 As someone said once, the best part of writing is timing for people. So, there's so much that's corrupting and all that's changed. This is Lauren Park, this is watching a work in the lobby of the public theater for those of you who are hanging out with us online today. Courtesy of power out. And for those of you who didn't know, it's so good to see you guys twice a Monday. Or at least you, Chris Marlowe. The fact that Chris Marlowe has done this. And so now we're really happy. You guys come in the jambors, I think? Yes. You see it? Yes. You have that glow. Oh. You have that, I just, or I just got... I didn't want to ask that. They're like your children watching. Anyway, you're glowing. So Watch The Work is a... It's a play, and this is the action that we're going to use to dialogue a little later. And it's also for you writing class, in which we talk about your writing process or your work process. It doesn't necessarily have to be writing. So what we're going to do is, well first of all, Caroline's going to tell us if you're online and you want to tweet us a question about your work or about your writing process. Caroline will tell us how to do that. You can tweet at us to the handle at Watch Me Work, SLP, with the hashtag PowerRound or hashtag NewPlan. That's different. They changed it. We've got another hashtag. Oh, we've got two hashtags. Okay. No, we've got two hashtags. I don't know what that means. Yeah. Okay. And so what we're going to do first is we're going to do the action part first, which means we're going to write those of you who are writing, those of you who are doing your woodworking projects at home again, those of you who are writing, we're going to write for 20 minutes and then we're going to do the dialogue which is talking about your work and your creative process. Okay, so. Do we have our, Caroline, do you have your timer? Yeah, no lunch. We're just going to do 20 minutes. Okay. Okay. Do 20 minutes and we'll chat a little bit and we'll be done. All right. So, yeah, hold on. Let's synchronize our, or synchronize our phone. I don't know. I don't know. Synchronize our phone. Okay, good. So Bruce. What are you writing? Jasper. Jasper. Oh, what are you writing? Ah, see. Oh, yeah. Are you, have you ever been at home? No. Where are you from? California. Where are you from? Berkeley. Look at Jasper. Sorry. We didn't get excited about the Berkeley part. Are you excited about it? Where are you from in California, Jasper? San Francisco. What's going on? Yeah. Are you visiting? No. Are you living in a new house? Yeah. You're welcome. What's your name? Jillian. Jillian? I was a pretty person. We'll see that the, um… Yeah. The title of this show is intentionally misleading because for me and the title is You, so actually, we talk about your work and your creative process. I won't put you on the spot right now. Okay. But if someone were to say, like, what are you writing, then I would make them say, what are you writing? Smart. I hate that, yeah. Because, you know, this is the time for you guys to answer my question. Yes? Oh, I have so much to question, but I sort of discovery. I think, basically, like what you said earlier is kind of true. I sort of get more work done when I'm with other people. I think maybe because there's kind of a performance aspect to it, possibly, if everyone else around me is working, then it's harder for me to sort of slack off and appear as if I'm not getting anything done. It might also be something like the combined effort of everyone makes me feel more focused. But I certainly get a lot more work done when I'm with other people. Same applies for studying. I study a lot better in the library when there's lots of other people at the table studying with me. I would, I mean, I agree. I think it's, I mean, I would, because you can always fake it. Yes, we do have the passage of one, I guess. You know, we know we can always fake it, right? So I think the second half of what you said is really true. It's a combined energy of people, which is why, you know, there are thoughts, I suppose, of arriving groups. Here we go. You know, it's that energy for the, yeah, I'm sure even the elite runners get energy from the combined energy of everybody. So we are social creatures and our best. It's interesting. Your reading is on? Thursday. Thursday, so I'm going to have to make a whoop with my bathroom. Wednesday, it's on Thursday at 3 o'clock? 3 p.m. and 7 p.m. Okay, okay, we won't have Jesse. No, it's me. Thank you. As far as the reading, do you want to advertise it? What's the name of the play? It's called Separate and Equal. Separate, oh, I love it. We like that title. Separate and Equal. Yeah. Yeah, all right. I just got a reading of it this coming Thursday. Yeah, yeah. Where's the venue? I'm at the Sheen Center, just down the street. So you may go down the street and make a lot of room here. Down the street and make a lot of room here. What is it? 18 leakers street. Oh, thank you. Thank you. 18 leakers street. Separate. Anybody else have an email? And I'll switch to the show, sorry. One thing which isn't dependent on others. Now, I mean, we might work really well or at our best when surrounded by others. But also, just to, it occurred to me as I sat here, how important it is to put the time now. Really, it's like, it's the one thing that I believe will always pay off cancelling or beautifully, just putting the time in. So if we find again and again, if I say I'm having trouble working on such and such, I really look back in my week or in my day or whatever and ask myself, have I put some time in? And again, we're not talking about a five or 10 hour writing day. I'm not talking about anything like that. Just a daily, steady chunk of time, an hour or 20 minutes or whatever, whatever I can manage. Am I putting the time in? And often I'm having so much trouble, often because I'm not putting the time in. I'm kind of thinking about doing it or wanting to do it, but I'm not putting the time in. So over and over again, I'm reminded about, wow, it's so important just to sit down and remember the time, remember it for me. Because the less I have to go over and over and over again. It's not gonna write itself. Oh yes, Karne. Actually, if you have a question, what's something coming up that's kind of, you know, the script isn't done, right? Okay. I mean, it's not finalized, I mean, it's in the phone. It's still in process. Right. But the draft's going to be written. Okay. You talk a lot about how, you know, those types of things have to keep you from writing the manifest ways in which they do that. Right. And I'm now, the people I'm dealing with, the voices in my head that keep me, help me to keep pressing and keep changing and make it better, make it better. And you know, and I'm trying to figure out how to negotiate the point where I need to walk away so I don't go crazy. Uh-huh. About it, Sam? Also, to like, take care of myself. And I don't know what that balance is yet right now. Yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah. Well, because it's not finished and you're having to draft red, so it's not that you're having to draft, you know, it's not that you're having your opening night on Thursday at three p.m., your opening afternoon. And that's also it to the evening. But what are you saying when you're rewriting? What are we talking about? We're talking about brand new chunks of huge, generous, paid chunks of wood, what are we talking about? What are we talking about? Significant alterations to see and just like, taking out like half the scene and convincing it. Right, I understand. And then cutting things that I'm not sure I want to cut, like, just to streamline it. Uh-huh, yeah. So it's, yeah, okay. Okay, yeah, I know I understand. Okay, so you're having to, I ask, you're having to read it, just to stop it. So part of it's having to read it, which means you can change close to the time that the curtain goes up. But since you're changing big chunks, you want the actors to feel solid. And you're going to be rehearsing how often before the- It's just once, four hours before. Okay, once, four hours. Okay, okay, no, no, so once, four hours before. So it's not like you're gonna be handing the actors, throwing the, you can do things that the actors write before they go on stage. You wouldn't want to do that. No, no, no, no, no. Okay. I don't want you to be writing in the room. That's one of my pulses. I'd love that, like, to be able to do that. But that's not this version, you know what I mean? Yeah, yeah, yeah, okay. Also, I would suggest to start making a list of every time you want to change something, instead of jumping into the play. Right, writing down on piece of paper. Like that's not the play. You see what I mean? So you have a nice notebook or something? Like a, or maybe you could buy one for this occasion. That's always fun. You know, you have a nice notebook, right? Every, it's just dedicated to this project. So you go, you know, go to the, I mean, ball ring or whatever, if you want to go, you know, low and cool, and get a notebook, right? It's just for this project. And every time you want to change something, write it down in the notebook and sleep on it. It's like, think of it as like, every time you want to tell your partner, like, write it down. And put some space in between you and the act, right? Okay. And then the next day, it seems like a good idea, right? Then maybe go for it. You only got a couple of days, which is good. See, so the things you want to change, write it down in your notebook, okay? And then sleep on it and wake up and look and see, okay, I want to change those things, great. And then it will be Tuesday night, right? Okay, and then if you want to change more things, write them down, then it'll be Wednesday, then it'll be Thursday, then you'll, so you'll limit, you'll kind of put a control light. That's what you can do. Or just write them down in a notebook and don't do any readouts. Or just write them down in a notebook and just circle like one a day, you're gonna see one a day. I'm gonna just rewrite that scene. You see, just slow down the process because I think you're probably getting what we all get, jitters, you know. I have to fix it, I have to make it great, you know. I'm running out of time. So just slow down the process. Get yourself a notebook for this process. That's really important. Know that it has its own. Please walk through. Here in the city there, that's your business. It's going probably some real fancy to me. Um, anyway, right, so it might, it will be really nice to get a notebook for this project, just for this project, the rewriting process of this project. It'll make it feel good and like it has somewhere to go specifically. And I definitely want to be there on Thursday. So that's what it's gonna be like. See you tomorrow. I'll bring my cheerleaders and pop-ups. Wow, that's awesome. My cheers are better than that, Jesse. Yeah, I know, that was the best week. Yeah. They're good. That stomps, too, and all this kind of stuff. It gets kind of louder. I don't want to see anybody else. No, no. Yes. Remind me of your name. Rob. Rob, Rob. So, obviously like this is set up to write and sit down, kind of clear distraction on some level. Do you find that you write generally in places that are the same place, the same time kind of thing? Or do you try to go out and have different environments and kind of influence how you're writing? And what kind of situations do you put yourself in while you're writing? Yeah. What do you do? I try to go to a lot of different environments. You go to, Rob, go to different environments, at different times of day? Yeah, different times of day, like get on the train or go out to, you know, go far out on the track. Now, 275, but you know, you can get out pretty far and be writing while you're traveling. Right. Mm-hmm, that sounds like fun. No, those are all fun. Whatever works. I mean, I have a small child, so my time is real funny. So I tend to write, you know, same place around the same time. But I would totally, you know, experiment. That's a really fun thing to go, especially on the train, you know, on the train in the subway, you know, or the Metro North or, you know, it's really fun to write on the train or the bus, really fun to write on the bus. But I wouldn't say that it works for you, but I wouldn't say, like, try doing these things, you know, try doing these writing gymnastics because actually, I mean, that requires, you know, getting out of the house, going to the vet. You can actually get the same, you can actually get really good work done just by being consistent in terms of, I'm gonna sit at my desk, I'm gonna sit at my desk saying around the same time every day because then the views will know where to find you. You know what I mean? So if that works for you, great, go for it. And if you don't have the kind of time that's flexible like that, or you have some space you can call your own, like at a desk or an office or an apartment that's free during the day or during the night when your roommates are all over, I would suggest just finding the time and being consistent so that you can be used to finding the fifth kids that had to be at, you know, they're gonna let you know, you gotta kind of work around them. And you, you know, get that consistency. Some people go and sit in their parked cars and write in their garages, you know, it's kind of whatever works really. But I think the most important thing is to work it. You know, whatever works, you know, test it. Make an anecdote. Yes, okay. Which is that someone told me once that Marcel Proust would only write in a room lined with corks. Yes, yes, yes, remember when something's passed, yeah, Proust, yeah, that was his room at home. And he had, you know, people taking care of him, you know what I'm saying, servants and stuff. I was waiting to go out to the shop right here and like change the kids' diaper. He was chilling in his cork lined room, right? And remember it's a things pass, which is a great book. Yeah, that's how he wrote. Right, right, it wouldn't suggest like, that's what we're gonna do, we're gonna get a cork lined room. Or I can't write because I don't have a cork lined room. Right, you know, so, yeah. But then it was true, I mean, that's what I actually understand because I don't know, it might be a lie, you know, her, I'd be on the beach, but. I'm writing a piece, I've been writing it for a long time and I've been in kind of the same way, kind of talking myself out of ideas. Right. That I loved it first. Right. I thought it was in my heart, it was an original piece, but now it's time it's gone by. I realize that it's kind of a combination of some classic tales that I have kind of modernized. I wonder, should I turn away from that and realizing that I've done that? I mean, it's a combination of Alice in Wonderland tale and kind of like the alchemist now and it's not really what I intended. Right. But I'm seeing it now. Right, right. And so I wonder, is that something to turn away from since I've seen it in my writing, even though it wasn't intended in that way? Well, this, oh, this is great. So it's, what's your name? Jahi. Jahi? Yes. So Jahi has another version, that's it. So we all have versions of what you're talking about and basically the version of stop, don't write, write, you're on the wrong path. Yeah. Your version is, it sounds like you're working with Alice in Wonderland and the alchemist. I don't know. I don't know what you're talking about. Right? Okay. Someone else last week had something about their, would their mom like when they wrote that? I don't know, would your mom like it? I don't know what your mom didn't think. It's the same, it's a version of stop, don't do it, turn around, quit. Right? Do you understand what you're saying? Yours is just a parent to you in this form. You're on a path and you're goblin for about the, is a parent to you in this form, in the form of, I don't know if you should be doing that because you're doing it wrong or are you sure you want to do anything like that? Right? You, do you like what you're writing? It looks like you like it a lot. Then I would say keep going as your little, the little flying fairy over here. She's goblin. You see what I'm saying? I would say keep going. And it's okay that it's Alice in Wonderland means the alchemist. I'm sure like nobody would really know unless you told us in the minor notes in the program or whatever, or you talked about it in the interviews that you had leading up to the opening of the project. You know what I mean? It's okay. I mean everything is born of everything. We're all related and that's a good thing. You see what I mean? I mean I don't, when I say, oh wow, I'm writing something that sounds like, something, I mean everything I write sounds like something. Oh, look at that. You know sometimes I intentionally go, yes I'm writing something that looks like something's under it. But sometimes not. But the story, for example, the story of a man coming home from war, that's specific to my family. There's also specific, millions of other families and millions of other tales and literature. So it begins to lean or stand on the shoulders of the great works of literature. That's not a bad thing. Just, are you at the end yet? Have you reached the end of your draft? No, the first act is so completely different from the second act that I've stopped myself beginning in the, almost the middle of the second act. Right, right. So two things. One, tell yourself the story of your musical, right? I mean it's a musical. It's a musical. Tell yourself the story of your musical. Like just in turn, once upon a time, you know, tell your story. Once upon a time, there was this thing, this happened, and this happened, and this happened, and this happened, and this happened, and this happened. And then again, this happened. Just tell yourself the story in that way, once upon a time, okay? As you would tell like a three-year-old, right? Okay? And so that's none of this, I'm like, confused. And just talk to yourself, because you've got, you've got to move your lips, right, okay? But just, when you're walking down the street. But I do. Okay, that's fine. That's fine. And now it's not winter, so we're in trouble, because we can't wear our scarf. Right, right. So everyone see that? Right. So tell yourself the story of your musical. A really simple kind of bullet points of how to flash card phrases, okay? Even maybe right now on flash cards, you know, eight flash cards. Boom, once upon a time, this happened, and this happened, and this happened, and this happened, and in the end, what would happen, right? That's number one, you got to do that. So you can walk around and tell yourself the story easily. You can get it when you're on the train, like Rob does, you're telling yourself the story. You're constantly telling and retelling yourself the story. You get the big chunks down. And right to the end, starting for where you are right now. You're like, what the heck are you getting? Ha, ha, yeah, anything, anything, anything. I know, that's, I know what you're laughing at. You're not allowed to go in there. So you start, you continue from where you are right now, and back to where it's totally different. And it's okay, you know, Dorothy, you heard her, right? Kansas, Oz, they look different, right? What was she like? Yo, I mean, I'm just right now, don't forget this. We're not going any further. It looks totally different from where I was a minute ago. Yeah. Wonderland. You said it was like awesome, Wonderland. You were just like, I'm quitting because it looks different from my current career. And she started going. Okay. So you finish, you get to the end, and you shoot you out. So those two things, all right? And just like, put your teeth, teal yourself, put in the time. You're gonna listen to that person on your past one. Keep on keeping on, okay? Thanks for asking. That's a great question. Anybody else? Somebody, oh wait for my new jersey. For the Bronx. Oh, for the Bronx, wow. Okay, so you gave me whom I wanted. You told me, while I told you my conflict was that the second draft was different from the first draft. And it looked like two different plays. And you gave me the assignment to integrate and then to also put them together. So I haven't gotten to the integration part because I've been working on putting them together. And you were right. It seems like two things that kind of stand alone. But my conflict, well, a lot of conflict. One of them is that I feel like, I don't know how to explain it. Okay, like one is, I want them to, I want it all. I want them all, you know? But I don't know if the arcs, you know, the way I had it was that, I totally what it was about. But you know, one was like fluffy. Yes, right. And it seems fluffy, but the other one is not fluffy. And I was able to work out like a scene in the middle or a sec apart in the middle of when the actual event happened. So it kind of looks like, almost like a last five years kind of thing where it kind of turns around. But I don't know if it works. I don't know what I'm doing. And I don't know, I think mostly, I don't know if it's redundant. If the arc is not, is a plateau as opposed to kind of overwriting, because you know, he likes this thing and the thing that connects them is the event. But I don't know if even, I guess maybe on both, both particular plays together, if the arcs are parallel in each step. Right, because it's the same action type. Yeah, I think so. Yeah. It's the same thing that happens except it happens in a different way. Or they parallel each other, but they're different. Actually that totally makes sense to me. It could completely, I mean, it could be all one play. First time you see it, it happens one way. Then something in the middle happens. Second time you see it, it happens in complete. The same thing happens when it's in a completely different tone. That makes sense to me. Even if you see it in your position, I mean, I don't know, it's just, I mean, even though it's a repetition of the same action, Guy Ricks and the Woman's House, and they get together. Yeah, he wants to marry her. Right, right, okay. But they haven't seen each other in like a million years. Right, right, right. And then you see events just kind of flash back. Right. And then you see it happen again. Again, in a very different way. Yeah, I mean similar beginnings, but in a different way. And I guess maybe what I was looking for was maybe you know, again, the beginning is so fluffy. Right. I think I say, I think it's fluffy and the second is so heavy, but there's still a sense of humor. And maybe I was trying to go for like black, white, like this is just tragic with maybe some hope, but this is like hope, and then maybe not so much. You know. Right. Right. And the event, the crown hex event happens in the middle. In the middle, but in time, in real time, in chronological time, in historical time, it happened before he broke into your house. Yes, like maybe 15 years before. Right. So could you rearrange those events? Really? And it seems like it makes sense to me. I mean, I would sit there and watch, I would sit there and watch a play where an event happens and then some historical event happens and you see the same event happen and it's different, it's different challenge. Well, you know, maybe I'm writing off too. You know, with the parts too, you know, there's a strong start, it breaks into, and then he says, you know, we're crazy stuff. And then it's like, you know, does it fizzle? You know what I mean? I mean, the events are still, you know, these people are stuck in our house, in the snow, and they have to just deal with each other. And they're like, well, what are you doing? You're stuck with somebody for two, three days, you haven't seen in a while, like, you know, what do I do to keep it interesting other than chit chat? Okay, right. Okay, and that's a separate question. Focus, well, no, no, no, so focus on how, it's okay, focus on what the characters want. It's that, I mean, you might have done that already, but refocus on what the characters want. What do my characters want? And what are they doing to get it? You see what I'm saying? And do what we suggest that the judge can do. Tell yourself the story, put the drafts aside, and say, okay, Crystal, I'm gonna tell you a story. Once upon a time, there was, and then this happened, and then this happened, and he wanted this more than anything, and she wanted that more than anything, and that happened, and that happened, and that happened, and that happened, and then in the end, that happened. So put your drafts aside, and just tell yourself the story. You see what I'm saying? Simply, maybe put them on flash cards. Sounds like you ride the train a lot, I know. So go ahead and ride the train. Do it all the way, you know, do it as you're going home tonight, you know? Just tell yourself the story simply, because it sounds like you've got a lot of stuff in there, it's all twisted together, twisted up together. Just tell yourself the story, very, very simply, you see? And maybe you'll have to throw out some of the stuff and just keep one. Tell the story as simply as you can. Uh-huh, see if that works. Okay. Tell yourself the story over and over and over and over. Okay? He wants this more than anything, she wants that more than anything. This is the story of this. This is what happens, this is what they're doing to get what they want. Right? Do you mind if I do? This isn't a question, but. I should go ahead, you can say here. Um, we're talking about rewrites a lot. Yeah. And like, I'm in a position right there where I have a full length that I've written two and a half complete drafts of two complete drafts that were said, this is a draft. Right. And now I'm at a point where I kind of hate a lot of that and I've started writing a lot of new material and it's not a play that needs to get longer by any means. So I'm struggling with this thing of when you have the shape, so when the shape feels so, like this is the shape of it. Right. And then you have all these new bits that you feel like I like these more, but this is the shape. Right. How do I get out of this, like, how do I break the shape and if I break the shape I'm gonna break the play and I'm gonna hate myself for doing that. My guess is that you're, because I know Chris, but I see his writing often on the weekly basis. My guess is, I guess, I don't know, but my guess is that you're hearing, first you heard this level and then not hearing this level and now you're hearing this level. So I would say keep this shape and just write to that lower level. So if you can exchange the bits that you like for the bits that you don't like, but keep the shape, because you're probably writing deeper and deeper and deeper into the heart of the story. So keep the shape and just trade out the bits. That's what I would suggest. Because you're not gonna lose the shape, you know what I mean? And the bits, oh, I like that bit better, so switch it back. But I would say take the bits that you love and put them in there. Because it's probably, you're probably closer to the rhythm we talked about, the rhythm today, deep, ground, water, underground river of the story. You're probably deeper, closer to that, than your first or second take. So I would suggest that. And you still have the old draft. You have the old draft. It's not like it's running in the midway. Replace, basically. Replace the bits. Keep the shape. Because you're probably, your big story bits are probably really strong. That's my guess, knowing that you're writing. Your big story bits are like, oh, bop, bop, bop. That makes sense? Yeah, yeah. So you can have your cake and eat it. Of course you can have your cake and eat it too. Anybody else? Or eat your cake and have it too, or what? I don't know. Yeah, yeah, so it, so, so, you know, what do we have? Like, a king laner, king laner. So there was this old guy, and he, you know, one day he wanted to give away his whole kingdom to his daughters. And so he does that, and then he's out on his ass, and he wants to hang out with them, but nobody wants to hang out with them, except the one that didn't get nothing. She wasn't gonna kiss his brain. And then, so he wanders to the countryside, things fall apart, and then he dies. His school dies. His daughter dies. Okay, that's the end. That's the shape. Two versions. But the bits, the switch-out bits are like, you know, out file jelly. Oh, no, man, I don't want out file jelly. I don't want to cut off his tongue, you know? I mean, you know, so those are the bits. I like the tongue better than the eye. Or first with a finger, now it's gonna be an eye, you know? Maybe first draft she was only cutting off the finger. But he cut out the tongue, and he's like, yo, that's like, when does that play where he cuts off that girl's tongue? Tied his hands off? Yeah, tied his hands off. I did that already. I'm gonna shake up for another play. I'm gonna cut off the eye. I mean, I don't know. So I'm gonna keep the big story arc thing, because it's probably solid if you've done a couple drafts. So you keep the big story arc thing, but you're trying to find that tongue in there, the inner bits, okay? And you're trying to find out the end. Do you have any questions you can always find? From all of the perfect elements. I've worked mostly as an actor and a director, but I want to be writing. Uh-huh. I keep writing every day, but I haven't found a play yet. I'm just wondering if you have thoughts about just starting, getting to see things and fanning the play. Yeah, yeah, yeah, yeah. So you're putting it in at the time every day, and you're putting it in at the time? Yeah, I'm writing more brain-grain, random observation sort of stuff. That's okay. But I'm not. Yeah, I haven't written enough. That's okay. That's cool, but what's important, you're putting the time. So you have a writing practice. Like you have the habit, it's like going to the gym. You have a habit of sitting down or whatever and writing wherever you want, whatever you're having more on a daily basis, great. So what you can do is sort of like a fun thing, is write like a list of 10 stupid things that you would like to write a play about. They have to be stupid though. You can't be good. Let's be dumb. 10 dumb things that might be cool to write a play about. 10 really dumb things. And look at the list, and maybe one of them is less dumb than the other. And then you're like, actually one of them is kind of pretty good. And then maybe you picked out. You know what I mean? Like, oh, well, that might be fun. And then do it again. Do it like what you told Jenny. And then if you pick one, like a play about a woman in New York who, you know, I don't know what, lives in the subway, you know? Okay, so if she lives in the subway, and this happens, and this happens, and she wants more than anything, this and in the end, that happens. Write yourself a story over and over and over. See it. It's a little pink by now, but it's fun to do it to look at that one, you know? Okay, so that's kind of how you can start just choosing something. And then your daily writing can sort of go toward that one. But they have to be stupid things. They can't be good at this. Not wrong. If you were given a, if somebody gave you a topic to write about, and they just said, but you really would never have thought about it before. Right. But it's like, it could happen where you could then write a play and get it produced because this person said, if you write it, it'll happen. But you have no connection to it. You know what I mean? Like you have no connection to it. Right. How do you begin that process? Right. If you choose to do it. Sure. This is what works for buyers, right? Right. So you find a connection. Hmm. You find your connection. So it will do you no good to sit, I mean, not that you're in this at all, but if you do want no good to sit around and say, I have nothing, I have no connection with these people. You know what I'm saying? That's how I'm gonna help you, right? You say, what skin do I have in that skin? Where am I? Because we can't define ourselves as just, of course it's not true. We're so much more than just this, right? There's so much more going on. Otherwise, again, going back to my favorite record, Mr. Wadoosh, he never went to Rick, and he was a King Lear Aang bitch in the second and he was in the third, you know, right? Right, I mean, he was, but he had all those people inside him somehow. Right? Just like we have a lot more people inside of us than just this thing right here, right? So you say, where is my connection to that material? And it might come to you in a surprising way, you know? Maybe there's one of the characters in minor care, it's no one care. It might be you're a window in. I see myself there. Or I love the music. Or this time period is really exciting. Or the costumes are being killed, man. I know I can do this, but I love the way it looks. Can you find your way in? Absolutely. Okay. We're doing the microphone.