 So we're going to work, and then we're going to talk about working and talk about what we're working on and to the magic of togetherness before head, at least one more day. I'm wearing this hat, I know it's Halloween, I hope it's Halloween, but I'm wearing this hat because several years ago, Maria Goyanes, who was a physics studio, and I went to hear a wonderful, who's got a pen of children, and we heard her speak on Halloween and she spoke in a witch's hat, and I just thought, brilliant, so I'm just, and I got in thinking of pen of children today, I don't know where a witches hat was while I worked. And I know I've ever seen a rich typing on a red typewriter. I had it. Here's a picture of my life. This is great. They were doing things that I just didn't want to do. You stand in a little line and then they take your picture with your kid and this is like, you'd be, I know, gay in my ear. Thank you. Wait, how did I miss that? Well, I'm not dressed as anything but a grad student. Well, that's the thing that works. That's impossible. Well, you're sorry. You're sorry. He's fortuitous. I like that. Yeah, he's too cool for it. He's open-minded. He's open-minded. He's open-minded. I asked him if he was like... Never too old for it. Well, I thought he was young. But he's too cool for it. He is. That is a different thing. And what are you, Drew? I mean, you're dressed as something. Look at you going, what are you dressed as? What is your name? I can say it's because there's no children around. The name of the character is Falka Burr. Oh, wow. That is... Falka Burr. Oh! Like, the red-digger? From an Irish clockwork artist. Oh, wow. An Irish clockwork artist. You left your top hat upstairs. Yeah, I left my top hat upstairs. Well, Falka Burr, I hope you get some action. It seems that way. You don't have any electrodes on you. I hope you get some action. All right. Well, so we're going to look for you by the end of the week talk. And... Yeah, are you Falka Burr? Are you going to...? I don't know. It's going to be fine until next week, but we're on camera. Right. Falka Burr. Oh, you're left. Falka Burr. Hi, we're all... No, we're all... We're all people. Okay, here we go. All right. Yeah! Happy Halloween! Well, Falka Burr has never made anything about one of your final works. I guess. Life is life. We're going to look at the work part and we're going to look at the dialogue part now. So, anyway, I have a question. I don't think it's interesting this time. I know you know this already, but a true reflection of my nature... I don't know. I think. I am a witch. Anybody have a wish? I'm a witch, yes. I have one commentary. Thank you for the last time. Because I've been able to just jump in and just do it. And just do it. And that really calms my process alive. Okay. Because the only way to do it is just writing and then figure it out. So, if I remember correctly, on the screenplay assignment, there's a beat that you kind of have to get in. It's like, not very feeling, very good. Yeah. I think I had got accustomed to the way a play feels when I write it. And it didn't feel like that. So, now, in just writing it, it now has its own kind of feeling. Well, I promise. Thank you for that. Yeah, I know. So, when you have your big gelatinous mountain of strength in the screenplay or a play-flight, stage-flight, what's the first thing you do when you're going back to actually make its own? That's great. So, if you spell it back in the day, that's near about last night's road spell. So, that might make it. So, you have your big gelatinous for the first round. Yeah. And now you wonder, what do you do? Right? What are some steps for rewriting? What are some steps for rewriting? Right? I would say the most important thing is to make sure it's gelatinous. We need a cool, you know what I'm saying? Make sure that gelatin is like, like, gentle. What's my spell? Gelatinous. G-E-L-A-T-I-N-O-U-S. Still, I'm giving this answer. Do you want to spell it again? No. Two seconds. All right. Gelatinous. Make sure it is actually gelatinous. That is, let it cool. C-O-O-L-T. Two. Five seconds. It's good for everyone. So, let it cool. Okay? I think any way is good in this. You can put things, I think, or you can have a real time. You want to let it cool, give it a bit of a great temperature. Yes. You want to let it cool. Okay. So let it do it's thing with itself. Okay, which is great. So that's part of writing. We'll just put it into your... You know, keep it together. Make it kind of, like that, it's literally the predicton of your life. Okay. Make it a type a little move around it. Okay. Because why? When you go back to it, you open it, it's a presence, you know, all the time. Oh wow, look! A presence. So, you know, rephrase the experience, right? Okay, so then, so when you get in the garden and you talk about it, nobody surfaces with bars, it's another mechanism. When you get in the garden, you write a draft, you're in the garden, anything goes and within the rose, right? Now, you're going to switch, and you want to take out your story of discrimination, not like, you know, discrimination. What should be in and what should not be in? You know, nobody is in the way. So you have to know that if you're in the way, and you go through the spirit of cutting without missing everything that you think that should be in. Okay? And when I get cool, how do you let it cool? You will see the whole thing, so you're going to hear it. That's right, that's right. As soon as it's cool, you really didn't even say, step on it and let it cool away. I know, I will. Then you read it through a loud, some people say you want to say it, so read it aloud if you want to say it. Okay? And then go read it with a pen in hand, just read it aloud. Okay? They'll be acting when I'm reading, you should read a few notes. Okay? Then you start thinking about it. Then you go back and say, okay, it's cool to pick a song for me. We'll get five tips at a time. Lower it up. Then it's like, if I need to, you think the whole thing. Then you start kind of thinking the whole thing. That's what I do right now. Sometimes I've got a brain, right? Five, three, right? Five, two, three, eight. I just sit there and go, okay, wait a minute. I mean, I've got the story right, but I know that it's just like a circus. It needs to go through the next level, you know? I'm going to drive you up the first minute of the whole time. You want to sit down and think about it. You want to go actually working like this. Just feeling your will, pulling it along, you know what I mean? You want to really get it so that the events are causing the events and the characters are actually working. You don't like that stuff. So you want to look out for that. If it's cool, we'll have a chance. And sometimes you think a lot of people are acting without actually getting in there, you know? Sometimes there are some goofy words around the page. Sometimes action just sitting back. It's a story. A big idea. This is a story. This is a story. A lot of times what I do is, you write the whole draft to a paper and then you write it out and make it all that draft. So you can think about that in short hand. So you're not following the orders of sentences, you know? So you just see the story of your will and then you rewrite for that outline. You want to stop? No, it's, yeah. It's really, it makes me feel like I have an erection to go through. Okay, we're going to try that. Try to let it cool and even allow it to be nice and wet. So I can't put this together. I'm just saying we make over the oil. Shoes. There were some shoes called Spacy Adams, of course. The whole song. Okay, did you go forward? I went forward. You're going in that direction. You know what I mean? Yes. You're going forward. You weren't like writing and going, Oh, I don't like that. I'm going to rewrite it. You're just going forward. Good. Just like this. Yeah. Yeah. The other time last week, too, she had done some outlining, so she was ready to write, and so she's got a picture of that, and so she's going to start keeping up with it. But three pages might be your speed, or my happiness could be last week. You know, it might get some error, maybe it could come from her pages. She might draw it back to two. That's okay. That's fine. As long as you put the time in, the water might be just in, and no effort is ever wasted. So just as long as you're moving in the direction of the end of the play, that is, you're not going back to the right, and then going forward, and then going back to the right, and then going back to the right. We're not this is a dance, but you're not doing this dance. You're doing this dance. Okay? Which can matter if you can do it. That's much better. But, you know, right? Yeah. I mean, it's one of my favorites. I'll have those in Spain. Spain. And it's like lit. Yeah. Great. But anyway, we hear books here, not that. Yeah. Which I'm just, I'm honored enough to see. Wow. You know what? I'm going to do this. Maybe here's a part of the Namibar time. Maybe she's so great. Can't wait. It's yours. But that is, you know, so great. Okay. It's so great. I can't believe that. It's the most important part. Right. And I found that, I thought about that a lot. Those great things are within us to see for sure. Did anybody see my mom wherever I went before? That they were great. Yeah. Why? You can talk to, you can leave with me. I saw the number. I remember the number. I can't tell you. I remember the number. I remember the number. I remember the number. I remember the number. I remember the number. I remember the number. I remember the number. I remember the number. I remember the number. I remember the number. I remember the number. And I saw the number. I remember the number. I remember the number. I remember the number. I remember the number. It was my signature to take a really important part of something and be very, very small. This book, if you need to do your bridge to the White House and it moves to White House, so, this is Randji and your character but what she dies may be in is in a little parentheses because it's a kind of just It's in a little bind. It's almost a phone. The whole knowledge is about that. Well, it's actually in a bind. I think it will be about that, but it's just a little bit in the start. So it's exactly like a cool, like, surgery. So, if you have too many different types of questions, answers, please see this one. So keep writing this slide. Yes? Cutting out, please. I do better think it's a little promise. Sure. Two minutes. Two minutes, perfect. So it's more about collaboration, I suppose, than writing process. Right. I've recently, this year, been very blessed to work with a lot of actors in color and Latino theater companies and directors of color. And a lot about my work in theater has lent itself to that. I was recently invited to do something in a theater company's short, middle festival evening. This was just past Tuesday. I made my work. They asked me for actors and they said, you know, they don't identify as any particular ethnicity, but they embrace diversity. And so I recommended actors of color, pretty much, for this. And I really didn't have anything to do with it. I went to see the show and my show was the only one with any actors of color in it. I mean, there were about seven other shows. There was no other show. None of the other shows had a reason. There were generic characters, I suppose. Right. And me and the actress that I'd recommended had a little moment, you know, and in her mission to stay like, hey, hey. And I realized she was very uncomfortable. And I was very uncomfortable just because of the makeup. And I didn't know what had been set out. So I don't know how to approach this company, or if I should approach this company regarding this kind of issue. And I don't know if it's, you know, as a playwright who's invited, if it's not a theater company, if it's an ethnicity. You're about to change your values. Uh huh. You know, you change your values. You change your values. You change your engagement. You want to engage. And I would say engagement really matters to you. You have something, you know, it's saying that you really love this company, you really want it to succeed. You've been invited to their, you know, or they're going to circle or whatever. They're asking for your opinion. They're looking to you. In terms of your own plans, what I do is I can move, sew it into the lining of the play. You know what I mean? I've done things like test the body of you guys. Now, the play is not sure on the fact that that's very important, but it remains a test of how they read that. So, you know, they read a lot of, they make them read that. But, you know, so we, I just have to show it into the fact, you know what I mean? Um, a lot of times I, you know, oh well, you know, it's kind of uncontrollable. You can totally take advantage of that. It's very, it's really too bad still in 2013, almost 2014, that, that, you know, our actors, our color, are considered special cases. You know, we're not just people. You know, we're special, you know, we can't just be the friend, the neighbor, whatever, it has to be the wife, the neighbor. It has to be the racist disorder. You know what I'm saying? Through the theater, you have to be, you know, really also a film. And it's very telling. There is a, two beautiful, you know, by the previous, two great films. One was the story of the other man. Sorry, I think you just know about it. The other was something's very, I think, I want to say Bruce Byrne. I'm not sure of the answer. But it was about some dude, some guy, who kind of is getting old, has gone to the cinema. Go away folks. We're like, we're gonna be nothing but yellow. We can't just be some guy, having come to the cinema. Still, still. Some guy having come to the cinema. We're not seen as that. That would mean us. We're gonna be nothing but yellow. Who's in the right part? Right all the way. We have to fight this battle, we have to fight. We're not just symbols in our perspectives. We still have to fight the fight. We can fight the fight, just fight it. We're a matter of fact. We're back to the movie. And always carry your room state. And your room be still where we're sitting. And your toilet hat. And your toilet. We're back. We're back. We're back. We're back. Thank you.