 Yeah, yeah. Wow. No. Oh. Oh. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. I'll go upstairs and I'll look up at yousche Are you ready? Yeah. I'll go upstairs. Hello. Sir. I've這 . And what we're going to do, especially in the government, is this is a medically-active program for writing a class. It's a play. We have action, and we have dialogue. It's also a writing class, because the dialogue is all about the local creative process. And after we finish working for 45 minutes, we're going to set the timer, and we're going to work for 45 minutes. And then after we finish doing that, we're going to invite you to ask me questions about your work and your creative process. Your work. Your work. And those of you who are out in the influence who are in the school, now you have a government, that's a student, because of that concession. So they're watching you. You had like a week where they won't watch you. And now they're watching you again. So those of you working out there, Jared is going to tell us how to tweet at us. You know, creative work is kind of like your work, and so the action has to be done. Watch me work at SLP, if you have a question about your work and your creative process, and so we're going to work for 45 minutes. I'm going to let you take a quick break, but I might use my time in the future. And all of you who are in that pencil, you're going to hear it again. Quill. Everybody clap. Okay, let's start working. Writing a movie. You know what I'm not. Your creative process. Wow, people love the product. Go ahead. Some fabulous shows. Are they waiting? Yeah, no, we have some. Great. I'm not even in the space. Take this. Right. And so now I'm having to go here. The challenge is that I can't have the blackouts, which typically isn't the problem, but it's sort of like I don't know where I want the story to start. Because they're all... Is this your breakfast or something? No. That's a pleasure. This is such a pleasure. I have felt because I have missed them, because they're not going to have a great city. Or... Yeah, it's kind of... Yeah, because writing a screenplay, writing a play at the same time, you're not going to be in the right place. I used to use pages for plays, and now we're going to be on this little graph, but I'm a professor of cinema. So, I'm not a playwright and a professor of film, but it's the structure of all the stories. I usually can't write. That's a guy I want to talk about. This is mine. I was looking at a scene of crime. It is a crime. Somebody's arm wrestling in the corner of the room. Yeah, and the structure. And the... The structure of the page. The structure of the screenwriting. The screenwriting part. Like, I just want to get a man to tell his story. Right. And I can't because there are certain things... There should be part in screenwriting. Yeah, and I can't... The outline of his hand. It's in good name. I can just tell the story. Right. Because I have to hit this beat, and I have to hit that beat. Right. So, you're going to get this right screenplay, and you figure the unparalleled thing to get right. So, you feel like the structure of the outline, the outline of the house with the screenplay model, which is what I'm going to be talking about, is the beginning of the later 12th century. You have to hit certain signs. The screenplay model. The screenplay model. So. I mean, this is the form that's required for you to get in the process. So, okay. So, we can pretend, you want to play that game, right? Right. Because you're an artist. So, we're going to play a game of making. And the game of making looks like this. The structure, you're going to be asked to write the answers. Right? That structure, that outline structure, is going to help you tell a good story. That's the game of making. So instead of going, It's not working. It's actually going to help you. She's going to act as it is. You're going to really participate in every school, right? And you're just giving a whole part of your life to listen to your best and honest arguments. So, you know what? These story points, these markers, These markers are going to be These markers are going to be These markers are going to be These markers are going to be These markers are going to be These markers are going to be These markers are going to be Okay. She'll realize what she says. She knows what she said, what she said, she has these two things. She has to go where you wanted to go. You're in a car and taking my car. Okay. We've all been here, but we question on that program. You'll check out more on that, Because oftentimes, And really, if you have 500 children trying, give it a full try and in those words, I bet something else is going to be here, it's going to be here. But as long as you're totally okay, do not give yourself a chance. In three, a lot of history will happen to you. I know, I've written a lot of students. Yeah, go! But patient! We can have bodies. It's a structure. We can might have a problem, but it actually allows us to find a way to acquire real pain in life. Of course, around two years. How many pages do you have to write? Okay, I'll leave it for a minute. You can kill your character. This is an experiment. Try it and see how it works. Let's go with the build. You know, to the play, not to you, the writer. It might make you feel sad a little bit. You can go in and try it, kill the character, and try it. And see how it works out. See how it works out. See how it works out. And to play this project in a really, really smart way. Okay, that's just a great thing about writing. If you try it, you may have to be stuck in one place. But sometimes it's difficult. Finish it, because people are going to be stuck there forever. But if you never, you're not going to be on the agent. They do everything they can. And they can know you've got it. To do something. You know what they do. They're two different characters in play. They go in and out of the way. You can go in and out of the way. You can go in and out of the way. You can do that. You have to try it, because I, I, I just, you can do your rotten hands and effort for right now. See how it works. You just sit in my place. This thing here is very terrible. It's weird though, it's like I'm out of it, it's like it's all the time. I said I was trying not to, but you have to do it. It's like two hours. It's just a way to start something again. It doesn't have to be good. It doesn't even have to be kind of super good. It can be, it can go on. You know, push it up again. You can miss, you can not carry every part of it. It's okay. It's just right. Push, ready? And two hours to the end. Move. And put it away for a week. And take a look at it. You know? It's actually a hard thing to do. Because I think it's probably where you are. And I'm talking to a lot of physical discomfort. And just right, I know that when you're writing it, you're like, I'm clear to you for some reason. You know what I mean? You're not alone. You know what I mean? The other day I was like, there's something that comes like to walk around. I walk around my apartment a lot. It's not really, it's not really just a, okay, I was just going, I was just going to start a small town like this around my apartment. Then I sat down right over there. And I walked over to the stairs. I walked right into the light. And now it was fine. Two hours was fine. And I was really worried about it. Which means it's okay. You can also write in bullet points. You can write in dialogue. You can write the outline. Just have it, just have it, just have it, just have it, just have it, just have it. And just do that. And walk around the back of your mind. You're not going to attach your eye to it. Just stand in the middle. You know what I mean? Just try to look at it. Try it out. You're going to use the sword points to look into the last few pages. You've got all these moves in your feet. It's like a walking. It's like a tight insert. You have your hand. Have you ever seen it? And you're going to put your hand in it. You're going to be typing this and that. So look at your trust and feel like, okay, they know what you're talking about. So you don't give up your crown of intelligence over them. You just recognize they also have some crowns. You know what I'm saying? So listen to what they say. A conversation with them. If you really want to start a conversation with them, in which, you know, you try to struggle with them, I don't think it's too much struggle with my hands. I was a little bit of struggle. I didn't feel too much. But alright. And that is the case. Can you type? No. You know? It might be a scene or something else. Okay? Often times they are. Often times they're too much. But I don't know. I don't know. Maybe you have these fingers playing as they're in the show for many reasons. Okay? Seven years of housework. Interesting. But there's people out there playing these tunes.