 Yeah, yeah, I know. Saturday we'll have more time to get in. Yeah, this is it. Simple, plain, classic. Um, St. Mark's. Alright, we're looking for a cafe. Can you get all your... Either I find them on the street, or I go to some companies. I'm not going to lie. I'm watching machines work. Yeah. Yeah. If you have a better question, can you get it in? Sure, sure. It was like, well, you know, it's a classic thing. Well, you know, I'm not going to move, I'm not going to work right now. So, it's only work for 15, it's only work for 30 minutes. Okay. And then in the 30 minutes, it's a trick, it's a trick, which means you can do it at home. Do try it at home. So next time you've got to get some work done, set your timer, or just agree with yourself to sit down for whatever, 10 minutes, 15 minutes, whatever. And then when that time is up, we put in a minute or so, and then when that time is up, add an extra 15 minutes. We only add it in a half of what we work. That 30 minutes of work is only add a half. So it's not like, you know, agree to work for 10 hours and work for one more hour. You know, don't beat yourself and it actually works because what you do in that first 30 minutes is you're beginning when you have energy built up and then you know you can go another that adds so many tricks. So many tricks. That's all we do. We get together and we share tricks. Anybody have any questions, or anything? Karen. Oh, wow. Right. Right. I read it for the first time. Right. So our question is just like if you want to have a conversation with a playwright, what's the best way to go about making sure that the culture is great and powerful so that you can do playwright in the environment. Right. It is a great conversation. So is there a way to playwright in the environment? Live market. Live market. There is a way to play a competition because, you know, a little bit of history or something like that. So yes, we're going to play competition and they perform their play. They work their play, they perform their play and if it is enjoyed and loved by the audience, then they get to do it some more. And I think that if you're making it to the final, it's not really should be right. I don't judge. I'll just say, I'll just do this. I mean, it is a kitchen finally different. It's not good. It's cool because the audience is the both of them. It's just a way of doing it, you know, in the way that a hobby audience may be. But so as far as who's creating something beautiful, how do you approach that? I would say I used to be from Montana and my teacher and my teacher was not going to learn. I would say he's like a 90 to 35. He has so many stripes on his belt and he's like been doing karate forever. He would stand there and say there is no opponent. So he would be standing in front of you. Big, big guy. He'd all his stripes on the back. There is no opponent. So I would suggest because what are you going to do? Start dancing, hoping they're going to like him. Maybe they don't like tapping. So there is no opponent. Don't sweat back. But I promise if you do the best work that you can specific to the works of the play that you have then you're going to win. You're going to win because you're going to win the pride of we did awesome work. And we have created a great relationship. We've got a great relationship with your writer. I'm sure it's an awesome and fun play. Do your best work. Don't sweat for the votes or anything like that. You know what I'm saying? So then you worry about it. So just be the talk of the playwright about her goal which she wants. For the peace. Talk to her. If you have any questions if you have any stupid, you know, or dumb ask her anyway. Get into a relationship where she feels like she can just say anything. And then go from there. And don't sweat that. It's like when we do we use theater like at the public theater. We're not, you know, I mean I'm sure the producers are concerned about what we're doing. But I'm not sitting there like oh I have to change something so that people will like it more. I mean I'm not going to get into the writer. I'm going to do it. You know, you change you can make the peace better. It's not so that people will like it more. People will. You. You. You. So. Okay. Okay. Right. As the director. Okay. So, Jared's working on a piece with a solo performer and she, the woman, is doing a kind of like August Wilson since she was a child woman, like a solo performer. So, that's a great idea for a solo performer. And the word, do you commit it on the record and provincia and romper? I would say, I would personally, I would say, let the writer write the thing. And as she asks the questions, try that then. But I would say let her, because they had a good thing. That's, you know, I read to a brilliant, brilliant actress, yesterday right outside. And she was like, man, this business is really wrong. You know, exuplicit volumes and why acting is difficult. And she's fabulous and has won lots of awards and all that. And I said, you're right. Everything you're saying is true. And it's also part of the job that you have chosen and the job that has chosen you. Just like writers, we have to, if you're a traditional, more traditional, we have to do a lot of the heavy work we all own. You know, unless you're doing device working with people and everybody's contributing, but step back from that and you're doing a lot of heavy work on your own. And you have to let her do that. You know, otherwise she's going to become one of those writers who needs a group of people around her just to help her get something on the page. And unless you're doing device work, that's not a good relationship. That's kind of a good thing to do, you know. Because that'll learn how to be, I mean, like a human being. You have to learn how to be a writer. Which is hard. Which is hard for you. But it always does, right? Because you always do. That's a good question. And great. Very exciting to be this person. It seemed to me outside of itself, but it was inside of itself to me personally. I was just talking about, you know, the question of anelopathy is a very dive into it today. And you said it's not like what you're doing. It's not like Virginia wants to be one of those. But you sell a lot of women who want to be one of those. But in a way, kind of it, he was sent there because of when to leave. She went there because of what she was going to do. You know, that's her life. That's her culture. That's her culture. You know? And yeah, you have to go inside, like you said. You have to go inside so that you can take it to the streets. You have to. In less, there are lots of ways to work. There are lots of ways to work with women on this county. Other ways to work with women. There are plenty of young straight groups that work with women. And they're awesome. They love women. And because of us, we also work in a more traditional way. I'm sitting with you alone. You have to deal with the fact that you're alone. Are you right? Yes. You're alone. You're alone. Right? You're alone. Alone. It's hard. It's really hard. You know, we do it. It's really difficult. And so maybe the next time we're having a hard time, we don't have to go to the asshole to yourself. Knock the head. You loser. Kicking yourself. You're having a hard time. Hey, I'm having a hard time because it's hard. It's really hard. I was just meeting a famous director, bad student director, who wants me to work with him today. We just met a couple of hours ago. He didn't do all the things I was doing. And he said, oh, he's from a foreign land. I was like, oh, what's he doing with me? Just snap it to him. No. You know, you're alone. Yeah. So I have a thought about one, tunneling, you know, sometimes when we're working, we feel like we're tunneling toward our work. You know, we're tunneling, and it's very hard. You're in the ground, and you're digging, and you feel very lost, and it's dark, and it's cold, and wonder if the walls are gonna collapse in on you. You know that your work is tending for you. Those people or ideas, whatever you, you know, and they too, you know, I work with characters primarily, but some people work with those people, and my ideas are tunneling toward you. You're digging curiously toward you, and they'll dig as hard as you do, and they will stop, and if you stop, they're gonna stop. But if you can start digging, they're gonna start digging, too. They're gonna keep digging. So just know that. Also, I was thinking today about creating space. Because that's a lot of what we have to do in order to work. We have to create space, right? Sometimes it's just like a table, and we gotta have a place to work, like a physical space. Sometimes it's time in your day that you have to figure out, who do I have a right, or what am I gonna do my day? Sometimes it's very important to work to create space, whether it's physical space, space in your head. Sometimes your things go wrong in your environment. That's why any whatever needs to be done. This bin here is full of earplugs. If you ever need any, we're sitting here, and you know, we're working, and you know, there are two excited passengers in anticipation of the great shows that they're gonna see. Come get some earplugs, and you can come to that. You can create space in your head. Sometimes it's also important to create space. You won't need somewhere to be after it's done. It's going to be producing somewhere. It helps get everybody in your work off to improve. You said everything. It's good to have somewhere to go. It's very important to create space is a very important ingredient to the successful creation of your work. Creating style is also the way to do it. We just started thinking about that. That's what I did a lot this week is creating a lot of space and thinking, come on. Right. Yeah, what you said, it works creates a lot of clutter, which is why I'm talking about space, because working creates a lot of clutter. You buy books or research, or even if you buy them online, even if you look down on your iPad, it still is a lot of clutter. It's a lot of saved documents. Just save the documents. Get really good at saving your documents because you're now stuck in an extra file of capital. It's also creating space for you to maybe you're going to have to call and give something up, which is, you know, maybe you're going to have to give up and you're going to be jogging for 10 hours every single morning. You know, maybe you'll give twice a week or three times a week, or maybe you'll go at all for the month of December because you're working with us. That's okay. Those are the kinds of things you can realize in a second. I'm going to give that up for a moment. So maybe you have to, maybe you have to find a good file and maybe you have to give up that space that was devoted to that whatever and put that thing in storage and just find a board, buy a storage unit and load it with your graphs and things. Yeah, but sometimes you have to say, I've got to give something up to get this thing done or at least to give myself an opportunity to get real in. Station, I didn't have the space in my home. You used to be on your own. You're also staying in your house. Do you really offer that teaching opportunity? Do you have to say no because you need the space? Do you also say yes? Yeah, you can say yes if you're right. It's a day, bro. You're better for that. I don't want to call you out or anything but nothing. Yeah? I don't know. Everything seems so hard but it seems really challenging because she's partying in the wrong way. Right. And I don't know, the thing I'm working on right now it's more than anything else I actually have to make it up by scratch because for most of the play I know what beats I have to make and you see. But for this one, I didn't have to do it for like a year knowing that there's something in here that I got here before but they're so old there's just nothing coming out of it because I know there's nothing coming out of it so people can scratch it so every time someone speaks I really have to figure out what I'm saying and why I'm saying this. Is that hard? Is it hard to have the right to look back? He's saying that he's got to be able to make notes because they're old and old now so they're not really different you know, from what he's doing now so he's got to kind of make it into text. Can you make any notes just to get you through the scene? Yeah, I'm starting to but I don't know it's the most part of the scene. It still seems like Wall is where the team connects. I mean, it varies but in part of what it used to be I would still do that. So you've made notes because you're not going to lie because sometimes you say you have all the journey you have a row and you think it's great and pull out of your bag and work's all great because it's been in there for 10 years. So what do you do? You don't go, well, we'll just try to make it without the row. Look around and see if there's something that actually looks like something else. Go ahead and do this one Can you sketch out some notes? Can you sketch out some notes just to get yourself a frame of it? Yeah, I already had one. I mean, general, okay, this is hard. It's just really slow. I think it is. Yeah, I mean, writing is always kind of painful, right? But I don't know, it's a different kind of thing. It's not something that... Kind of painful. So what do you mean? I mean, at first, I wrote a couple of monologues for this one for the 10 years, like a year ago. And that came out relatively quickly. And I thought it was really good. And I should have written an edit workshop. People loved it. People loved it. And some people told me that it was like... And I got a lot of this kind of feedback and so after a while I started to get that's it. I'm never going to live up to that piece of writing again. And so finding this character's voice again is like, I can't fucking live up to the stellar piece of work that I did back then. That's right. That's why getting that right here, getting great views, it's like, thank you. So there's no way to get it back and you know, I'm writing again, you get a great review, you know, I'm writing again, there's no room except to continue. So, you know, I mean, ooh, that's a great problem to have. Well, I'm sorry that you were praised so much that you're writing to that. And that's fine. But could you set like a kind of a deadline for both that scene? I guess I could. I'd like to finish the scene. Okay. I'll take this. So, can I take this to the set? Can you come back to the project? I'm just gonna take this to the set. Great. That's nice. How are you? I'm sorry. I know I'm standing here. Thank you.