The Confident Choice Podcast
Season 2, Episode 2 | Designing Harmony: An Interior Designer & a Facial Surgeon Talk Balance Dr. Roberto Garcia with Lisa Gilenki

Episode Overview

What do a beautifully designed room and a naturally balanced face have in common? In this episode of The Confident Choice, Dr. Roberto Garcia sits down with interior designer Lisa Gilenki to explore the surprising parallels between interior design and facial plastic surgery. Their conversation centers on balance, harmony, personal interpretation, experience, integrity, and the idea that the best result is not necessarily perfect symmetry - it is a result that feels right for the individual.

Lisa shares how her interest in design began in childhood, how her approach has evolved over the years, and why experience has made her more willing to take creative risks. Dr. Garcia connects those ideas to facial aesthetics, explaining why natural beauty often comes from restoring harmony rather than changing everything. They also discuss how clients and patients are influenced by friends, social media and AI, why experts sometimes need to say “you don’t need that,” and how doing less can sometimes create the strongest result.

The episode closes with Lisa discussing mentorship and the next generation of interior designers, followed by Dr. Garcia sharing a funny and touching story about his late father and his hope of one day coming full circle with his son Rocco.

Transcript

Dr. Roberto Garcia: You're listening to The Confident Choice podcast with me, Dr. Roberto Garcia, a double board-certified facial plastic and reconstructive surgeon. Honest conversations and expert advice about the decisions that make you feel your best.

All right. Well, welcome everybody to episode 14 of season two. I guess that's technically episode two of season two. I'm telling you, we're going to get this thing right. I feel like we're in, like, Ted Lasso.

Lisa Gilenki: You've only got three sips of wine.

Dr. Roberto Garcia: You know, I know. But I'm giddy. Today's a Thursday. You know, I get patiented out. What did we see today? About 40 people?

Lisa Gilenki: Yes. Plus me.

Dr. Roberto Garcia: Plus a dear friend who has to learn how to walk again. But anyway, I want to tell you guys about something very exciting that we're doing today. We have a guest of honor, and I say honor with a capital H. Lisa Gilenki is the top interior designer in North Florida. I have come to know her over the course of the last several years and have been marveled not by the quality of work, but by the approach.

And so I started to think, as I was designing the episodes for season two - now episode two, right? - one of the things that is really critical in our discipline is the idea of harmonizing the face. All right? So it used to be, something is wrong aesthetically, you lift it, you tuck it. Okay, you're done. And you would really compartmentalize the face into saying, “Okay, we're only going to fix the cheek.” But you're not really looking at everything from a whole view, right? You're not looking at everything from an entire view. It's like, in your realm, only correcting one room, right?

Lisa Gilenki: Or one item in a room.

Dr. Roberto Garcia: Or one item, right? Like, have you ever gone to a house showing and the whole downstairs of the house is beautifully done, and you get to the second floor and they didn't remodel any of the bathrooms, they didn't change out the flooring or the carpet, and so it feels like two different houses?

So, what do you think? Well, I do want to talk - I want to get into that, but I want to first - I've got to get to know you better. I don't feel like I know you well enough. Why interior design?

Lisa Gilenki: Oh, interesting. Well, when I was a child, believe it or not, we had - you know, all little girls have Barbies - and we had this wicker Barbie furniture, and I always wanted to set up Barbie's house. Literally, I would have scarves that were my area rugs, and I would literally set Barbie's house up as opposed to actually caring what Barbie was wearing or playing with Barbie. So that's what my mother would say is, like, the earliest signs.

And I always was more artistically driven and more creatively driven, and I love people, and I love being able to, like, make people's lives better. And I think through good design you can make people's environments and their lives better - how they function, how they live, all those things.

So when it came time to decide what I wanted to do for school, my sister was very academic and went to, you know, a really smart school, and I went to a nice high school, but it was regular. So my parents were kind of like, “Okay, what is it that you want to do?” And I was like, “I want to be an interior designer.”

And it came from when we moved to Florida. My mom and dad bought a house that was not complete. It was at drywall stage.

Dr. Roberto Garcia: Now, how old were you at this time?

Lisa Gilenki: Eighth grade. So every day after school, we would go with my mom. She'd pick us up from school and we would go to all the showrooms and the furniture stores and the tile showrooms and all the places with her. And so I just loved it. Loved it.

So when the time came, she's like, “Well, what do you want to do? What do you think you want to do?” And I said, “I want to be an interior designer.” And, you know, back then a lot of people were like, “No, you have to get a teaching degree. You've got to get something to fall back on. That's artsy. You're not going to be able to support yourself with that.”

But my parents, luckily - my father particularly - was very much, “If that's what you want to do, find the very best place for you to learn to do it.” So I got to go to Savannah College of Art and Design, which was amazing. It's a four-year degree in interior design. All the professors had to work in their profession while they were teaching. I had some drawing teachers that were - like, he studied under Andy Warhol. I mean, just really cool, different people.

So I got to see the textiles and the graphic design and the interior design, and then we were in this big old train station with the architects. So we worked side by side with architects, which is very different than other schools. Florida State at the time was in home economics. They now have a fabulous program, but at the time it was like cooking and sewing. So I really wanted to go somewhere with the architecture base. I never looked back.

Dr. Roberto Garcia: So, over the course of years, one's philosophy of business - forget about the brick and mortar, forget about the numbers and the spreadsheet and the boring parts of running a business, okay? We're not going to talk about that. You and I can talk ad nauseam about that forever, right? But for this argument's sake, there is an artistic element that morphs throughout the years of the artist's mind, right?

Lisa Gilenki: Absolutely.

Dr. Roberto Garcia: Like, you probably changed your approach in the course of 20-plus years.

Lisa Gilenki: Yes.

Dr. Roberto Garcia: Tell me about that.

Lisa Gilenki: Well, I'm old enough now to redo my own work, so that's been funny. It's a little humbling.

And you look back - I think it took me a little while to realize that people could not see an entire room completed in their head like I could, but it was a gift to be able to see. And I'm sure for you, you can see what the finished result in someone's face is going to be. You know, you can see it even though they can't.

And so for me, it's a million little pieces, and for you it's a million little tweaks, but all of those things have to come together. And the more you do it, you know, it's that rule - like, you do something 10,000 times and you're going to be really good at it. I think there's part of that. I think it's part of always educating yourself.

Dr. Roberto Garcia: Yeah.

Lisa Gilenki: And then also being open to new ideas. I look back at my early work, and it was very safe. It was very matching. It was very pretty, but it didn't have the elements that now, that I'm older and have been doing this longer, I have more - I'm fearless, I guess I would say. Like, I know everything's fixable.

And so I'm like, you know what? If we put this really cool, funky chair in there and it doesn't work, we're going to change it out. We're going to make it right, like fix it. But generally those risks really pay off, and they're the difference between having a pretty environment that is safe and having something that feels like art, like has a different feeling when you go into the room, has a different aesthetic. It's just the different layers. It's the different - the mixing of things.

There's a famous designer that says every room needs the right amount of wrong.

Dr. Roberto Garcia: Right. And so, you know, that was one thing that I came across early in my career when I was doing a lot of these, what I call stump speeches, right? Trying to build my business, and I was doing these talks all the time. I remember the first couple talks, I had three or four people at them. You know, you think this is the beginning of your practice, this is what's going to build it, and you go there and you do a talk for three women and none of them come to see you or whatever.

But the point is, the way you look at things changes so much. And I remember that I used to get a picture of Michelle Pfeiffer, who everybody at that point - this is in the early 2000s - had mentioned her perfect symmetry. What made her beautiful was her symmetry.

Lisa Gilenki: All the supermodels have that symmetry.

Dr. Roberto Garcia: Well, I'm here to tell you they don't, really. And I'm going to tell you how I know that now.

So I took it upon myself to get a picture of Michelle Pfeiffer and put it into this program called Photoshop. Any of you guys ever heard of that? Well, I just want you to know that I had Photoshop version one, okay? And back then, you could cut a photograph in half, mirror-image the remaining half -

Lisa Gilenki: Oh, interesting.

Dr. Roberto Garcia: - and see if you truly had symmetry. So you created a perfectly symmetric face, and it completely changed the appearance of her face. And that is when I started understanding that - and you can probably, and I want you to get to this in a minute - you don't have to have, like, Taj Mahal balance. Yes, there's a place for that, but you have to have Taj Mahal harmony.

And in a face, you're never going to have perfect symmetry. The face is made from two separate halves, right? God makes us from two separate halves. We fuse in the middle. That's why when it doesn't work, we have cleft lips, we have cleft palates and clefting disorders in the midline.

However, you have to work within the already asymmetric disbalance of the face. And it is in that that you draw the harmony. To my point, how many of you guys in this room, when somebody says, “Take a picture,” say, “Take this side, take me from this angle,” right? Why is that? You have seen in your photographs that over the course of time, that side, the structures balance better, right? They fall into harmony, right?

And so in your business, that's got to be something that's amazingly similar, right?

Lisa Gilenki: Absolutely. And it doesn't have to be the same exact thing. So, for instance, we've all walked into someone's house and they have a big, huge, dark sectional sofa, and you walk in and the whole room feels like it's shifted one way, right? So this whole room feels really heavy on the right side, and something just feels off. You don't really know what it is.

Well, you go in and you put a really tall wood wall unit or a fireplace or something on the other wall, and suddenly it's visual balance. Even though they're different, it balances out the space because you have heavy and heavy, and in between can be all light. But you have to think about that visual balance when you walk in.

And I'm sure you think about it, too, in aesthetics. It's like maybe somebody's eyebrow is - I don't know how you do it - but I know for me it has to do with fabrics, patterns, depth of color. It can also be heights. You know, like, is everything low in a room? That doesn't feel right. You need lamps that balance each other, or you might need art here, and if you do art on one side of the fireplace, it feels odd that there's not art on the right side. But on the right side you might do two small pictures that equal one large picture, and on the left side you might do one large picture. So even though they're different and show interest, they're visually similar.

Dr. Roberto Garcia: But, you know, there's also a bigger component to this, and that's that you can have Lisa Gilenki have the same exact style, so to speak. Okay? The je ne sais quoi or whatever. I learned that in Quebec, by the way. I don't know many French words. My wife will be very happy to hear me say that.

Lisa Gilenki: You did it properly today.

Dr. Roberto Garcia: Thank you very much. I'm proud of myself for that one. Either way, but you have different clients who have different interpretations of beauty. I have different patients who have different interpretations of beauty. You have different friends of the clients that have different -

Lisa Gilenki: Absolutely.

Dr. Roberto Garcia: - interpretations of their beauty, right? So now I have friends that they're going to dinner with, and they're saying, “Oh, well, I never really noticed that.”

And in my industry, I'm not looking for that wow. I'm not looking for the world to say wow. I'm looking for the patient and the closest people to them to be wowed.

Lisa Gilenki: Like their best self.

Dr. Roberto Garcia: Right. And so now all of a sudden they stop, and this is kind of going back to last year's episode, season one, episode one. The idea of the personal interpretation of the disbalance is really what should be the driving factor.

Lisa Gilenki: Right.

Dr. Roberto Garcia: Right. So how do you get to that?

Lisa Gilenki: It's like programming, right? In the beginning, there's lots of questions. There's lots of, like, how do you live? What do you - you know, do you have pets? Do you have children? Do you like to come in the back door and drop your purse down on a hook or put it on a countertop?

And then you get into the aesthetics of it. So first you do functionality, and then you get into the aesthetics of, okay, what do you like? Do you like pattern? Do you like color? What do you not like?

Dr. Roberto Garcia: How do they - because what if they don't know?

Lisa Gilenki: That happens a lot.

Dr. Roberto Garcia: Because if you ask me, do I like patterns? Do I like stripes? I'm going to say, “I don't know. Maybe color.”

Lisa Gilenki: Right. Exactly. So I think it's a lot of showing images and asking how they feel about the images. I think what people like is as important as what they don't like. So they'll a lot of times bring in Pinterest boards or ideas, Instagram folders of things that they like or don't like.

Now, if they don't know, then it's my job to ask even more questions. So I think it's important to look at the architecture of the space, too. You want to make sure that you're not giving a super-contemporary interior to a Mediterranean exterior.

Dr. Roberto Garcia: Sure.

Lisa Gilenki: So let's say they want contemporary, but it's a Mediterranean house. You want to make sure that you do, like, a California modern with beautiful textures and wood tones and things like that. So that's a way to do contemporary with the exterior that they have.

So it's also leading the client where you want them to go, and that's something that comes with experience.

Dr. Roberto Garcia: Well, ultimately you are the voice of knowledge in the room.

Lisa Gilenki: Yeah. You know, I think we all get clients that come to us for our expertise and respect our expertise and listen to our expertise, but then there are those clients that I get sometimes that ask all their friends and their friends' friends.

Dr. Roberto Garcia: Yeah.

Lisa Gilenki: And then all of a sudden they're coming with notions and things in their head that their friends did, or that they think they should do, or that they read about, and then suddenly it's like, this isn't right for your project. It's nice, it's pretty, but this isn't right for you.

And so it's also our job to take all of the wide range of what they give us and narrow it down to what works for them.

Dr. Roberto Garcia: Pretty much like a patient comes in to see me and they have five friends that have told them what they need, or even worse, ChatGPT or AI - or rather Google - has told them, “Hey, listen, this is what I feel you need.”

Lisa Gilenki: So they come in - do they do their own ChatGPT images of what they could look like these days?

Dr. Roberto Garcia: I'm beginning to see those. Last week I saw a young lady who says, “I have a ChatGPT rendering of my nose that I want you to do.” And I said, “All right, hold on a second. Don't show it to me. Let's go to our 3D Vectra imaging system. Let me design the nose that I think fits your face.”

Would you believe it was the same exact nose?

Lisa Gilenki: That's amazing.

Dr. Roberto Garcia: And she said, “Can I show you the picture?” And she shows it to me on her phone. I said, “Looks like that one up on the screen.”

Lisa Gilenki: Well, and then they get - and then they understand - they have such confidence in you, right? If she had shown you that picture and then you copied it, it's like she told you what to do.

Dr. Roberto Garcia: But honestly, I wasn't doing it to gain - I wasn't doing it to gain her confidence. I was actually doing it to humor myself. Right? Sorry for you who's watching. I wasn't doing it like you were - but I kind of wanted to challenge myself to see, how close am I?

And so that's when I realized what ChatGPT does, okay? ChatGPT is an informational database based upon averages over the internet, images, analytics, data, interpretations all over the internet. It's basically the best internet-scouring device that you're ever going to get, right?

And so what it does is it takes particular data points of a person's face, say on an image, and it says historically, across the data, across the internet, surgeons are doing this to this nose. And so we are going to say that this is what would fit on this person's face. And the only reason that there's congruency amongst surgeons doing similar noses on a similar face is because of balance and harmony.

Lisa Gilenki: And experience, too.

Dr. Roberto Garcia: And experience. And that face, for whatever reason, the nose that now fits that face balances with everything else, right?

And so when I'm looking at somebody, when they come in for a consultation, I'm saying to myself, what - and oftentimes, Lisa, they'll come in and they'll say, “I think I need this, this, this, this and this.” And I say, “Hold on a second. Let's find the one or two things that are going to reestablish the harmony to the face.”

Like, I saw a lady today in clinic who wanted a brow lift, eyes and a facelift. And I said, “All you really need to do is correct your eyes.” And that was a year and a half ago. And she came in today just to follow up and say, “I just want to tell you, thank you so much for not telling me to do all those things. You corrected the eyes.”

And because our job isn't to sell them on meaningless nonsense. Our job is their happiness, their eventual happiness. Right?

Lisa Gilenki: Right. And it's crazy how much they're correlating because I can go into someone's - they're like, “I think I need a whole new kitchen.” I'm like, “No, you need new countertops and a new backsplash, and you need to paint the cabinets. These are good cabinets. The layout's good. I wouldn't change the layout. Why would you?”

Dr. Roberto Garcia: For sure.

Lisa Gilenki: And so it's sort of similar. It's like you've got to do what's right for the client and right for the thing. And I think that comes back to integrity, too. Like, I don't just sell people things to sell them.

Dr. Roberto Garcia: Right.

Lisa Gilenki: I don't go and find the most expensive things to sell people. Sometimes it's high-low. You know, there's going to be something that's - whatever the right table is, is the right table, whether it's on the lower, you know, the midline price point or whether it's the high, based on their budget. So it's nice to have a mix in there.

Dr. Roberto Garcia: Yeah. And, like, sometimes, you know, you've got to have places where you're going to put budgetary dollars, more budgetary dollars, towards something because you say, “You know what? I'm willing to die on the hill for that one. I'm willing to put more money into that one. I'm willing to kind of not put as much money into this other one.” Right?

Lisa Gilenki: Right. It's like priorities. But I would think, too, like people - we have what I call wow points. When you go into a home, you want things that catch people's eye. I would think if everything's a wow point, nothing really stands out.

And I would think it's similar for you. It's like if you do their eyes, then their eyes stand out. But if you did their eyes and their chin and their, you know, all those too many things, then nothing's really the strength in the face.

Dr. Roberto Garcia: Well, the balance, too. But also to that point, I understand what you're saying. What we do is we find that aesthetic stronghold of the face, right? Everybody's got a feature, right? Everybody's got a power place.

And what we do is we take off - in our world, we're not as much accentuating things like you guys are. We're detracting this beauty -

Lisa Gilenki: To enhance natural beauty.

Dr. Roberto Garcia: Do you understand what I mean by that? The opposite. It's kind of the flip side of what you guys do. You guys are bringing in something to attract an attentive eye. I'm doing things to detract the critical eye and allow the natural beauty to rise on its own.

Right? And that is how, at least in our industry, we seek that natural look and that, “Huh, you look really good. I don't know why, but something's just really good about you.” It just seems like it's - I don't know. It's just balance. I know we used the word balance and harmony today about 100 times. I'm sorry, guys.

Lisa Gilenki: Drink every time you say it.

Dr. Roberto Garcia: I know. We should have done the George Thorogood drinking game, which, by the way, a friend of mine went to go see him in St. Augustine.

Lisa Gilenki: Yes.

Dr. Roberto Garcia: George Thorogood. Okay, you know who he is.

Lisa Gilenki: Says he gets around a little slower.

Dr. Roberto Garcia: Guitar is exactly the same and he sounds just as good. And I'm like, “And you didn't invite me?” Do you know how many parties I went to in college listening to George Thorogood?

Lisa Gilenki: Yeah, that was some good memories.

Dr. Roberto Garcia: Man. Well, if you can call them memories. In order for you to have a memory, you have to have remembered the entire event, Lisa.

Lisa Gilenki: Yeah. Well...

Dr. Roberto Garcia: But I'm curious. So what's next?

Lisa Gilenki: That's a good question. I love design, but I've kind of twisted into more of a mentorship program. Like, I feel like now my job is to take all the knowledge and the things that I've learned over time and to impart it to the next generation of designers.

So I'm going to do that with people in my office, first of all. I now have some designers that have been with me 10 years, five years. And so that's great because they've worked alongside me and learned so much, and then I've been able to help them along the way with things. So they're very strong, talented designers that will continue on when I don't want to do this anymore someday.

And then, two, I've been doing a lot of mentorship through the American Society of Interior Designers. So I mentor young students, which a lot of them, ironically, are second careers. Interior design is a huge second career for people.

Dr. Roberto Garcia: Really?

Lisa Gilenki: Like, they've been married, they had kids, and now they want to get - went to college for something else, and their parents were like, “No, you have to get a finance degree or be an accountant.” And they're like, “No, I've always wanted to do design.” And then they go back to school for it.

Dr. Roberto Garcia: Yeah. So when they have that - what is, after one's graduated from college, what is the general curriculum like?

Lisa Gilenki: So you can get a four-year degree, and then they license interior designers in the state of Florida and California and some other states. So that's sort of like they do architects. So you have to have a four-year degree and have two years' work experience under a licensed designer, and then you sit for a two-day exam, which is drafting and codes and -

Dr. Roberto Garcia: So it's not an additional didactic curriculum that you go through.

Lisa Gilenki: No. I have to do CEUs, probably like you do, like 20 hours of CEUs. Or you have to have a two-year degree and then work four years under someone.

Dr. Roberto Garcia: Yeah. Well, it's a beautiful career. You guys make a huge difference in people's lives.

Lisa Gilenki: Great.

Dr. Roberto Garcia: And I can't tell you how happy I am that you came on the show.

Lisa Gilenki: So fun.

Dr. Roberto Garcia: You know, I just - I think that when I came up with the idea, I have kind of a bum right shoulder, so I couldn't reach back to pat my back enough with the idea. I'm kidding.

But I think this kind of brings it to the end of season two, episode two. I keep saying that. Or is it episode 14? It's okay to say it.

And just know that next week we are going to be talking about best types of anesthesia, and we are going to have our anesthesia guru, David Armstrong, on here. And it's not going to be sleepy, for all you pun people out there. It's going to actually be very interesting. And when he told me, “Yes, I'll do it,” he said, “As long as I can have some bourbon.” And I said, “Sure, we will have bourbon on the show.”

Lisa Gilenki: I think there's a lot of mystery behind anesthesia.

Dr. Roberto Garcia: I know. A lot of people don't know.

Lisa Gilenki: I would be really interested.

Dr. Roberto Garcia: You know, what are the levels of anesthesia? Is it safe? Am I going to lose my mind? Am I going to have dementia? I get asked that all the time.

Lisa Gilenki: Oh, really?

Dr. Roberto Garcia: Yeah. Yeah. It's like a common question because people - all you've got to do is get something on the news one time of a person who was already going to have dementia. They have an anesthetic, and all of a sudden, “My mother now has Alzheimer's,” because, guess what? She was probably already going to have it.

Lisa Gilenki: I think there's a lot of things like that in medicine.

Dr. Roberto Garcia: Yeah. So, one thing I do do, Lisa, which is really fun at the end of every show, is -

Lisa Gilenki: Oh.

Dr. Roberto Garcia: - my dad, I don't know if you know this, but he passed last year. He was my best friend.

Lisa Gilenki: I remember that. Yeah.

Dr. Roberto Garcia: Yeah. And, funny story about my dad. Instead of a lesson today, we're going to tell a story.

So when I was cutting my teeth and coming up, and I had the original office in Neptune Beach, my dad would come there. He and I were as thick as thieves, all right? I mean, constantly together. And he would come to the office at least three times a week. Remember that, Lori?

Lori: Yes.

Dr. Roberto Garcia: He would just show up, and all of a sudden he's walking down the hallway. And one day I'm there with a patient. It was in the afternoon, and he just stands there in the hallway. I have my back to him because my back's to the door and the door's open, and you see the patient just kind of look up, and she says, “Hi.” And he goes, “Hi, who are you?” And she goes, “I'm so-and-so.” And he goes, “What are you here for?”

This is an old, gruff Cuban immigrant, okay? And she says, “Well, I'm asking Dr. Garcia whether I should do a cheek lift or whatnot.” He walks in. He had these short, stubby fingers, okay? My dad did.

Lisa Gilenki: What did he do for a living?

Dr. Roberto Garcia: He was an internist, but he was an Olympic rower in Cuba. So he was strong. Like, he had old strength. My dad used to do 100 or 120 push-ups every day and 200 sit-ups every day.

Lisa Gilenki: Wow.

Dr. Roberto Garcia: Till he was probably 70. He did that. Just natural strength.

Anyway, he walks in with those big sausage fingers and he grabs this woman's face and starts moving it up and down, and her eyes get to the size of silver dollars, and she's thinking to herself, “Who is this old man who just walked out of nowhere?” Because I hadn't introduced him to her, right?

Lisa Gilenki: Right. Is he like some -

Dr. Roberto Garcia: Yeah. Who is this guy that's coming in and grabbing my face? And I said, “Dad, Dad, Dad, Dad, hold on a second.” And he says, “She doesn't need anything. Leave her alone.” And he walks out. He turns around, he leaves.

And I said, “That was my father. I just want you to know that you don't need anything.”

Lisa Gilenki: Apparently you, like, passed the beauty standard.

Dr. Roberto Garcia: Yeah. I thought that was the funniest story. I was just thinking about it the other day, and I said, “Man, you know, I hope that one day my son Rocco - he's in premed at Miami -”

Lisa Gilenki: Oh, I didn't know he was doing premed.

Dr. Roberto Garcia: Yeah. And he loves it. I asked him one day, I said, “Rocco, are you sure you want to do this?” when he was in high school.

Lisa Gilenki: That's hard.

Dr. Roberto Garcia: And he says, “Dad, there's nothing else in the world I would rather do.” So, you know, in medicine - we did a Motivational Monday thing a few days ago - it's a calling.

Dr. Roberto Garcia: I believe, you know, early on, if it's - and if you pick it up along the way, it's probably not that calling. Like, I had it when I was 14. I knew there was nothing else in the world.

Lisa Gilenki: My husband's a dentist and he knew.

Lisa Gilenki: Yeah.

Dr. Roberto Garcia: You know, and so it's an interesting thing because my dad had that calling later, you know, in college. He was an engineer first when he came from Cuba. He studied engineering at Florida, and then after a while he went to study medicine because he always wanted to study medicine, right? But he didn't have an avenue in the United States, so he studied in Spain, then he came back.

But I hope one day that I'm that old, gruff guy and my son Rocco is examining a patient, and I can pay it forward.

Lisa Gilenki: It's such a full circle.

Dr. Roberto Garcia: Oh my gosh. I can't wait to have that moment, and I hope he handles it with as much grace as I did, because I took my dad into the back room and I yelled at him.

Lisa Gilenki: Yeah. Oops.

Dr. Roberto Garcia: I'm like, “Dad, we're starting a business. What are you doing?” “Nah, forget about it. It'll be fine. She'll get over it.” She didn't end up scheduling anything with me, but whatever.

So, listen. Very good having you here.

Lisa Gilenki: So much fun. I'll come anytime.

Dr. Roberto Garcia: Yeah. Yeah. We've got to have you out again. And remember that good decisions always come from good information. This is the Contoura team signing out. Have a great week, guys. This is going to be an awesome season. Bye-bye.