 Mike, you were, you've been here before. Yes, I know, I was here too, and I remember, thank you. Mike, welcome back, it's been a great day. And yeah, we have our special guest, Daryl, who is going to be, we're going to see, it's an experiment, because this is, after all, experimental data. Hey, what is that? It's a key, it's like, would you want to change your mind? Why not? Be here. Okay, okay. Thank you, I appreciate it. Yeah, someone knows what we're doing, right? We're going to work together for a minute, and then we're going to talk about our work, for a really long time. So, and today we're going to have to go to, like, a PCA meeting, and we're going to work for 15 minutes instead of the usual time. So we'll leave more time for talking, I just didn't want to use them all the time. We're going to move on to Mike's house, okay? So what we're going to do, where's my trustee? And Brittany's got one too. I'm going to use my phone today. So basically we're going to work for 15 minutes, and then we're going to talk about your work and your creative process. And any distractions, or what we consider any distractions today, that you might hear, or see, and just use it as an opportunity to up your ability to focus. Because that's what it's about today. And I will set the time for 15 minutes, and then we'll begin. Okay, let's go. You ready? Did you start? A short amount of time, because the PTA wants me to... So right now we're going to do the dialogue part of the show. And for those of you who haven't been here before, this is where... This is where he talks to me about your work, okay? So I know the title of the show is called Watch Me Worker, the me and the title is you. You know me by now. And if you don't know me by now, Crystal will explain me to you. You're all made up. Did you get the role or something like that? Oh, I want to explain right now. Well, there's time. When you graduate, and then you come back, and I'll go, ah! It will be you guys, in regard to... Ah! Okay, anyway. Anybody have questions about your work, and your creative process? You don't know it. And so if a four-year-old can concentrate his energy... Oh my God! Then you can't. And we talked about it before we came to know them. And he was like, okay, I understand. So we'll see how it goes. But anyway, anybody have questions about your work, your creative process? Yes, and I just met you two weeks ago. Sorry, Andrew. Andrew, hi. So I was wondering, when you finish a graph, and only you have seen it, and only you have read it, no one else has, and then presented to people they have ideas, other people have ideas, I'm looking for the best way to not be precious about what I've written. And it's hard for me to... I do want to change it. I do want it to get better. But I look at it and I go, but it's done. And I want to know how I can have... I mean, maybe how you have done it in the past. I don't know, this is easy. My agent's calling, really. But I'm not going to answer. How do you kind of go about... Do you want to add to it? Yeah. Or change your first graph? I mean, I'm writing new scenes, but then again, it's hard to edit what I've already written. Right. You know what I mean? I understand. So, I mean, I just want to know from your perspective. That's great. So everybody here, Andrew, he's written a draft, a first draft, or something, right? Yeah. And he feels good about it. He's ready to show it to folks. And he doesn't want to be precious with it, right? He does want it to get better. And he's cool about changing things. But how do you go forward? And everybody's like, but you're done. You feel like you're done. And when you said that, the nods, the heads, around the remorgenation. Yeah, right? So you feel like you're done. And yet... You want... You're going to go forward. Is it work for the stage? Yeah, it's the stage. Okay, okay. So it's a collaborative process. And you know, from 85, that's what we're mental about. We're learning. So how do you go about writing? And this is a tricky thing. So how many people are giving you notes and feedback? Team other actors. Who are also Russian. Did you hear that? 14 other actors. Okay, okay. Okay, okay, okay. I just sold myself downwards. Join the club or black sheep. And also a writer who's written a few pieces that I've seen in the city. Okay. And so they're giving me all this feedback. It's about the blues. They want me to listen to more songs. I listen to the songs. They don't fit. You know, and so I... Ow, ow, ow. I write new scenes and then I'm like, okay, but now I have to change this scene and now I have to change that. I don't know, I don't want to lose what I have, but I also do want to shed what's not. Right. You don't want to lose what you have, but you do want to shed what's not needed, right? You think of a snake, you know, which he or she sheds. They don't like leave, like... Everything. They just, like you're saying, shed what's not needed. It's a class that's happening this semester. I'm sorry. It's not because I'm thinking name names or anything, but it's very tricky because, are you expecting to finish it in a certain amount of time? I am. It's actually going to go up at NYU. The free play? Yeah. The free play? Okay, okay. Tricky. Very tricky. Because sometimes my suggestions might not be useful given your situation, because I would suggest... Ordinarily I would suggest I can finish the drag. Ordinarily I would say, you know, let it cool, you know what I mean, which might not be helpful if you've got some kind of class thing. Let it cool and only show to people who love you more than they love their ideas, meaning your work, which might not apply necessarily, because you can't choose who you want to, you know. But maybe you can. So this is you, you, you know, play Hamlet. The cymbals, he does some like... Right, and he, and he, and he pretends, right? There's a lot of pretending going on, smiles, smiles still get built, but that isn't what I'm talking about. But so there's a lot of fronting going on, and there's a lot of like, yeah, cool man, that sounds cool, that's cool, that's cool. And like, basically you're saying talk to the hand. Okay, so you're going to have to, you might have to do that in your class, not in a mean way and not because their, their feedback is worthy of consideration, but because maybe you should only be listening to two people in the class when you have to listen to them talk to you. Okay, and everybody in the class is actually listening to you. So you need to develop the ability to, and maybe when you take, when you listen to them you take notes? Okay, so use that as a shield, okay? Your notebook, and I would suggest taking notes and an actual notebook, okay? Splat, where you are right now. It gives you a very powerful activity. Your hand doing this while you're talking to me. All right, you're left. You know what I'm saying? Blah, blah, blah, blah, blah, blah, blah, blah, listen to me snore somehow. I don't know what moves you into it. Blah, listen to me, you know. Listen to more money waters. Listen to you devil got my woman, you know? Okay, Sunhouse, Robbie Johnson. Yeah. Okay, so listen to Charlie Patten. Whatever they're saying, you can write it down and use the writing as a filter, okay? So I would suggest you start taking notes and filtering out and not do everything they say, but after you take their notes and let it cool, don't react right away. Say yes, thank you to everything. And then after like 24 hours after sleep on it, you can go through them and circle the ones that really make sense to you. There might only be one. There might be none. This class might be about you learning to take notes and less about you learning to write something fantastical. Although I might move another one. Yeah, it's going to be the first piece I've ever put up. Right, right, right. I think I'm actually all right with the notes. I'm actually good with the beatback. I'm okay with taking it. I do say yes, smile, write it down. Good, good, good. And I don't use everything I get. Good, good, good, good, okay. I guess maybe it's more a question for myself how I kill my own darlings in support of my own beats for this script. Maybe I'm not formulating this. No, no, no, no, no, no. I, but my biggest fear is that we should work less about putting our own darlings and taking on board what someone else wants. That's just my gut. I've met a lot of people, a lot of writers, and most of the time, we're too willing. You see the nods over here? These people have graduated. They graduated from the program. So they're saying, yeah, you all know what I'm talking about? We're more apt to take on notes that might not be suitable and to stand up for what we really think is good. That's just because we're in the arts and we're kind of soft, which is okay. Which is actually okay. It's okay to be soft. It's good. It's actually a great thing to be soft in this world and resilient and have resilience at the same time. So just find the notes that you really, that really, really mean something to you. You need to go pee. Can you find it? Could you take my side? Sorry, whisper it in the microphone. You can just go in the lights and he knows how to do everything. Good job. Okay, well done. So Jerome learned two things this summer. He learned how to go to the bathroom when he needs to get in the toilet. And he learned how to snap his fingers. But anyway, does that make sense? He does, yeah. Keep checking back in. We'll come back. We'll keep checking. Anybody else have a question from there? Yeah, yeah, yeah. Yes. And you let it cool off. Yes. What's the first thing you do when you're... Oh. Yeah, great questions. So yeah, so Siobhan said, you put it away and you rewritten, rewritten. And you put it away and you let it cool off. And then you're taking it out of the drawer or the box. And you take it out and you unwrap it. And what's the first thing you do? I will say, re-read it. Okay. Standing up. Okay. Out loud. And if it's really long, you can get higher. Or slower. You know what I'm saying? Re-read it. Standing up. Out loud. Okay. So that would mean that you print it out. There's a lot of times you write drafts but you write time. You do 10 drafts and I'm going to get around and print. So you print it out. Don't read it off your iPad, phone or whatever. And try to read it quickly. You should be reading out loud. Just try to read quickly. And people might say, don't read it with a pen or pencil or a hand. If you're like, try. Just read it back. Read it like someone else wrote it. Okay. This is also what you can do. Read it. Read it standing up. You're not going to be standing up. Read it like someone else wrote it. Because it's going to, what's going to matter is it's just that this is going to stick and you'll feel it. It's going to catch you up. It's going to, like, smack. Oh gosh. You're going to be able to hear that very clearly. Yeah. And then you just mark those places. You can start reading whatever you want. But don't get into, like, read what I need. If you are standing there or trying to read out loud, read what I need. Don't do that yet. That's the way it is. Okay? Good question. That's an advanced question. But it applies also to what you're going to read. Yeah. Anybody else? This is my question. All right. Crystal, can we get into that? Yeah! I know. It makes sense. But when we tried, I was like, I know. You know, it's so funny. My daughter wanted to watch, too. My computer doesn't play very loud. So we both have computers on either side of our ears. But it was crazy. So what I did, like I said, I have a two-person reading. Right. Or me at a person reading. Great. And that's, I think, next week. So that's locked in. Great. Fish. And then, so, I'm starting to work on this new piece. Right. Which has been a while. So it's almost like the same process. I don't know if you remember. In the very, very, very beginning, I was kind of like, I don't know where the story's landing. What I meant was, I did have a dream about it. Right. And that's how it made me want to write it. Right. It was literally beginning, middle, and end given to me. Okay. But I never, you know, like, I guess ready to try to execute it. Right. And so there are these two, two women. Right. Black and white, early 60s. Right. And I only hear one voice right now. And it's not really, what I meant by translate is that I wish I could write it as I dreamt it, but I cannot. Right. So I'm relying on trying to hear their voices now, as you said. Right. But I only hear, I only hear one voice. I only hear one voice. Do you know which one? Yeah. Okay. You only hear one. Yeah. Does it matter? I mean, so you only hear one voice, do you mean, can you, so Crystal's writing a new play. She dreamt it, she had sort of a vision on the land, came to her in a dream. And she's sitting down to write it. It's a two-character play. And for some reason, she's only hearing one voice. It's the other voice, like, silent life. One voice says, hey, how do you want to go to the store? I'm going to get some potatoes. You want anything? You know, what's more, you know what? I think what it is, but kind of like, the previous play, is these two people, and one voice is just louder. She's not as, she's not like, extroverted louder, but I just, I hear her or understand more who she is. Right. More so than I do the other person in it. And I'm almost kind of fearing that it's possible that this character, the second character, may be similar to the person in the play that I just have been trying to finish up and rewrite. So I don't know if I hear a new person or if it's just repetitive or if it's, you know, I hear one new voice. I hear one new person. Right. But I'm not hearing. So you hear one new person mistakenly, and you're sure and solid. And the other character, and you're not so sure, you have a lot of questions about it. Okay. This is something, one thing that's going on, you're editing and judging your writing before you're writing. Okay? Yeah. So you go down, you sit down to write. You're drumming. You have the beginning middle and then you have the end now. This happens. This happens. And then you've got that. So you're not going to, like, forget it. No. Okay. So you're sitting down to write. You can hear one voice mistakenly, and the other voice, eh, eh, eh. Well, I know it's a new character. I know it might be a new character. If I could understand these things, we all know who they are. I know this, but it might not be stopped. Write it. Just write it. It can be like, shit, you know? It can be not so good. It can be not as good. It can be not as distinctive. It can be not as fleshed out. It can be limping halfway there. It can be crawling. It can be like, I didn't get it right yet. It can be just okay. It can be awful. It can be stupid. It can be the worst character ever. I dare you. I bet yours won't be as good as mine. Right? I've written something. Oh, like, thank you. You know what I'm saying? Like, ah, I can't. Really? You know, right? Okay? So go ahead and write it as best you can. Work quickly. Work quickly. You have to listen. So at least you're thinking about whether you're going to be pretty. You're going to be pretty. I don't know how to say it. You might be pretty. You're going to be pretty. You're going to be pretty. You're going to be pretty. You're going to be pretty. Mom knew. You're not having it. Mom is having it. Yes? Yes. Is Trane going to talk about yourself? Uh-oh, the bullet train just a minute. Okay. Good money set, okay? Mike Canterbury has a walker, ST. He, she and... I'm not sure. They're very slow. Oh, people are anything. They are esper was a walker. It's not about that. It's just, they've been around forever. They've been very mm meated and being around forever and being there jus smoke. If I write quickly, I find that I can express the inner critic who's like, and they're not as audible, or maybe it's just the pounding of my feet on the road that drowns out all of their sound. Write quickly, so set yourself, what's your writing time now? Or how much do you need to sit down and sit down for an hour and 20 minutes? Wait. It varies on kids. Okay. What is your 30 minutes? It varies on kids. What can you give me? Okay. Great. Write quickly. Just write as fast as you can. Give it a 5 minutes, 10 minutes. Write as fast as you can. Make sure you're writing quickly. Or typing is good too. You know. Okay? So work quickly. And you just won't have time to VX yourself. VX yourself takes time. You ever know this? Me? Right? We're trying to get ready to go out. You need something? And it's like, You should be wearing that. Go. Anybody else? Hi Amy. It's my first time. This is sort of like a basic question. Sure, sure. When you're trying to write something and you want it to be true and genuine and something that is true to you, how do you sort of silence all those voices that are saying like, We already know this. Or like, how do you write something that is true and not something that you think people want to read? Right. It's like, you know this is a story that isn't in the public space. Right. But you want it to make it true as well as needed. That makes sense. That makes sense. Hold on a second. What do you mean? I need to put it through the transfer. Okay. That's okay. I'll fix it later. Okay. So how do you write something? So is it true to your life? True. I'll give an example. So basically like, in a writing class, I'll be like, oh, people explain their background. Right. Okay. And I'll be like, oh, I grew up in Hong Kong and China and stuff. They'll be like, oh, that's so interesting. You should like write about that. Right. They're interested in that story or like wanting to know what it's like. But I'm like, okay. And part of me, of course, like things will be about that. But then like, I was in a struggle of being like, am I still, I'm just catering to what this audience of people may be like in the states or in this class. Right. Right. Right. That's a lot. That's a huge amount. No, no, no, no. And it's a really good question. And it's a huge question. So Amy's got this question. She's just, she's writing something about her, I think I have kind of a personal experience, you could say. And you've got all these questions, you've got all these questions as you're writing. It's just the same as what Chris just said. You're censored. You're being critic. You have a lot of people talking about it. Right. And what do you need to do is write quickly. So do you have a writing time, a time every day is set aside for right now? No. Okay. So what's your favorite time of the day? Time of the day. Morning, noon, evening. Probably really late evening. Really late. So you're like night out. You didn't say. So you're night out. So what I want you to try to do is you have a timer. I suggest not perform, but like a kitchen timer. You don't have to have a lot of live kitchen timer. Use your phone for now. But when you graduate or have a little talk, get a kitchen timer. And set it for more, let's just say, I don't know what time it was. 15 minutes. How did you just do the 15 minutes? Yeah, I was driving. Okay, driving school, driving school. But 15 minutes, that seemed too much. That seemed good about you. That's a good amount. Okay. So did it seem like too much? Or do you want more than 15 minutes? Okay, good. So what we're doing is we're asking Amy to choose her favorite time of the day. So we're not saying, get up in the morning and write. We're saying what time do you feel like you can write. Okay? Right? Because it's about you. It's not about me. It's about you. So 30 minutes, writing every evening. So just make sure you put the timer. And set it with your notebook or with your laptop or whatever you got. And put the timer. And just write. Okay? And write quickly. Are you ready? Yeah. Good. Great. Remember, she's slow. They're all slow. They're way down by their ids and ids. You know, they're like a great chorus. But they're really old-fashioned. I've got something to tell you. You know what I'm saying? They're probably not even walking. They're probably lying down. They're probably just shouting at you. You know what I'm saying? So just, so just 30 minutes a day. Write quickly. And every time you hear one of those people, are you writing for them now? Are you writing just for these people right here? All those comments. Talk to them. Okay? So again. Again. Speed. Okay? It's 545. Okay. Anybody else? Oh, I'm sorry. Yeah. What's your name? Oh, Alexis. Oh, you were here last time. Okay. Hey. Welcome back. So I just graduated school in May. Yes. And I have this, I'm okay with like reading five books at once. But then I know I'll finish like three of them. But then I'm a slow reader, so that's all. But then I have a problem where I cheat on my pieces. So I keep a book where I keep all the ideas that I brainstorm. Like June was a really good month for me because I had just come out of school and I had all these ideas. Right, right, right. And then recently I found a piece and I'm like, okay, this is the one I really want to focus on. I'm really, I feel like this is a really good selling place. And now I'm in that part where it's like, hey, this other idea looks really good now. Like I kind of want to start on that. Keep talking. Look at them. They're going like. Yeah. I'm like, you know, like this can like sit and like I don't want to, because I have a bad habit of not finishing things. And now that I'm out of school, I don't like. Now that I'm out of school, I have no one else. So like tell me like, oh, you have a deadline. Right, right, right. Nobody's counting on me. Right, right, right. Okay, okay, right. But this is what we think. Yeah, this is what we think. And that's just what we think. We think just because we're out of school and we don't have anybody to kind of give us deadline, then no one's counting on us. And guess what? The world is counting on you. The whole, like, everyone. We're all counting on you. I'm counting on you. They're counting on you. We're all counting on you. The internet, the online community is counting on you. People you've never met in like, like, London. Remember India? No. The coolest, coolest people in India. They're counting on you. They don't even know you. They're counting on you. People you've never met. People you never will meet are counting on you. Why are they counting on you? Because if you can do this thing, you're going to do that thing that makes being human like amazing. And so the entire team of humanity is counting on you. To do this. No question. No question. No, but just know that we're counting on you. We're rooting for you. We're rooting for you. We're rooting for you. We're rooting for you. We're rooting for you. We're rooting for you. We're all cheering you on. If that helps. Okay? And now as far as deadlines, how do you make a deadline if you're not in school? What? You make one up yourself. Right? Do you think what? I make deadlines all the time. I have to learn. I can do it. I can do it just in my part of this time. I have to write this play this time. But I just do what I want to work on my own. Okay? So you can do that on your own. It will make you more effective in responding to it by doing that commission or whatever you're doing here. It's a kind of work-on-hire. You'll do better at it because you will have your deadline only coming from inside instead of in front of the outside. Okay? And then how do you... You've got that list of wonderful projects and how are you going to choose which project and all of them look good and everything. That's all just stick with it. Just... Okay, and that's a variation of being in these voices. That's a variation of these voices that tell you that you're just get to the end. Okay? You have to... Just get to the end. Mommy! Your voice has to finish the job. I tell you. Just finish the job. Keep your voice and finish the job. And you know, finish the job. You know, just finish the job. It's okay if it's not really a great surprise reviewer who cares. Finish the job. I'm telling you. Okay. You know, it's like five years from now you've come up in here and come in here and say, oh, I finished it in never... Oh, that's a great job! We'll have a special part. Special... I remember you. That's pretty weird! Finish the job. Stick with it. I don't care if it's crap when you're done. I don't care. No one's going to judge you. We're not going to judge you. You're going to be happy because you want to take it again. You want to take a nice step. And you will see one of those people when you're like 95. Oh, and I had a novel in me! People say, did they get published or produced? I say, yeah, I had a good... You know, they're just basically... They'll tell me, you know, and they'll go to places and tell people the right things. They'll tell you something, the right things. They'll tell you something. You did the thing you always wanted to do. There's nothing. Anybody else? No, no, I don't. I don't have to finish her. Okay, anybody? Okay, okay, okay. Alright, so I have a character in my script who I'll find and finish reading it. She's like cheats on people and lies. I'm finishing the script and I want her to be the one that people are rooting for. But I'm looking at her going, God, she's so mean. So how... Do you have a way that you... If you ever looked at a character and go, God, this person just seems evil. Do you have a way to humanize them? Is it like memories? Is it like... I'm really wondering, like, I don't want her to come off as like a two-time and mean person. But she is. She is in a way, but... But I mean, there's so many of us in this world who are. And... Unfortunately. And so... I want to find a way to deal with you. You know, it's not... I don't believe it's because they're evil, you know? So I need to find a way to make her like me. Well, well, well, I would... So... So you're... How to make her likeable, how to make her... How to humanize her. So... Maybe that's... No, no, no. The question maybe is how to... How to tell the whole truth about her. And how to tell the whole truth, you know? You want to... You want to tell the whole truth about her, right? So right now you're just doing the sexy, interesting, cool dance around part. Sure. You're not telling the whole truth. And this is not because you want people to like her. I mean, that's... You know, this is not because you want to humanize her. Because you want to get to the it of her S-H-I-T. You want to look her in the eye. And you want to tell the whole truth. As best you can, giving your abilities at this point in your life. Okay. We get these notes. Humanize them. Make them likeable. So people will watch your play or read your novel or whatever. And it's a decent note, but it sends us in the wrong direction, I think. As a writer. I think you just... You want to tell the truth about her. You don't want to turn her over. Does that make sense? Okay. And she might be likeable. She might not be likeable. What are you going to do? Take a poll in the theater every night? If you read her to you and you find out she's not likeable, will you fail? Right. I mean, you've read Richard the Third. Okay. You've read the Scottie's play. We've got to save it for Lucas's mommy coming. You've read the Scottie's play, right? Okay. Were they likeable, or were they watchable? Do you think he wrote that? Because he wanted it to be likeable? It's likeable. Let's write it tomorrow and tomorrow and tomorrow. I mean, I don't know, but I don't think so. I think he wrote it because he wanted to get to the end of his SHIT, right? Yeah. Okay. I'm spelling because it's likeable. Does that make sense? Yeah? Did you have a question? Yeah, you had a comment. Good, good, good. Let's support to that. And what I'm working on today is I'm reading for applications. Yes. And I just read a play where the protagonist was very unlikable. Like, I couldn't quite relate to her, but I understood her. And she wanted things and she had this beautiful emotional life. Yes. And she wasn't necessarily my type of person. Yes. I was, I'm recommending the play being read, and I think the playwright is really good. You know, so, because there were other things that allowed me to connect, I didn't need to like her. I didn't understand her. Okay, good. It was just serendipity. Anybody else? Just that. I was just gonna say, what I always want is just the truth of the character. That's really all I want. I don't have to like them. I don't even have to necessarily care about them, but I want the truth. And I'll let the truth direct me on how I should feel about them. If I understand, because quite frankly, like people like that, for example, like your character, and stuff like that, that's dying, that's a front for something else that's going on. Right. Like the kid at school gives a teacher hell, and never listens, and never does the homework, and he's always rude and obnoxious in class, never listens, and tries to teach him what they're saying. But what the teacher and the other kids don't know, everybody thinks it's just a jerk, they don't know is that kid has got an alcoholic father at home that's beating his wife, his mother, every day, and has almost beat him to death a few times, and he's dealing with all sorts of other stuff, and walking through a gang, the rest of the neighborhood, and so on. So all that crap at school is just a bit old-fashioned. But again, we don't show that back story or that crap at school for the kids to humanize them. We're just trying to show the whole story. Does that make sense? It's a different kind of way of thinking about it. Do you think writers, in a sense, the way we write people is to use them, we put them where we want them to do what we need the story to do, rather than what, not to say that we don't humanize them, but look, I need this person to get from point A to point B, and this person has to help them get there, even if it's like the most horrible thing they have to do to death. Do you think as writers we put people or characters in positions to use people? I need to turn it around, actually, and say that characters put us in positions. It's my experience that we are in service of the spirit, and not of the failure of the spirit. The spirit being a creative spirit. We're in service of it. I know this guy, so are you poor? Do you mind working? I know you're in service of the creative spirit. Oh, y'all! You know? It wouldn't be here if we weren't. Right, yeah. It's so many when Garland says, we wouldn't be here if we weren't. We wouldn't be here. Not just in the lobby of the movie theater. The lobby of the movie theater. But we wouldn't be here, like, on the planet. We'd be here for fun. I want you to find a spirit. It's actually what you were saying about the character. In my experience, I had a reading for one of my plays, and the characters, like, this actress, and, you know, she's kind of self-seeking, but she's married, and her marriage is strained, and someone was like, oh, she's such a movie. And, like, you know, I don't want to care for her. You know, I don't even care what happens to her. And, I mean, I was hurt, of course, because I wrote it. And, but at the same time, I ended up talking to other, like, women about this character. And realized, you know, there aren't many lead character, you know, female characters that are very strong, that make decisions that may or may not affect, may not, um, that works mostly in their favor, and not really in servitude to maybe their spouse, or, you know, especially in our age now, our generation, and it kind of made me challenge myself to say, you know what, like, what if them reading or hearing these characters, that this character would say that they don't like or even care about, what will they go home thinking about as far as who they come into contact with? Because, obviously, they know somebody like this. Obviously, there's something that they're in tune with that is a turn off, but you're forced to watch this person that maybe in reality, you just turn the other way, you have to watch them or listen to them for an hour and a half or two hours, and you have to, you got to be there with them. So, in a way, you also have to kind of question, why do I feel this way about this person? What does that say? I think it forces people to do soul searching for themselves, and I've learned to kind of take that burden of saying, oh, you know, making them likeable, making them, I'm like, this chick exists, you know, like, they're probably in my neighborhood, you know, but it forces me also as a writer, because I, same thing, I didn't want to write it, because I didn't want to, I know how she's coming across, but I was like, but she's real, and she has a voice. But a lot of times we, again, without the tomorrow-tomorrow-tomorrow speech in the Scottish play, he wouldn't be such a great character, and so we miss an opportunity to think of a great character, because we're just pushing through buttons and being very satisfied. Do you understand what I'm saying? And if we just think of that play and that speech, we can go, wow. When he says that speech, you go, whoa, this guy is cute. We say, um, yeah, he does that, but you know what I'm saying? Exactly, exactly, exactly. You had a question, did you have a question? No, we might be wrong. Why is it a long one? It's a long one. It's a long one. You've got a question. You're doing great though, you're doing great. Sometimes your mind is doing fine. Go ahead. You mentioned in the beginning how about distractions. Yeah. And distractions that we all deal with. Right. I was wondering, like, what's your biggest distraction? How do you... Right? My take is that anything that you want to make a distraction will be a distraction. You see what I'm saying? It really is how you focus on it, because during a score, during can run around this area here, and I can still have a conversation with you. Watch. Very good. And that moment a few minutes ago, initially, when he said, can I go to the bathroom? And I was like, how do I help you go to the bathroom? And have a conversation. And we turn and see the angel. Hello. There's someone to help. You see what I'm saying? Anything can be a distraction if you allow it to be a distraction. Sometimes, some days you want to be distracted. Some days you don't want to worry, okay? Some days you just don't want to worry. Okay? Some days you're on the internet all day reading about Kenya and whatever. Look at this gracious, you know? Whatever you say. Okay? So, you need to find ways to, to manage your distractions, whether it's your cat, or your horror, or the internet. One of my biggest distractions, I mean, everything is a distraction. And yet, nothing is a distraction. This is why, this is why today, I want to do something. Because I want to do something. Actually, I want to do something. And try to micromanage. And try to police. And you know what I'm saying? Or I could just maintain that strength. And it's good. And at the end of the time you go, it's wonderful. At the end of the time you go, wow, I accomplished something. My, I play music also in band. And I play with this great musician, Steve Barkatt. He's a brilliant musician. And he often says, like, create distractions and then practice. Don't try to get in the padded room where nobody's going to talk to you and all that kind of thing. Let the distraction start going. And see what you can do through the distractions. 602. Okay. Anybody else have a burning question? Or we'll stop. I'll go to the PTA. Yeah, Garland. You're going on. Thank you. The bill's approved. No, I just want to just attack on one little thing for Andrew here, which is, you know, I said I want to understand and go one step further. Why do I want to understand? Because I want to feel something. I want to feel something. The only way I can feel something is if I understand, I understand what's coming. But the bottom line is I want to feel something. I want to walk away having felt something. Like, I will walk away from a top dog underdog and have really felt something because of those two brothers and what I've learned about those two brothers through watching them interact and hearing about their story and hearing them reveal who they are. And I walk away satisfied because I felt something. That's all I want. You guys are great. Look at all these people here. Hey, thank you guys for coming today and we're not going to be next week. Tell us, Brittany, what are we doing? October 19th. October the 19th. Okay, so we're not coming. Thank you so much for coming today. You're doing well.