also preface for anybody that's out there, because people can be very puristic as it relates to art, crypto art. Well, crypto art has to be a gift. Crypto art has to be a JPEG. Well, I mean, crypto art, to me, is anything that is basically sealed in a digital format and then concreted on the blockchain. That makes it crypto art. And, you know, and I believe that cinema, as we know it today, is probably one of the highest forms of digital art, because we're not shooting celluloid. There's nothing analog about the filmic process, right? Yeah, purely

[12:27] digital. Everything is purely digital from how we capture it. I mean, you know, even how we storyboard it nowadays. It's very not even pencil scratches anymore. It's on some program. Exactly. These are all, you know, CADs, in terms of how we storyboard things sometimes, all the way out to export and delivery. So, I think it's one of the highest forms of digital art. So, I think that it's really, really important to preface. And as it relates to what I'm doing now, you know, what we're doing here is celebrating in fucking New York, baby! Is a project called The Revolution Is Being Televised. And it's a series that is a series of six one-of -one storytelling cinematic NFTs that are now being minted on SuperAir. Number one is minted on SuperAir, but the series is continually unfolding. And it's a series that focuses on the Guy Fawkes, who is our central hero, that's dealing with social, fiscal, and technological revolutions.

[13:22] As we know them today, but sort of circumvented into crypto culture. I love it. I mean, at least for me, when I started in blockchain and Bitcoin initially, there really was this huge connotation to the dark web, to, you know, to Anonymous and to these organizations. And I definitely feel a connection to that. And I know a lot of people in the community do. People have been around for a while. So, how do you feel about bringing that to the future, especially now that we've kind of broken through that trepidatious period where people think, well, a lot of people do still think, but pretty much everybody used to think that Bitcoin and crypto was purely for criminals. And now we've totally done a 360 or a 180 per se. And we're here now and we can actually, like, you know, talk about that narrative and how we've gotten to this point. So, how did that start for you? And tell us a little bit about how the Anonymous came about. So, I mean, I'll show you some art work.

[14:13] We'll do a cutaway. Yeah, we'll do a cutaway. But, you know, the revolution will not be televised. So, it's a Scott Heron poem, right? Kill Scott Heron. And so that poem really speaks to me. The revolution will not be televised. The revolution will not be televised. And when that was written, the revolution was not televised. Oh, shit, the ball just turned green. Oh, wow. This revolution is being televised by the way. So, the revolution will not be televised. And back then when it was written, the revolution was not being televised. But one of the things that I find so important to me as an artist is that the revolution is being televised. In fact, Time Magazine a couple of years ago called the person of the year, the protester during the Egyptian revolution, for example. And so now the revolution is being televised here and that modern media does a really, really good job of skewing what they want you to see,

[15:01] believe, hear, and think. Even at a revolutionary level, at a protest level, at a, when they talk about cryptocurrency, they try to skew the narrative. Perpetuate a narrative, yeah, absolutely. They skew the narrative when it comes to the idea of NFTs and crypto art. Oh, it's a joke, it's dead. They skew the narrative. And so, our truth exists on the internet and it exists on social media. And even social media platforms censor content. You know, they'll shut down social media entirely in Middle Eastern nations. And so, I wanted to be able to tell stories, short form stories, 45 seconds to about, the longest one is about two minutes long, that focuses on different ways that the revolution is actually happening. So, the destruction of physical art and the birth of crypto art, the destruction of fiat currency and the rise of cryptocurrency, the idea of the theatrics of what television and media perpetuates us to believe as it relates to revolutions,

[16:01] and using the Guy Fawkes mask, which is in the public domain, meant a lot to me. Not only is it a symbol for global revolution, it's also a very important symbol for crypto and counterculture, as you said so importantly. So, what was also really important to me is in this series was to protect the sanctity of the mask. Because many brothers and sisters worldwide have lost their lives wearing that mask at social and civil protests. And that mask, to me, has a superhuman connotation to it. So, when I was directing these sequences, it was really important to me that I gave it a very superhero kind of energy, which is harking back to V for Vendetta, and also, you know, Bad Robot. And all these sorts of interpretations of the anonymous, you know, black... Pop culture of this whole thing were very, very important influences of mine. There's also elements of pixel art and harkening back, like one sequence, you know, our hero Guy is actually on the camera tracks, he's

[17:01] sitting in front of what looks like an Apple IIe, five and a quarter inch floppy disk computer, and he's blowing up the banking system on this completely archaic technological format. And the call to action there is that you've got all these conglomerates that have these huge firewalls and these massive IT departments, but they're being singularly brought down by one person in Pakistan. Beautiful. And it's hilarious. And so, there's a lot of satire, there's a lot of hidden metaphor, a lot of innuendo, but it is really about basically exalting the power of revolution. Because everything that we know in the world today is birthed out of revolution. Even if we look at United States of America, it's birthed in the Tea Party, in the Revolutionary War. Literally founded by. Anything that is women's rights, LGBTQ, people of color, everything that we have today is a result of revolution and uprising. Absolutely. And us, in

[17:56] finance and art and blockchain, we're part of the new revolution. A hundred percent. I love that you're mentioning that, because anytime I talk to a lawyer, a bank, a massive conglomerate, and they have something to say about crypto, or how, oh, it's so shady, you're hiding everything, they just, a large percentage of the world, the majority of the world, fundamentally does not understand the power of blockchain. The fact that we are being more transparent than ever, we're not hiding. And I love that you're taking this Guy Fawkes mask that has this kind of connotation in pop culture of being this revolutionary, and you're showing that this is a symbol of the crypto and the NFT movement, because we're not taking no for an answer, and we know what our rights are, and we know what we can do, and we're taking control of our finances, and control of our sovereignty. And that's what we're doing here. And, you

[18:39] know, you nailed it. And exactly what you're talking about is exactly why Microsoft, IBM, CAA, you know. Meta, Facebook, that's why all these big organizations are floating around NFT.NYC right now, because they know we're fucking up to something. Yeah, I got a DM after my chat yesterday from like the CMO of Hinge, being like, oh, maybe we should do NFTs. I'm like, yeah, maybe you should. Everybody, you know, everybody's just trying to break in right now. Absolutely, and I think we're, you know, we're very much still in the dial-up phase of this movement. And for anybody that is, you know, bi-curious, just jump in, you know, because we are welcoming. And one thing that I will, I do have to say about the NFT community is that everybody that I've come across here, you and us included, and even this gentleman behind the camera, and everybody, we are inspired to be here, because we know we're a part of something. And everybody's

[19:36] so welcoming, and so inviting, and so able and willing to help, and offer a lending hand to somebody that wants to be onboarded. And the NFT community, it really is a family. You know, I was hanging out with some of the Metaverse gentlemen last night, and, you know, Tuba Dor is such a worldly man. And he said to me, you know, he said to me, David, you know why we're so connected to this experience? And I said, why? He says, because we are the Metaverse. He says, As it stands right now, it's true, it's true. Because he says, we are the Metaverse. We are not the audience. We are building it. So because we are building it, that's why you feel so connected to it, because we almost feel like a birthing responsibility. A hundred percent. And that really sat with me. It's true. It's so real. In my talk yesterday, I was mentioning the biggest difference for me between, and a bunch of lovely folks

[20:26] have talked about this, but the biggest difference for me between Web 2 and Web 3, is Web 2 was about building an audience of people who could like, you could cater to, and Web 3 is about building a community that we're all a part of, including the people creating the content. So I think one really exciting part for me, and I'm sure for you too, and here in New York, finally, after the pandemic, being able to meet a lot of the people who we've talked to over the past year or so in person, and actually connect, and talk, and figure out what we'd like to do together. It's incredibly inspiring. And I mean, you're wearing your Bordeé Pudding outfit. I'm sure you run into people on a daily basis here, just on the street. And you're like, hey, we're in a community together. We have that intimate connection. And like yesterday, we were at the SuperRare party, and you were talking about your brand

[21:05] new piece, because I know you launched to put in contacts. David launched the first in his upcoming series this week, and the rest are coming shortly. So how do you feel about bringing this into the community, being so physical, and being able to walk around and share a physical piece of AR-integrated content with somebody in person and see the reaction? Tell us a little about how New York has been for you so far and the launch of this project. I mean, it's been great. Look, any time that you walk the plank as an artist, it's always a little bit terrifying, especially when you're creating something that is very avant-garde as it relates to what people are used to. But I know my heart is in the right place, and my work is sharp. It's sophisticated. It's succinct. My aesthetics are very high, and people have responded really, really beautifully to the work, but also really beautifully to the augmented

[21:52] reality posters and the augmented reality flyers. We're going to do another cutaway. And using augmented reality and physical pieces are just an example that I think, culturally, people are really identifying with Bianchi, because they're saying, wow, this guy isn't just a one-trick pony. I'd say you're the opposite. I really believe in the technology. I believe in the mechanisms, and I want to lean into that technology and those mechanisms so people can really understand that I enjoy this culture, and I enjoy being a part of crypto art at a really, really high level. And everybody in New York has been just really, really warm and really, really welcoming. And yeah, and I love my apes. I have a couple OG apes, and I'm happy to be a part of that community. And it's like something I've never experienced before, and it's only the beginning.

[22:43] Absolutely. And speaking of the beginning, we're going to start to wrap things up, but I want to make sure that we give some time to talk about the revolution that we're perpetuating here. What can people expect from each of the different pieces? Maybe give us a couple teasers of some of the narrative, if you're open to that. I'm really excited about this collection, and if you haven't seen them, we're probably going to insert some clips, but they look incredible. So I'm really excited for you guys to see it. Tell us a little bit about what people can expect. Sure, yeah. It's a series of six, and I'll talk about in the second one, which is called Fiat. We see a guy evolve, like basically he appears from the shadows. And I shot all this at like 60 frames on anamorphic lenses. It's a cinema scope with these beautiful vintage Lomos, and it's really sexy. And he appears from the smoke, and he's got a bunch of $100 bills in his hand, and he takes it to a

[23:30] butane torch. And literally incinerates it in slow motion. And as he comes around, he's sort of flailing it like a belly dancer, and smacks it in his hands, and then it instantly turns into a holographic image of a Bitcoin. Beautiful. Hovering in his hands, you know. Number three is called Computer. It's a low-tracking shot that comes up to a computer. We see guy standing by, sitting behind a computer, sort of toggling. Camera comes around a full Steadicam shot. We reveal this Apple IIe kind of computer, and it's composited a VFX composition of Satoshi Nakamoto's head sort of bobbling back and forth. And then he morphs into a bank, and he hits the key, and when he hits the key, the bank explodes, and then a monkey comes on the screen and goes, eh, eh, eh, eh, eh, eh. So it leads up to a climax, and the climax is a piece called Veritas, which is really, really high concept, and it is essentially my impressionistic reproduction of the

[24:27] revolution that happened in the summer of 2020 during the George Floyd civil rights movement, where it's smoke, and it's protest, and it's mass, and it's fistfights, and it's fire, and it's chaos, and eventually whips into a shield of smoke and reveals guy with a mask on, and he spits blood out through the mask, and there's blood running down his beautiful white-collar tuxedo shirt, and he walks up and puts his hands on a body bag that has the word greed written on it. And so the idea is that we denounce hate, we denounce greed, hide your elders while the children come out and play, and we always are seeking the truth, Veritas. It's beautiful. So it's very poetic. Absolutely, and not surprising coming from you, but at the same time, I love that you've brought that into pure cinema and that you can do that through NFTs. I think it's really incredible. And to speak on that, I'm really excited. There's a really high-level collaboration musically that's gonna

[25:28] happen on Veritas on the last Five and Six, and Five and Six are going to debut at Art Basel. Amazing. Miami 2021 with SuperRare and Samsung Next at Scope, right? Kelly, at Scope, okay. So I gotta make sure I get that right. So Five and Six are gonna premiere at Art Basel with SuperRare, Samsung Next, and Scope, and it's gonna have a beautiful high-level musical collaboration. And there's also some AR stuff that's gonna be happening at Art Basel, Miami. I don't know. It could be very exciting. It could be very exciting, and that's also with SuperRare and Super World. I'll say it and cut it out if you don't want to. Yeah, we're still doing it. Yeah, there's some AR. There's something interesting gonna be happening there. And I was also talking to the SuperRare curators yesterday that there's gonna be a huge monolith that's gonna be placed in the center of Miami that my work may be on as well. So

[26:23] there's a lot of cool stuff happening around my work and Super Rare and Miami, and we're going in and we're changing the game. We're just... I love that you've made this, like everybody here talks about a roadmap, but you've made the roadmap part of the release. So you're releasing one here for NFT.NYC, two at Art Basel, a few pieces in between. And I mean, to summarize, like, fiat, not gonna make it, right? Truth above everything. Freedom, beating the patriarchy, like all of these huge ideals of the DeFi community brought in such an artistic way to the blockchain. I'm really impressed. So you absolutely killed it once again, not surprised whatsoever. But just to wrap things up on, hopefully not a somber note, but just maybe an inspiring note for people watching. I have seen, and I think this is very intentional, throughout your journey here in crypto, every piece that you've done has a purpose. And you don't just

[27:16] create art for the sake of creating art. You create art with either a social cause attached, or something you genuinely believe in, or something you'd like to perpetuate. As you can see, this collection, The Revolution Is Being Televised, is obviously a shining example of that. But take us through really briefly how you went from maybe your first release to Break the Bars to where you are now, and what can people expect next, if you wanna plug that project that you don't wanna talk too much about yet. Yeah, sure. I mean, as I mentioned earlier, I entered this space with the first ever spoken word film, Spinima Film, as an NFT. I then minted my second one, which starred myself in Malcolm-Jamal Warner, Grammy-winning poet and Emmy-nominated actor. That also was acquired by Meta-Purse. My third venture into crypto art was a piece called the Modern-Day Minstrel Series, which is a portrait series of myself painted in blackface, using vicious, racist stereotypes

[28:08] against myself to uncover and educate people on the racist history of the minstrel show in America and how it relates to inequality and entertainment as we know it today. I did that because I wanted to create a divergence away from cinema to sort of open up my work to other collectors that weren't necessarily looking at this sort of edgy, offbeat work that I was creating. That has now led me to where we are now with the revolution. The revolution is being televised. I do have a big project coming up for the top of 2022, which is gonna be a big Spinima project. I will say it is an anti-gun violence project that is gonna be directed by a A-list director, and this is exciting for me and I think for the entire ecosystem because we are creating a Spinima film with an A-list director that is completely funded by the blockchain, for the blockchain, and will be minted as a one-of-one NFT with limited editions and will premiere in

[29:08] the metaverse. Because of what we did with Break the Bars, we understand that it works. We understand that there's a model for metaversal film premieres now, and it is going to shock the NFT community at how explosive this piece is gonna be and how much trend-setting we're gonna be able to do through this work. I'm also diligently focusing on a generative project as well. I literally got dropped, scheduled all the way through probably April 2022, so it's... I'm a busy man. In between, I'm shooting a television show for Universal, so... Of course, as one does, as one does. But just to touch on it, because I think people listening will resonate with this, when David talks about his work, the first thing you bring up is, what's it about? What's the cause? We're gonna do a piece about gun violence. I mean, you have an A-list director attached, but for you, I feel like the first step is, what problem are we gonna solve here? How are we going to make a difference?

[30:02] Right, exactly. And my mission here in NFT art, and I can't say it's gonna be my lifelong mission, but I just believe that it will be, is I wanna be able to create artivism, right? I want to art-educate. I have donated a significant amount of proceeds from all my drops to non-profits that are changing the world in real time. I think it's very important that we donate proceeds to non-profits that are in line with our thinking. I've worked closely to onboard various non-profits into the cryptocurrency space. I don't give away fiat, I give away ETH. It's beautiful. And I make sure that they have crypto wallets so that they can embrace the technology and also perpetuate the value of the blockchain and cryptocurrency into their respective communities so that we can perpetuate the glory of this world that we live in and we work so closely in. Listen, my bills are paid and my needs are met. And I have faith that God will cover me in all my capacities. So it

[30:53] would be morally irresponsible for me to create socially conscious work, but not donate to the social organizations that are changing the world in real time. So I've donated almost $20 ,000 to the George Ford Memorial Foundation. Also have donated now almost a combined $15 ,000 to the New Earth Foundation focusing on inner city youth. These are things that are important to me. Donated Ethereum to NFTs for the culture to help further BIPOC artists in digital and crypto art. It is about the mission. This stuff is bigger than me. All I am is just a vessel. I'm literally a human form, a spirit in a skin bag with bones, right? And I am delivering art that I genuinely know is changing the world, raising the conversation, but inspiring people at the same time. Well, you're definitely inspiring me. You're one of the best people I know and I'm so happy we got a chance to do this. If you are not yet, make sure you are following

[31:47] Mr. David Bianchi on all social media. Where can they find you? Is there, and do you wanna give them maybe the super rare page where they can check out The Drop, The Revolution? Sure, yeah, absolutely. David Bianchi, B-I-A-N-C-H-I. David Bianchi, official Instagram. David Bianchi, Twitter. But you just go to David Bianchi and search me on super radio. Find my creator page and I'm really excited. And how exciting is it for us to sit here and do this? We spend so much time talking on Clubhouse and speaking in the meta that this in real life experience, like, I hugged you so big when we first met each other face to face. And that has happened so many times when we see IRL people, it's like, wow, you're a body. A real human. And I look forward to continuing this. We have such a great relationship and I know we're gonna continue to grow together. So thank you for the opportunity for the conversation. Absolutely, it's such a pleasure. Everybody, please make sure you go

[32:37] to superrare .com. A few of the pieces will still be available as they're releasing over the next month or so. This is David Bianchi and David Cash here for NFTS.WTF. Thank you for all taking the time and have a great rest of your day wherever you are in the world. Take care.