 If you get to it, if you get to it, I'm just going to put it right here. You know, Phil, it's like my assistant department. All right. Of course, of course. Oh, my God. He's like, we lent it to him. Yeah. I'm just going to put it right here. It hires. In fact, it's the weirdest thing. Yeah, I do. He was his first New York show. He was a great guy. But like, me, we lent it to him. I sold it to him. He was like, we lent it to him. He was like, we lent it to him. I'm just going to put it right here. Oh, my God. It's very, very nice. Wait, wait, wait. I'm going to get it. I'm just going to put it right here. I wasn't expecting that. All right, go. Hello? Yeah. She's like, a suspect, We're a group of strong, we would have said the quote, actually, we read the text, we should see it, maybe talk to Shakespeare, we should see it. We hear, we have a few. We have a few, we're here, we have a few, and we've been two people. We're gonna just, this is just a long time, man, and he says brothers. And we're not brothers, we're, we have these views. We've been like brothers. Sisters with brothers. We have a few, we've been like sisters with a brother. It sounds better, it sounds like, it sounds, it sounds better than me. Anyway, we're gonna do a watchover, we have these two, we've been like sisters with a brother, and we're only gonna watch the 30 minutes of this raining and, let's say I've booked my child, except for me and my son. Okay, so, and then you ask questions about your crazy house, or if you want this question, if you have to go on watching, it's not raining, and you want to do this question, I just want to tell you how to do it. We get to act, watch me work, X, L, P, with the hashtag do, and act. Watch me work, I separate the hashtag in your life. Great, okay, so we will do that, we'll work hard just to have the knowledge. Ask us this question. I'll go, I'll go, I'll go. You'll be asking us, I will count on you. Okay. I'll just take a minute to speak one word, say something. One word, just say something. Oh, you should go back, where? Um, 66, 67, are you? Yeah, I'm actually like, all right, this is the next week, this is the next week. Okay. All right, I'm good here, and I will assume that this is the stairway. So, so two versions of the plan. I have the old version and the new version. Okay, the old version worked, and I'm trying to get the old version better. Okay. But I'm learning to get that one, that you assume that the old version is really good. So, the problem I have with the old version is that they kind of engage the audience in some way, and I just thought that that was, um, that was, I was worried that that was lazy. You know, the sort of, the sort of storytelling, you know, having a drama happen on the stage between the two, but I haven't. I have a whole little big answer, and also to this background, this other team game, I'm not sure the audience, but I'm taking that one out of the people. I was like, so I'm going for a lot. Oh, I'm going for a lot. Remind me of Christmas. I think I said Christmas. I forgot, I mean, I remember that I was a chef. Christmas, Christmas. Okay, I have a mnemonic device. Yes. I know, it works. Julie. It's kind of right. It's a good one. Oh, a shoe. I know, where's my shoe? But that's mine. Julie. Julie. Let's take Seattle. Cindy needs the racer. Hang on. So, have you seen that poster? A pattern. A.K.A. Tonya. Which is, yeah, look it up. When she was reportedly kidnapped by the Cindy needs the racer. Basically, she went to hang out with some people of color. I needed a way to explain herself. This is a long time ago when people would do that on a regular basis. So, Christy, it's a fan, I'm sitting on a microphone. So, Christy, so you have a play and it's a two character play. It's like a short one act. It's a short one act. Okay, so it's a short one act. And you say that the original draft for the original manifestation of it works. You're making it better now. Okay, and you're making it better and bigger. Well, those things, you know. You know, like the standard kind of. Like longer. It's something that you can have a life with in theater. So, how long will it run now? And it's a short version. The short version was 60 minutes. Right, let me see, far away. Carol Churchill's play. It's far away. It's right there. Far away. Quick. Yeah. Far away. So, let me just say, she's Carol Churchill. And how do you think she got to be Carol Churchill? Right, right, far away, right? This was called, I saw it in her through the workshop several years ago. And you really get it. And you quit. But I'm asking you these questions because I'm wondering where you get these notes from. So, you say, you know, it needs to be longer. Or, I don't know about the direct address thing. Is that taking the easy way out? I'm wondering, I'm just telling you these things? Is it you or are you getting notes from people, or? Well, it does need to be longer, I think. It's powerful for, you know, it's in that version, but it can't, it's not going to be much longer, like 30 minutes, like it's still going to be one hour long on that side. But, and you needed more flexion. It's a little bit too late. Okay. But yeah, I think it's both. I've had people, you know, some people I trust say, no, no, no, no, no, wrong. So, speaking to the audience part, that was all, that was all, because it's not all fierce. Right. Then it was, and what, was it concern? And it was, I don't know, I just don't, I, that it wasn't legitimate, or that it was a, or that it was maybe, you know. That same thing. Yeah. Like it's beyond, it's beyond. Yeah. I'm talking to the audience now. As a writer. Right. Right. So it's like, and I had asked you that question before about writing a play where a character speaks to the audience, and I had written two of them, but I actually think those two are sister plays and the device is no longer serving me. So it kind of, for me, the reason who is the audience supposed to be to the character is what I went back and asked myself. And in each case, the one, in the one case, the audience is probably like the voices in her head that she's talking back to. And in the other case, it's a literal like seminar that this one is open for the audience. So just, I don't know. It helped me to go back and figure out who the audience is, the character, because we're kind of always thinking about the audience, but the audience, it's kind of like a symbiotic relationship where your audience is also like this, y'all are already together. So figure out who, maybe the audience is to your character. That might help, it helped me. Yeah. Yeah, and the reason why I asked who's giving you the note is because if you're feeling, after you've written a play and let it cool, you feel like it's good and as you're looking at it, it's like, well, I'm gonna give you some rights on this. Do you feel like it's not working? And it's probably not. It's probably something to work on. That's what we're talking about here. You feel like, oh, I don't feel so good about this anymore. Maybe it's talking to work on it. So I think what I'm thinking is it's a legitimate thing to want to work on. Do I think in the realm of theater making is a cheap, stupid doll and pop out now? No, I don't. No, I think, I mean, we have a long tradition of people talking, our character's talking to the audience. Now I'm talking. I'm right now talking to the audience, so. And Shakespeare, you know, began with Romeo and Juliet, we're talking about in a mid-summer night's dream, all the way through all the plays. The characters have all their soul and breathes and the sides and, you know, we're traveling and getting up on stage to talk to the audience and the beginning, and I end up following her for a reason, you know what I mean? So it's used, and, yeah, but if it's bothering you, then it could be something perfect. But are you, in there, you're feeling like it's not because of work or the other way, you're feeling that? Yeah, well, the only way, other way, because the only way to know what's going on in this character's mind is to have her speak it, and she can speak it to their character, and the only other way she can do it is just to turn the phone to a friend, you know? Do you know what I'm saying? Like, we have to hear what she's thinking. That's the, that's the, I can't trust the audience that's gonna pick up. So what makes you feel like it's not working? I guess it's just an insecurity. I'm not, you know, I'm not, I'm a self-taught playwright, so I don't really need to know. I don't mind looking raw, but I, you know, this is a genuine question right now, is there? Stand up, I mean, is it? I want it to be, I want it to be able to stand up. Yeah, it's very, it's very, you know, depends what they're saying, you know what I mean? So, let's think, think, as we go in the next 15 minutes, let's see who plays at our sort of, I mean, there's so many players with characters talking to each other. I think Art does, I think. Okay, yeah. Try and talk to each other. Yeah, okay, I'm gonna go, I think there's one, that's good, if you like that. And as, you know, my personal preference is, it's unless it's a really strong reason to talk to each other and I'm like, I feel like it is a slack, it is a poorly used device. But I'm not the guy, I have it right in your place, I'm not saying you are using it perfectly, you know what I'm saying, right? I'm saying just, when I see players and I see that, I'm like, but they get on stage and they tell you everything, right? Instead of showing you anything, they're gonna tell you everything that happened. And then we're gonna do all of the scene and who are they telling you? Well, that's, that's, you know, I think I would, I prefer where I'm showing stuff instead of talking at them, just as my preference is. And those are the things that I went back and worked on in my show is I pulled, that's the exact note I got from the professor who made me read it, he was like, go back and take out everything that's expositioned. Right. And especially with the seminar one, it was really getting dangerous where she was giving a lot of information but I scaled back on that and made it more about human insight. Even now, it's kind of dangerous. And again, exposition isn't a bad thing to get either. I know you came up with some work. There's a lot of storytelling in there. But it's done, it's in a way. It fits the world of the show. Exactly, it fits the world of the show, it furthers the story, it's part of the convention that's employed throughout, you know, so it's a different kind of thing. So we don't say like, noxless show, but if there was really no other way to convey the information, you know, they could play as like, like, why don't know, look at two of the character plays where they don't talk to the audience. There's a lot of information. Nightly. Okay. You know, where they don't talk to the audience and there are also a lot of ways to convey the information, force them to just ask them, do we need to know what's going on in their heads? Do we? And it's telling the audience the only way to know. You know what I'm saying? I mean, if I like, drop the microphone and walk out of the room, would you know something about what I might be feeling? You see, I'm showing you, I'm doing an action and activity. Maybe, and maybe you could find ways. I'm not saying you should, but if it's kind of bothering you, and you think about it, you can only wait until it's over. Because basically I don't want to finish the play and have people see it, and then people, then it's isn't when the parts come from watches, and it says it is great, but then why is it getting like, you know what I'm saying? Like, it was just, I'm gonna have to say, but you know what I mean, I mean, I'm just being honest. Yeah, yeah, yeah, I don't want it to stand up. I want it to be, but in terms of that, I mean in terms of like, I mean just, I understand what you're saying, and let's just take it slow, really. I don't rewrite my plays because I'm thinking that someone's gonna come and see it and think so. No, I'm just, no, no, no, I'm just, I just want to see it. We're not gonna get a rewrite based on, that's why I want to know where your notes are coming from. Let's not do a rewrite based on what some person coming to your play might think. We do a rewrite, and we change stuff because of what we think. Wow, you see what I mean? Because really, I don't give a damn what somebody, you know, if somebody goes about my play, a talking dog in my play, someone goes, ooh, I like the talking dog. I'm serious? Okay. Okay, because the talking dog is gonna stay. Yeah. You know what I'm saying? So I'm not rewriting for the imagined audience, a lot of writers do. They imagine the audience over their shoulder, and they're rewriting in fear or in concern for the audience. Experienced writers, new writers, everybody, lots of people do that. Both guys homework, and rewrite this new feel of something that's such a good thing. Got it? Okay, so, yeah. Because there's so many ways to do plays and like I said, I love plays where characters talk to the audience if that is, you know, I don't know what the person said with the name of R.M.J. Roman Julia. Something, something, something. This is a story about these two star cross-movers, yo, and we're gonna go through it, right? It's great, great, okay, I'm cool. You know, I don't know if you said they're gonna, you want me to do an experiment? No. No, but it's like, it's very powerful, you know? To be or not to be. Okay, maybe he's talking to himself, but he's also probably talking to the audience, right? All the world's strange. Okay, he's talking to the other people. He's also talking to the world, you know? So those are, so yeah, keep the category and think, is that the only way we can know what's going on in our mind? Maybe not. Device, let me found this, like if the device to engage the audience and to take them on the ride with the kids, keep them on the ride with the kids. You can be done, you can be free. It's like, yeah, I'm done with my playing, it works, great. Thank you very much, ma'am. Oh, I was so engaged to your question. I know. I remember, I was like right there, and then it would just, it did for some reason, I just let the play be what it was, and I was good. I was just, because there was other stuff, because I looked at the body of what I've written, and not everything is, you know, everything is that, but there comes times, especially when, and in those particular cases, the shows are, like they kept me up at night, like you have the kind of way you have to jump up and you have to write, like that's how they hit me, and that's why I don't question them, like I did, and then I just let it go, because it would, they would just come so quickly. I don't even know how to explain that. It was just like I was, it was just moving through me and I was writing, and that was not interesting, and that's the way it came, and I got doubtful about it in that way, and then I, I'm good, I have another question. So like, in terms of character and dialogue, they say, I'm good, I'm good. Now no one speaks like the people in the play in normal life, right, in your play. No, no, I'm just saying like, okay, so, so there's the symbol, there's the world of the play, and there's the way that people speak in that play. Right. And that's not going to be the way to speak. We asked just to this play. So, for sure, now, so I was thinking about the like symbol that the character, is a character, great for instance, I just read, I read it before, I read it, then topped up in the room, and you have to make it a move, and to me they're real people for sure. I mean they're, I feel like I know they're going to love that, they're going to love that, but to me they're also symbols of something. Right. Now, to me, so, what a symbol is, I need the word, the symbol, I guess, but I'm not really sure what that means, what it means, what it really means, you know? I know what the word character, to me what the word character means, you know? What does that mean? Well, it's a person and a play who wants something. You know, a symbol, I'm not really sure. Something that it means, something, something, it gets in all these layers of meaning that I think for my purposes, it's not my job. So for me, you know, my character is a character. The people who want that, trying to get things. I really think about symbols of things, or passage, I think there were, I think about, and I think about what it means, and what it means, and all that kind of thing. Do you, when I was trying to write an essay, there were like, can I, you know, does that have to be like redemption, or these, like, that's like a big, yeah, I don't know. I mean, who wants to learn how to do three card moffs? I don't know, is that a big thing? I don't know, is it? I don't know, I'm not sure, you know? All right. And Lincoln actually gets to the dead, I don't know, is that a big thing? He wants to get paid, you know? I want to see, you know, remember when they wanted to get married, I didn't get paid, I suppose, you know? They didn't want to get to the dead, you know? They didn't want to get to the dead, you know? So, I think the, it's kind of like, it gets you with the air, it gets you with the iron, just to be happy, you know? So, I think when we, I think of these, like, redemption, because we were, it's simple, it's about the words, it's beautiful words, and yet, disconnected, it makes me feel very disconnected, you know, from character, it makes me feel like, it's this, I mean, the world above the neck, right? You know, it's just like, well, you know? So, I just keep it very, I try to keep it very simple, and I say, just keep it simple. What does your character want? Well, you know, the three sisters, one of them wants to go to the mosque, and the Dorothy wants to go to the mosque, and she wants to go home, you know? Simple thing, that I think takes on me, and I mean, you want to think of me, because of the way it resonates, but I don't think the writer necessarily does the resonating, we set up the steps, and it resonates as a calculation of those words or moments, but not because we're trying to, you know, again, it's like, I build the bell, but it rings, you know? I'm not sitting there. I build the bell, and the sound kind of happens as a result of the question, how great now is your comment? How great now? But just sort of the, I don't, you know, I'm not thinking about, oh wait, because a lot of, I also thought about writing on the show, there are a lot of people think, yeah, well, I'm just gonna, you know, what are they gonna get? Yeah, I'm gonna think, this is your play, and there's your audience, and a lot of people write that way. What's my audience gonna think? What's my audience gonna think? Not that you're thinking of this, but a lot of people think that, and they'll say, let's say you have a 99-seat house, so there are 99 people at the show, so your show runs for, you know, whatever, 10 weeks, you know, so I can't even map, that's a lot of people, right? That's a whole bunch of people. Let's say each person has a different take on their show, given their personal experience, and then bring it to the evening. I don't know what they're thinking, but I know what I'm thinking. I write this way, what they're thinking. I just make sure that the story is being told with the appropriate, the really appropriate way, and that's unfolding in a way that's meaningful and makes sense to me, and to people working on the show, you know, and to note something that might be useful, et cetera, but I can't write for everybody so the top of my notes have been done, you know, again, you know, all over the world. Japan, Japanese, I don't know what they're thinking. In India, I don't know what they're thinking, you know? Write this way, both eyes on the work, and your shoulder, because they're not there. Fizzy, they're not there, they aren't. They're not there. And it's so, like, I go back and forth with the same thing, it's like, the stuff I like the most is the stuff that I do not know about what people are gonna think that they see, and it doesn't make apologies for anything, it's just what it is. That's the stuff I enjoy writing, and I'm not enjoying it, I do am, I'm not a fan of it, I know it's usually because I'm wondering what people are gonna think about it a little bit. So, when I'm having the best time sitting there and I find myself laughing as I write, I know, I'm saying what I'm gonna say, and not necessarily what's in my mind. And it's not that we don't care about the audience. Yeah, it's not that we're sitting there. It's pretty bad, we don't care about the audience. We're not saying that, it's like, I care about you guys so much, I'm going to be you, I'll be the parent. I'm going to be you, we're not gonna keep checking in, right, with imaginary people who don't even exist yet, because our show isn't even happening yet. You're not even there, right? I care so much what I'm going to be, and I'm going to be by writing the best thing that I can in collaboration with all my people, you know, director, actress, producers, you name it, et cetera, you know what we're talking about. But I'm going to be, and that's how much we care about the audience. And that's a great role that requires, you know, yeah, some kind of, yeah, you know what's called being self-taught. Self-taught or no corner, it's a good corner. Yeah, don't need to be self-taught. Yeah, I don't want to be self-taught. How do you feel about the press room? How do you feel about the press room now? Yeah, well anyway, to teach. To miss the money. Who does that to us? Right now, since we're doing it. How do you feel about the press room now? Did you look up the same thing as press room? Did it show Tarja? Yeah? Because we're good in her parade? Probably right. Right? She's like she's not yellow. I'm hanging up with him, I'm making gas masks and all, but I was patting her somewhere.