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Speaker 1: Hey, this is up hands handbook heads. So this is

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Speaker 1: seank Lemons, and I guess we're sort of throwing you

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Speaker 1: in the deep end a little bit. I know all

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Speaker 1: of our fans are pretty savvy and can handle this

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Speaker 1: sort of thing, but Chef Kevin got scared that a

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Speaker 1: lot of you would be terrified when you heard what

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Speaker 1: you're about to hear, which is an episode of a

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Speaker 1: totally different, completely original show called The Hollywood master Class.

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Speaker 1: Really just the setting is the same. The first episode

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Speaker 1: that you'll hear is just myself with the inimitable bang

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Speaker 1: roj Men, and the rest of the season we have

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Speaker 1: other guests coming in to teach us different aspects of

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Speaker 1: Hollywood's greenwriting. Big big names will hine's huge names. But

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Speaker 1: it's gonna be living on stitch your premium behind the

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Speaker 1: dreaded paywall. What a little joke we do around here.

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Speaker 1: But I'm so this is the episode one of season two,

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Speaker 1: and if you like it, you're getting to check it

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Speaker 1: out for free a little sneaky you know, five finger discount,

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Speaker 1: and if you want to hear more, you can hear

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Speaker 1: either the rest of season two or all of season one.

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Speaker 1: That's how it was phrased to me by Chef Kevin

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Speaker 1: that you could do one or the other. I would

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Speaker 1: think go in pay by the subscription, do both. I

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Speaker 1: think if you like this, you would like both of them.

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Speaker 1: But Kevin gave me my marching orders and he told

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Speaker 1: me to tell you that you could either listen to

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Speaker 1: the rest of season two or you could listen to

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Speaker 1: season one. Isn't that what you said, Chef Kevin. Hey, guys,

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Speaker 1: Chef Kevin here, that's right. You have to in my opinion,

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Speaker 1: you have to pick one. So in order to do that,

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Speaker 1: And honestly, if you do both, I'm not going to

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Speaker 1: tell Chef Kevin, but that's on your conscience. Then so

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Speaker 1: go to Stitcherpremium dot Com. Slash the Boys use promo

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Speaker 1: code the Boys, even though only one of the boys

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Speaker 1: is on the show. That's me. I'm the main boy. Okay,

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Speaker 1: Brett are you are you rolling on this? Do you

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Speaker 1: have it? Yes?

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Speaker 2: Okay?

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Speaker 1: And I know last session we had some snaffoo's at

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Speaker 1: the top. It wasn't always as maybe crisp as we

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Speaker 1: wanted the intro. So I just want to make sure

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Speaker 1: the levels are right and it's yeah, the love wasn't

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Speaker 1: me because it wasn't me.

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Speaker 3: Okay, I mean, I remember it was a while ago.

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Speaker 3: I remember the levels being right.

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Speaker 1: But when you but when you listen back, you can hear, hey,

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Speaker 1: it wasn't right. So even hearing you say you think

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Speaker 1: that right now, I go, okay, but does he know?

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Speaker 3: Yeah, I mean, if you hear something's wrong, then something's wrong.

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Speaker 1: So okay, well let's just get it and we'll get

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Speaker 1: it clean. Ready. Ready, I'm Sean Clements and welcome to

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Speaker 1: my nasty class. So if you're just joining us, I'm

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Speaker 1: Sean Lemons. This is my master class and it's me

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Speaker 1: and I'm here with my student Bang raj Man. A

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Speaker 1: lot of people wanted us to do another class session

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Speaker 1: they heard our first one. A lot of people learned

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Speaker 1: a lot, and I don't know.

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Speaker 4: What I mean, I don't know how much people got

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Speaker 4: out of that class. I didn't People other than me

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Speaker 4: might have learned something. I didn't really take that much

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Speaker 4: out of it.

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Speaker 2: M hmm. Okay, that particular class, and I think, yeah.

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Speaker 1: And that's part of what we want to talk about

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Speaker 1: sort of right away here, is that Bang wasn't satisfied

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Speaker 1: with the class, and this can happen that you know,

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Speaker 1: maybe the way I approach one specific art form is

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Speaker 1: totally foreign to you and you see it a different way,

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Speaker 1: and maybe possibly more likely you just shouldn't be doing that,

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Speaker 1: but you were doing you know what I mean? No, Okay, well,

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Speaker 1: this is this and this is what we encountered last time.

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Speaker 1: In a way is there. It's tough to bridge the

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Speaker 1: gap of communication sometimes between two people, where if one

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Speaker 1: sees something a particular way, maybe it's a challenge to

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Speaker 1: get on the same page. So in terms of we

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Speaker 1: did this last Masterclass season one, it was about acting

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Speaker 1: right and uh, and everyone who has written to me

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Speaker 1: and said about the show that they love it and

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Speaker 1: they learned so much, and it seemed like maybe Ben

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Speaker 1: wasn't necessarily cut out for what he wanted to do.

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Speaker 1: But it's but it's but that is neither here nor there.

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Speaker 4: Yeah, we'll agree to disagree, because it sounds like you're

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Speaker 4: saying the class was a failure because of me.

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Speaker 1: Yeah.

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Speaker 4: Yeah, and I I don't see it that way. I

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Speaker 4: think I just the class wanted a different direction than

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Speaker 4: I thought it'd go, and I couldn't take that much

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Speaker 4: out of it. I tried to stay open minded and

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Speaker 4: I gave it a chance, and you know, we'll just

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Speaker 4: agree to disagree.

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Speaker 1: But regardless, I think what we found was we both

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Speaker 1: were pretty unsatisfied with the results of that class. And

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Speaker 1: I remember one big thing for you that you continually

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Speaker 1: brought up was the money and how much you paid

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Speaker 1: and how much it cost, right, that you had paid

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Speaker 1: for it, and that you were unhappy with it. And

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Speaker 1: I also was very unhappy with the results of the class.

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Speaker 1: But you seem to think that I should not be

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Speaker 1: complaining about that because I was paid so much money

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Speaker 1: to do That's right.

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Speaker 4: Yeah, you charged me an exorbitant amount of money that

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Speaker 4: really seemed unfair, and you kind of sprang it on me.

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Speaker 4: I thought it was kind of taking the class as

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Speaker 4: a favor, and then you sort of hounded me.

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Speaker 1: For a favor to yourself. And so we're doing new class,

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Speaker 1: totally different this time, and bang will be happy to

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Speaker 1: learn that there is a totally new payment structure in place,

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Speaker 1: and this class in fact, is free. Great for you,

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Speaker 1: it's free for the people to want to listen. It

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Speaker 1: caused a little bit of money, but for you, it's

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Speaker 1: free unless you decide at the end, which I think

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Speaker 1: you will, that you want to take another class, okay,

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Speaker 1: and then you have to pay for this one and

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Speaker 1: that one. Okay, So I think this one will go

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Speaker 1: so well because of the new approach that you will decide, Hey,

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Speaker 1: wait a minute, I want to take another class, and

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Speaker 1: then you gotta pay for this one, which was free,

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Speaker 1: but it was so good that it actually end up

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Speaker 1: costing money and it's worth it. So you pay for

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Speaker 1: two next time, including this one. You get one, and

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Speaker 1: this one's free, but not really because you're probably gonna end.

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Speaker 2: Up taking too, I understand, So this one's free.

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Speaker 1: Explain it back to me because you said you unders dead.

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Speaker 4: If I like this class and take another class, you

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Speaker 4: will charge me for this current class.

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Speaker 1: It won't be yes, it won't be the same.

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Speaker 4: Class and that next class, so I'll be paying for

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Speaker 4: two classes.

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Speaker 2: If I ever want to take another class and you

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Speaker 2: took one class already, I understand that.

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Speaker 1: Yeah. Yeah, and I paid for that one too. I

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Speaker 1: understand that too. So if you want to just get

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Speaker 1: into this and just like actually start doing the class, right,

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Speaker 1: I do too. But we should catch up a little bit, right,

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Speaker 1: What have you been up to?

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Speaker 2: Okay, we don't have to do it on Mike or

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Speaker 2: huh we did?

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Speaker 1: Did I see you in class? Did I see you?

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Speaker 1: And the show the show gross Ted, and you played Ted.

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Speaker 2: You know that's not what the show is called.

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Speaker 1: I was.

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Speaker 2: Yeah, I was in a show called Ghosted.

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Speaker 1: Mm hm, and you're ted? It was ghost Ted?

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Speaker 2: Was Tad?

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Speaker 1: You wrote that character, Tad well?

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Speaker 4: And yeah, you asked me to grow a beard for

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Speaker 4: it and then kept telling me how ugly it looked.

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Speaker 1: Terrible beard. Terrible beard. I had to shave it, couldn't

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Speaker 1: even film it. So I'm here with gross Ted, and

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Speaker 1: I'm here with engineer bretton Brett, tell us what what

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Speaker 1: you've been up to in the meantime.

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Speaker 5: Hey man, good to be back.

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Speaker 1: Yeah, it's been a little while.

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Speaker 5: Been a little while.

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Speaker 3: Yeah, what have you been doing? Oh man, what do

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Speaker 3: I begin?

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Speaker 1: God?

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Speaker 5: Where did I start? I've been.

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Speaker 3: I've been really really busy, just working doing all these podcasts.

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Speaker 1: You know, that's how you catch up with somebody. Some

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Speaker 1: stories there.

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Speaker 3: Yeah, there's a lot of stories.

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Speaker 1: What have you been in the studio?

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Speaker 2: Uh?

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Speaker 3: Yeah, just yeah it sound engineering, you know, all the

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Speaker 3: twiddling the knobs, you know, all the podcast yes, yeah,

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Speaker 3: and a ton of other Yeah, podcasts.

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Speaker 1: Holy shit, holy fucking ship.

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Speaker 2: Yeah, cool stuffs.

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Speaker 1: Good, well, exactly the same, right, it's all new stuff.

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Speaker 3: Yeah, I mean not every different every day, not every

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Speaker 3: podcast the same. Man, it's uh, I mean it's a

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Speaker 3: it's a roller coaster, you.

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Speaker 1: Know, be no need to subscribe. If they were juggling

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Speaker 1: a lot of please do listen and subscribe. This is uh,

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Speaker 1: this is uh must class and this is uh shaunk

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Speaker 1: Lemons and bang Ragman and uh so let's get into it,

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Speaker 1: and let's really get into it, and this time let's

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Speaker 1: start it up. And before we do, let's just grip

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Speaker 1: it and rip it. Sure and bank. Now, I just

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Speaker 1: said grip it and rip it and you said sure,

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Speaker 1: So that makes it sound like you I think you

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Speaker 1: know what that means.

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Speaker 2: I mean, it's just like, let's do it. Let's start

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Speaker 2: it up and just go for it.

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Speaker 1: Yeah, but go for it, right. It's not the same

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Speaker 1: as grip it and rip it. So what are we

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Speaker 1: gripping the class that we're taking? Class? Okay? What does

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Speaker 1: that look like?

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Speaker 2: I'm not exactly sure because.

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Speaker 1: And do me there, don't rip the class? Okay, you know,

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Speaker 1: so when I say grip it and rip it, right,

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Speaker 1: what do. I mean, because we're going to be talking

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Speaker 1: about words, what they mean, what our intention is. You know,

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Speaker 1: we want to choose our words carefully. Now. I feel

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Speaker 1: pretty good about gripp and rip it. I say that

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Speaker 1: that paints a pretty clear picture for me. So what

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Speaker 1: am I gripping? And what am I ripping? And get

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Speaker 1: in there with me.

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Speaker 2: Okay, you're gripping the stuff we're doing in the class.

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Speaker 1: Oh my god? What? No? Okay, I don't shunk.

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Speaker 2: I don't know.

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Speaker 1: People say this. You've never heard gripping and rip it? Brat,

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Speaker 1: you're gripping and rip it?

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Speaker 3: Yeah, I mean I like to choke up on the grip.

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Speaker 1: Yeah. Oh like the golf term grip it and rip it.

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Speaker 3: Well, it's not necessarily that, yeah, I mean, I think

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Speaker 3: it's an analogy, so you can apply it.

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Speaker 1: It could work in golf too, Yeah, I could about it.

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Speaker 1: But the way Brett and I are describing it, it's

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Speaker 1: not really that. You know, we're just gripping it and

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Speaker 1: ripping it. We're doing it. You ever go fishing? Sure,

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Speaker 1: sure you griped the pole.

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Speaker 2: Yes, you do grip the pole.

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Speaker 1: You rip the heads off the fish later, I know.

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Speaker 1: I mean, this guy's eating a fish head. I pu

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Speaker 1: stinky eating a fish head.

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Speaker 3: No, man, no, you gotta rip it off.

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Speaker 2: You hit the head off, just with your bare hands,

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Speaker 2: rip that off.

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Speaker 1: Absolutely, Come on, who's gonna have that out there? Figuring

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Speaker 1: all I could fit my backwag was a fishing bowl. Okay,

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Speaker 1: I have a knife out there. No, you rip the

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Speaker 1: head off. Frea can cook it up.

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Speaker 2: Okay, so mm hmm. That's what grip and rip it means.

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Speaker 1: It can, brett it can, Yeah, it can.

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Speaker 5: There's other things you can grip and rip.

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Speaker 1: Yeah for sure, Yeah for sure.

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Speaker 2: Okay, I think I'm ready to start the class.

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Speaker 1: Yeah yeah, what are you ready to do? Then? Grip

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Speaker 1: it and rip it?

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Speaker 2: Oh hell yeah?

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Speaker 1: Okay, So to gisch us up last Obviously, last season

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Speaker 1: we talked a lot about acting and the craft of acting,

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Speaker 1: and we made a little bit of progress with it,

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Speaker 1: and I was able to jam Ben into an acting job,

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Speaker 1: but we didn't get what we wanted from it, and

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Speaker 1: what we wanted was to and I hate to go

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Speaker 1: back to grip it and rip it so soon because

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Speaker 1: we just spent so much time. But we wanted to

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Speaker 1: teach him into fish rather than just rip a fish's

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Speaker 1: head off and hand it to it. So, in the

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Speaker 1: interest of feeding Ben and our listeners for a lifetime,

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Speaker 1: we're gonna do what all great artists do at some point,

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Speaker 1: which is pivot and just change our mind and say

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Speaker 1: never mind. We never wanted to do that in the

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Speaker 1: first place. We actually always intended to do something else. Okay,

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Speaker 1: you know what I mean. Think about some of the

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Speaker 1: great artists. You know, do you think you think Picasso

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Speaker 1: wanted to paint. Yeah, he wanted to be an actor.

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Speaker 1: You can be on TV and stuff, may make a

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Speaker 1: bunch of money. And yeah, when he was painting, yeah,

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Speaker 1: even so you know, at minimum wanted to be in

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Speaker 1: the painting. He just was.

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Speaker 2: He didn't be painted a ton of self portraits.

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Speaker 1: He want to have to do it.

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Speaker 3: Okay, you're not actually in the painting when you do

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Speaker 3: a self portrait, Yeah, it's a.

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Speaker 1: Painting of you. Okay, I'm confused. So like so just

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Speaker 1: that's just an artist. That's just an example of it.

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Speaker 4: You think a self portrait is like like pain on

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Speaker 4: someone Hm, hmmm, I don't know, you're painting on the canvass.

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Speaker 1: He wanted to be in the painting, Yeah, he wanted

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Speaker 1: to be in the painting.

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Speaker 2: Like physically inside the painting.

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Speaker 1: Ideally, Yeah, you know, that's what he wanted. But when

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Speaker 1: he realized that wasn't going to be possible, which seems

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Speaker 1: like you have an understanding of, he decided to do

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Speaker 1: painting instead. Okay, And artists like, uh, let's think Marick

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Speaker 1: Carey sings so good? Pretty do you think she want

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Speaker 1: to do singing?

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Speaker 2: I also believe that. Yeah, I think that was her dream.

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Speaker 1: She wanted to be an actor, HOSTESSNL all crazy characters,

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Speaker 1: do whatever, right, be funny, you know, get to hang

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Speaker 1: out Lauren. She wanted to do that, okay, but couldn't

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Speaker 1: do it. So, oh no, I want to be singer.

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Speaker 1: And it is a credit to her that you think

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Speaker 1: she wanted to be a singer, and a credit to

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Speaker 1: Picasso that, in your now twisted mind you believe he

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Speaker 1: wanted to be a painter.

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Speaker 2: Yeah, hats off to those guys. I did think that.

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Speaker 1: So let's pivot, okay, And we were talking about acting

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Speaker 1: before and it just did not We just didn't do

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Speaker 1: it right.

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Speaker 2: That's true. We definitely didn't do in the class.

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Speaker 1: So okay, so now let's talk about writing. Bank what's

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Speaker 1: a story? What's a story, Bank, it's think a story is.

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Speaker 1: It's something with a beginning, middle of a fine story

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Speaker 1: for me. A character goes on a journey and starts

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Speaker 1: one way and ends a different way. Mm hmmm. That's

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Speaker 1: probably what Bank thinks a story is. Huh. He probably

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Speaker 1: thinks he has a million stories already. Brett, Yeah, it was. Yeah. Yeah,

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Speaker 1: here's what he here's what he probably thinks of storians.

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Speaker 1: You know, Oh, I read a tweet today. Hey, get

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Speaker 1: off Twitter, man, go live your life. Huh, get some

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Speaker 1: real stories. Brett's got some stories.

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Speaker 3: Man, God, it's so crazy around here.

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Speaker 1: Yeah, it's fucking insane. Yeah no, yeah, like what.

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Speaker 3: I mean, Like the other day, the headphone Jack was

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Speaker 3: like kind of buzzing a little bit bang.

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Speaker 1: So Brett there, Now he's showing you a story, right,

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Speaker 1: because he has an intention and an obstacle. What's Pris' intention?

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Speaker 1: I guess to record podcasts exactly. Yeah, I mean, kind

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Speaker 1: of a simple way to say it. Yeah you're almost there. Yeah,

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Speaker 1: you're close. But there's this obstacle, headphone buzzing, headphone Jack.

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Speaker 1: And what a great villain for his story and overcome

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Speaker 1: it and slay the dragon of the buzzing headphone Jack

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Speaker 1: is what makes Brett to me and to many of

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Speaker 1: our listeners, one of the great heroes of our time.

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Speaker 1: In his story, Now, in your shitty story, you told

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Speaker 1: where you read a fucking tweet. You're not even doing anything,

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Speaker 1: you know what I mean, Like, you're just fucking looking

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Speaker 1: at something somebody else did. Your intention, I guess is

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Speaker 1: to read a tweet. But there's no obstacle. Yeah, because

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Speaker 1: to bury your head in your phone. My zombies with

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Speaker 1: their heads and their phones. Oh god, he can't afford

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Speaker 1: Twitter on his phone. They don't say that. Man, Come on, it's.

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Speaker 3: Like black mirror looking at the phone all day.

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Speaker 1: No, I know. Have you seen some of that shit? Yeah,

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Speaker 1: it really makes me second guess some of the technology,

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Speaker 1: Oh my god, and go, oh this might be bad

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Speaker 1: because some of these freaking quiz app they're doing. Yeah.

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Speaker 2: Twitter is a free app that anyone can free app.

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Speaker 2: You don't have to pay for it.

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Speaker 1: Yeah, and somehow then can't afford it. You know, what

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Speaker 1: is an intention? It's a goal.

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Speaker 2: It's something that you want. Okay, that's doing that.

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Speaker 1: Let's stick with that. You know for now. What's an obstacle,

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Speaker 1: it's a problem that it's a goal, right, yeah, big tire.

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Speaker 2: I mean it could be. I guess if you're a.

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Speaker 1: Trench of water and barbed wire above it.

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Speaker 2: Yeah, you're kind of thinking of like an obstacle.

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Speaker 1: Wall that you gotta scale, steep hill.

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Speaker 4: Suing the I think like in a story, it's.

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Speaker 1: More a bunch of sort of cabers like timber, you know,

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Speaker 1: big posts, and you gotta jump from one another, can't

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Speaker 1: touch the ground. Yeah.

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Speaker 4: Yeah, I've watched that TV show where it's like guys

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Speaker 4: running through an obstacle.

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Speaker 1: Car break ill stone cold Yeah, Broken Skull Ranch, Broken

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Speaker 1: Skull Ranch. Yeh, I watched that. It's a good show.

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Speaker 1: Those are obstacles, right, And what's their intention there?

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Speaker 2: Well, they want to win the Broken Skull Challenge.

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Speaker 1: No, they want to make Steve Pratt. Okay, they want

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Speaker 1: to make Steve.

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Speaker 2: Yeah, okay, sure, yeah, I'm sure they do.

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Speaker 1: You know what I mean?

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Speaker 2: Yeah, they want to make Steve proud. They don't want

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Speaker 2: to quit his course.

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Speaker 1: Don't don't you quit on him? Okay, you finished that course?

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Speaker 1: That's bad ass. Yeah, they want that that. I'm with you,

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Speaker 1: I'm following you. So if you've ever been a badass, bang,

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Speaker 1: I'd like to think I have been Yeah, yeah, got

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Speaker 1: an example.

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Speaker 2: I had to put you on the spot.

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Speaker 1: But uh, he's in here bragging about what a badass

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Speaker 1: he is. So uh, if I could be bothered, ask

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Speaker 1: for one example.

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Speaker 4: You know, I stopped a bunch of guys on a

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Speaker 4: subway and once from mug someone.

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Speaker 1: Okay, why because they.

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Speaker 2: Were gonna hurt somebody, and I didn't want it to happen.

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Speaker 1: But who was a person with some stuff shirt? No?

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Speaker 2: It was like, I don't know, a teenage girl.

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Speaker 5: Yeah, but was it like a teenage girl?

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Speaker 1: Well, now that's interesting. You seem to hear those words

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Speaker 1: and need to say them out loud. What did that

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Speaker 1: bring up for your teenage girl?

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Speaker 5: I don't know.

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Speaker 3: I just saw his face as he said those words,

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Speaker 3: and I thought I saw something there.

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Speaker 2: I don't know, where are you playing? You know what?

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Speaker 4: This is uncomfortable for me. There's I didn't put any

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Speaker 4: sexual application, which is what I do sexual impress.

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Speaker 1: It's one of these story machines. He sees stories everywhere,

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Speaker 1: you know, and so he sees a guy maybe lying

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Speaker 1: say teenage girl, and it may part something into him

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Speaker 1: and he suddenly finds like, Okay, this is a guy.

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Speaker 1: He's a character now you know. Bang, he's a character

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Speaker 1: and bread story. And he has this intention, which is

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Speaker 1: he wants to do something sexual teenage girl. But his obstacle,

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Speaker 1: of course is you know, the age of consent.

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Speaker 3: Yeah, okay, he sees an opportunity to like on the subway, right, Yeah,

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00:21:19,680 --> 00:21:21,320
Speaker 3: these villains come and he gets to.

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Speaker 1: Who he may be paid to do it.

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Speaker 2: None of that is what happened, all right. It was

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Speaker 2: nothing like this.

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Speaker 1: How'd you stop him? How'd you stop him?

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Speaker 2: I just pushed one guy and kind of made a

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Speaker 2: lot of noise.

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Speaker 1: That's insane. Yeah, it was crazy.

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Speaker 2: That's all happened.

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Speaker 1: Out of your mind. That's so dangerous. Well, that's the

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Speaker 1: kind of story I want to tell. Crazy man goes insane,

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Speaker 1: tries to have sex with a teenage girl. Okay, I

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Speaker 1: mean all this stuff is just a lot of life.

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Speaker 1: There was no sexual network television. We're maybe going to

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Speaker 1: be writing this for.

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Speaker 5: The worst climate. To write that story too, I think.

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Speaker 1: Yeah, yeah, no, no, it really is. They hate that

400
00:22:02,640 --> 00:22:05,440
Speaker 1: right now. Yeah, it'll come back around. These things happen

401
00:22:05,480 --> 00:22:08,280
Speaker 1: in cycles, but for right now, I would not want

402
00:22:08,320 --> 00:22:10,320
Speaker 1: to pitch that story to some of these stuff shirts.

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Speaker 4: You're misconstruing my story. It's not that there was no

404
00:22:15,000 --> 00:22:16,080
Speaker 4: sexual aspect.

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Speaker 1: Little advice, since your stories that you're telling seem to

406
00:22:21,480 --> 00:22:27,240
Speaker 1: be pretty inappropriate. You want a story, read the news.

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00:22:29,520 --> 00:22:32,400
Speaker 1: Let's just break it down and make it simple. Let's

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Speaker 1: follow the formula, right.

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Speaker 2: I thought that's what I was doing.

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00:22:37,040 --> 00:22:41,000
Speaker 1: The formula is this, if you want to tell a story, intention,

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00:22:41,200 --> 00:22:50,159
Speaker 1: obstacle news in introduced, problem, solution, solution applied, backfire, new solution,

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00:22:50,359 --> 00:22:55,760
Speaker 1: new solution applied, twist button second ending, right second ending. Okay,

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00:22:56,200 --> 00:23:01,800
Speaker 1: wrap up, story, conclusion, and just fun and then just

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00:23:01,840 --> 00:23:03,320
Speaker 1: one fun scene like a blooper reel.

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Speaker 4: Okay, it seems like a lot of indings you're tacking

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00:23:06,160 --> 00:23:08,280
Speaker 4: on at the at the tall end.

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00:23:08,520 --> 00:23:12,600
Speaker 1: Your's the the best picture of the Laurd of the

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00:23:12,640 --> 00:23:13,720
Speaker 1: Rings movie. Yeah.

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00:23:13,840 --> 00:23:15,760
Speaker 2: I think it was heavily criticized as having a lot

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00:23:15,760 --> 00:23:17,360
Speaker 2: of indings. It's a good example.

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00:23:17,520 --> 00:23:19,400
Speaker 1: Yeah, a lot of critics did pay attention to that movie.

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00:23:19,440 --> 00:23:25,200
Speaker 1: You're right, it was heavily criticized because freaking won awards. Now,

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Speaker 1: I'm not saying you're gonna do that bang, but it's

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00:23:28,240 --> 00:23:31,399
Speaker 1: not a bad goal to have. Sure, let's just do

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00:23:31,800 --> 00:23:34,119
Speaker 1: let's just do a simple story. This is just something

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00:23:34,119 --> 00:23:36,200
Speaker 1: I brought in because I was afraid this might happen,

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00:23:36,280 --> 00:23:38,280
Speaker 1: just based on some of my experience with acting class

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00:23:38,280 --> 00:23:40,800
Speaker 1: and all that. Let's just do a story. And this

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00:23:40,880 --> 00:23:45,400
Speaker 1: is just a simple robot story. Okay, robots story. Great,

430
00:23:45,760 --> 00:23:49,920
Speaker 1: Let's do a robot story. So robots programmed to drink piss.

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00:23:50,680 --> 00:23:53,000
Speaker 1: But he wants to be a famous country singer. A

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Speaker 1: producer hat for a second casting idea Blake Shelton.

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Speaker 2: So that has nothing to do with anything. That's a producer.

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Speaker 1: Hat, okay, and then I take it off writer hat.

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00:24:05,160 --> 00:24:06,800
Speaker 1: I'm going to be changing hats a lot in here

436
00:24:06,840 --> 00:24:08,000
Speaker 1: because the writers have to do that.

437
00:24:08,160 --> 00:24:11,160
Speaker 4: Okay, It's probably good that you explain that producer hat.

438
00:24:11,200 --> 00:24:15,040
Speaker 1: Okay, So when I'm putting on my producer hat, I'm

439
00:24:15,040 --> 00:24:17,879
Speaker 1: not necessarily thinking about the script and the story in

440
00:24:17,920 --> 00:24:20,880
Speaker 1: such a pure way. I've sort of got to look

441
00:24:20,920 --> 00:24:24,679
Speaker 1: at the business side of this and go as a producer,

442
00:24:24,760 --> 00:24:27,080
Speaker 1: who can I cast in here? That's going to get

443
00:24:27,080 --> 00:24:30,400
Speaker 1: my finance years feeling comfortable so that I can make

444
00:24:30,440 --> 00:24:34,280
Speaker 1: this robot story into big film and win the award.

445
00:24:35,000 --> 00:24:37,879
Speaker 1: So the robots programming to drink piss he wanted to

446
00:24:37,880 --> 00:24:41,600
Speaker 1: be a famous country singer. Producer hat Blake Shelton. Yeah,

447
00:24:41,640 --> 00:24:44,840
Speaker 1: he's scared the piss is ruining his human vocal courts,

448
00:24:46,240 --> 00:24:47,919
Speaker 1: that it's eroding it.

449
00:24:48,640 --> 00:24:48,879
Speaker 3: You know.

450
00:24:49,520 --> 00:24:51,600
Speaker 1: It's in a future where they don't want to have

451
00:24:51,680 --> 00:24:54,600
Speaker 1: to have a toilet everywhere, so they make the robot.

452
00:24:54,840 --> 00:24:57,520
Speaker 2: Sure you know, but he has human vocal cords.

453
00:24:58,000 --> 00:25:00,560
Speaker 1: Sure, yeah, because we don't want his voice to be

454
00:25:00,600 --> 00:25:06,119
Speaker 1: scary sounding. It makes it relatable. Rollout voice then make

455
00:25:06,200 --> 00:25:08,240
Speaker 1: you nervous when you're trying to peep. It's programmed to

456
00:25:08,320 --> 00:25:13,399
Speaker 1: sound human. Well, has human vocal cords. Sure. Uh. So

457
00:25:14,160 --> 00:25:16,879
Speaker 1: here we have an intention. Hey I'm Blake Chilton. I'm

458
00:25:16,880 --> 00:25:19,720
Speaker 1: gonna be a country singer. But we also have an obstacle.

459
00:25:20,359 --> 00:25:24,680
Speaker 1: Hey where he's peen in my mouth? Okay, well plug

460
00:25:24,720 --> 00:25:27,320
Speaker 1: that into the formula. Okay, so.

461
00:25:29,080 --> 00:25:33,440
Speaker 2: Walking through? So why don't why does any try.

462
00:25:33,280 --> 00:25:37,439
Speaker 4: To put maybe a plastic bag in his mouth to

463
00:25:37,640 --> 00:25:40,280
Speaker 4: catch all the piss and then he can jump it

464
00:25:40,320 --> 00:25:40,840
Speaker 4: on him and do.

465
00:25:40,800 --> 00:25:42,560
Speaker 1: That he did he was not programmed to be able

466
00:25:42,600 --> 00:25:46,200
Speaker 1: to do that. Okay, Well, programming wouldn't let him.

467
00:25:46,560 --> 00:25:49,520
Speaker 2: Okay, well maybe he.

468
00:25:49,960 --> 00:25:53,280
Speaker 1: Uh maybe maybe just tell me what happens.

469
00:25:53,600 --> 00:25:57,520
Speaker 2: Okay, he finds an old robot head in the junk

470
00:25:57,640 --> 00:26:00,600
Speaker 2: yard and he uses that.

471
00:26:00,880 --> 00:26:02,000
Speaker 1: You know, in the junk yard.

472
00:26:05,040 --> 00:26:08,000
Speaker 4: How about he pretends to be human. Okay, and he

473
00:26:08,080 --> 00:26:11,199
Speaker 4: starts pissing in another robot's mouth. Okay, you know he

474
00:26:11,240 --> 00:26:14,119
Speaker 4: can't do that, but I like that idea. You know

475
00:26:14,520 --> 00:26:17,160
Speaker 4: that's an idea. Now, we obviously can't do that. First

476
00:26:17,200 --> 00:26:22,679
Speaker 4: of all, it's disgusting, right, ropot pretending to be human.

477
00:26:23,280 --> 00:26:25,679
Speaker 1: Pretending you're piss in somebody's well.

478
00:26:25,520 --> 00:26:28,280
Speaker 5: The whole story he needs, like they need parts for that.

479
00:26:28,400 --> 00:26:31,680
Speaker 1: Yeah, come on, what would that look like a big

480
00:26:31,720 --> 00:26:33,919
Speaker 1: part of what you told me is people pissing in

481
00:26:34,000 --> 00:26:37,400
Speaker 1: his mouth? Well, but you're pissing in a toilet's mouth

482
00:26:37,400 --> 00:26:39,679
Speaker 1: every day. I mean, that's not disgusting. That's just a function.

483
00:26:40,119 --> 00:26:42,439
Speaker 1: I mean, that's a machine that we have, right, and

484
00:26:42,480 --> 00:26:44,680
Speaker 1: so is this robot. Now the robot happens to have

485
00:26:44,800 --> 00:26:47,040
Speaker 1: human vocal cores. That's just to make you feel more comfortable.

486
00:26:47,040 --> 00:26:47,920
Speaker 1: And we don't want to get.

487
00:26:47,760 --> 00:26:52,560
Speaker 2: Scared because he's while you're pissing in his mouth.

488
00:26:53,200 --> 00:26:56,800
Speaker 1: No, but before you know, he might have a little conversation. Hey, hey,

489
00:26:56,880 --> 00:26:58,639
Speaker 1: hope you're not nervous or you're doing it. But it

490
00:26:58,680 --> 00:27:01,880
Speaker 1: sounds more like this, hey partner, you know, had good

491
00:27:01,920 --> 00:27:05,359
Speaker 1: to see her there, you know, because it's a folksy robot.

492
00:27:05,560 --> 00:27:06,880
Speaker 2: Right, Yeah, that makes sense.

493
00:27:07,320 --> 00:27:10,199
Speaker 1: Now I want to let that guy, you know, do

494
00:27:10,480 --> 00:27:13,919
Speaker 1: his nasty business in somebody else's mouth. But let's use

495
00:27:13,960 --> 00:27:19,080
Speaker 1: the formula. So your idea is, yeah, give me a

496
00:27:19,080 --> 00:27:21,520
Speaker 1: different idea, a new solution. Yeah.

497
00:27:22,119 --> 00:27:29,000
Speaker 2: Yeah, he records a country song and tries to sell it.

498
00:27:29,880 --> 00:27:33,760
Speaker 1: Let's do the junk yard one. Sure, didn't you say

499
00:27:33,760 --> 00:27:35,280
Speaker 1: something about a junk yard. Yeah, he goes to a

500
00:27:35,359 --> 00:27:38,400
Speaker 1: junk yard and finds an old robot head. So we'll

501
00:27:38,440 --> 00:27:40,879
Speaker 1: pretend that it's not that the junkyard is not locked

502
00:27:40,880 --> 00:27:44,520
Speaker 1: for some reason, that there's not a freaking scary dog

503
00:27:44,600 --> 00:27:47,320
Speaker 1: that could eat the robot. And we'll just pretend that,

504
00:27:47,560 --> 00:27:49,800
Speaker 1: you know, this is the weirdest junk yard of the world,

505
00:27:49,880 --> 00:27:52,040
Speaker 1: just for the sake of argument, so we can actually

506
00:27:52,080 --> 00:27:53,120
Speaker 1: move those seems.

507
00:27:52,840 --> 00:27:54,919
Speaker 2: Like all easy things to work around.

508
00:27:54,920 --> 00:27:56,520
Speaker 4: I mean, maybe he picks the lock to the junk

509
00:27:56,600 --> 00:27:58,720
Speaker 4: yard and feeds the dog some hostile program.

510
00:27:58,760 --> 00:28:01,679
Speaker 5: For that future, I want to have junk you know.

511
00:28:02,400 --> 00:28:06,040
Speaker 1: Yeah, did you ever see Wally yeah, it's all junk there. Yeah,

512
00:28:06,080 --> 00:28:07,520
Speaker 1: well we saw it too, and so we're not gonna

513
00:28:07,560 --> 00:28:11,760
Speaker 1: let that happen. Fake. Yeah, it's a fake movie and

514
00:28:11,840 --> 00:28:16,000
Speaker 1: taught us some good lessons. Hey, don't do this. Okay.

515
00:28:16,520 --> 00:28:20,320
Speaker 1: He pays his buddy to reprogram him. Who's his buddy.

516
00:28:20,720 --> 00:28:21,640
Speaker 1: He's a robot.

517
00:28:22,600 --> 00:28:25,639
Speaker 2: He's got he's got robot friends or one guy.

518
00:28:25,960 --> 00:28:29,359
Speaker 1: Uh maybe one of the guys who pisses in his

519
00:28:29,400 --> 00:28:33,560
Speaker 1: mouth becomes his friend. Okay, he he buddies up with him.

520
00:28:34,040 --> 00:28:38,720
Speaker 1: Holy shit, And I'm interested in that guy. That's gonna

521
00:28:38,720 --> 00:28:41,160
Speaker 1: have the movie should be about that guy. Okay, Sure,

522
00:28:41,200 --> 00:28:43,560
Speaker 1: he pissed in the machines. Like if you went to

523
00:28:43,600 --> 00:28:45,760
Speaker 1: the bathroom right now and went to the toilet, and

524
00:28:45,760 --> 00:28:49,200
Speaker 1: then I'm friends with this toilet, now, okay, I would

525
00:28:49,200 --> 00:28:53,080
Speaker 1: think you're the more unusual character, all right, not the toilet. Okay.

526
00:28:53,200 --> 00:28:56,400
Speaker 4: Well, we established that the toilet talks and makes you

527
00:28:56,440 --> 00:28:58,280
Speaker 4: comfortable and maybe.

528
00:28:58,040 --> 00:29:00,200
Speaker 1: Fully establishes the robot wants to be a cut your

529
00:29:00,200 --> 00:29:04,680
Speaker 1: singer producer at Blake Shelton. Yeah, he's not necessarily making

530
00:29:04,880 --> 00:29:11,040
Speaker 1: friends now, but hey, how you doing so?

531
00:29:11,080 --> 00:29:15,480
Speaker 4: Maybe this guy's really nervous and the toilet robot calms

532
00:29:15,560 --> 00:29:19,200
Speaker 4: him down and uh, you know, or maybe it takes

533
00:29:19,240 --> 00:29:20,600
Speaker 4: him a really long time to pee.

534
00:29:20,960 --> 00:29:23,360
Speaker 1: So the robot opens up a little bit and is

535
00:29:23,400 --> 00:29:24,640
Speaker 1: he working a record industry?

536
00:29:25,440 --> 00:29:25,680
Speaker 5: Sure?

537
00:29:27,160 --> 00:29:29,640
Speaker 1: Hey bang, uh huh, you.

538
00:29:29,520 --> 00:29:30,680
Speaker 2: Just broke your first story.

539
00:29:31,640 --> 00:29:38,200
Speaker 1: Great, this is a good time to bring up an

540
00:29:38,280 --> 00:29:42,040
Speaker 1: idea that I should have brought up in our last class.

541
00:29:43,280 --> 00:29:48,160
Speaker 1: Some things can't be taught. I agree with that. Some

542
00:29:48,200 --> 00:29:51,800
Speaker 1: things can't be taught. Well, we're going to focus on

543
00:29:52,320 --> 00:29:54,920
Speaker 1: in this class. Hopefully the stuff that.

544
00:29:54,920 --> 00:29:58,560
Speaker 2: Can be taught sounds like a class.

545
00:29:58,400 --> 00:30:00,920
Speaker 1: You know what I mean? So what's some of the

546
00:30:00,960 --> 00:30:10,760
Speaker 1: stuff that can be taught? Technical? Aristotle? Right? Aristotles poetics? Right?

547
00:30:10,960 --> 00:30:11,760
Speaker 1: The Big Book?

548
00:30:12,480 --> 00:30:14,520
Speaker 2: Yeah, where Aristotle breaks down what stories?

549
00:30:14,520 --> 00:30:18,280
Speaker 1: Are you ever read it? I don't. I haven't. Let's

550
00:30:18,280 --> 00:30:22,959
Speaker 1: talk a little bit about this work so important, and

551
00:30:23,120 --> 00:30:30,600
Speaker 1: let's think about some of what he says. Eyah, our

552
00:30:30,720 --> 00:30:34,640
Speaker 1: poet must beware that his study be not only to

553
00:30:34,760 --> 00:30:38,400
Speaker 1: learn of himself. For he that shall affect to do

554
00:30:38,440 --> 00:30:43,520
Speaker 1: that confess this is ever having a fool to his master.

555
00:30:44,640 --> 00:30:50,880
Speaker 1: What does that mean? Uh? He that shall effect to

556
00:30:51,000 --> 00:30:55,320
Speaker 1: do that confesseth his ever having a fool to his master?

557
00:30:55,400 --> 00:30:58,880
Speaker 1: And Aristotle said that what does that mean? I have

558
00:30:58,960 --> 00:31:00,280
Speaker 1: to admit I don't know. You want to set You

559
00:31:00,320 --> 00:31:00,960
Speaker 1: want to read it had.

560
00:31:00,840 --> 00:31:01,560
Speaker 5: Been written yesterday?

561
00:31:01,600 --> 00:31:03,880
Speaker 1: I want to read it. It sounds like, yeah, it

562
00:31:03,880 --> 00:31:05,440
Speaker 1: sounds like me talking about crazy.

563
00:31:05,480 --> 00:31:07,120
Speaker 5: How long ago that actually was?

564
00:31:07,280 --> 00:31:07,959
Speaker 1: You want to read that?

565
00:31:10,040 --> 00:31:13,120
Speaker 2: Okay, Well it's not Aristotle didn't write it, it's not. No,

566
00:31:13,200 --> 00:31:16,280
Speaker 2: it's Ben Johnson wrote the introduction to it, you know.

567
00:31:16,520 --> 00:31:21,600
Speaker 1: And it's an intro that's right for the Aristotle book introduction.

568
00:31:22,120 --> 00:31:27,120
Speaker 1: But no, but no, less relevant today? And what does

569
00:31:27,120 --> 00:31:29,480
Speaker 1: it mean what he's saying? You know what?

570
00:31:29,520 --> 00:31:29,680
Speaker 2: It's?

571
00:31:29,720 --> 00:31:33,280
Speaker 1: It's a said to ever having a fool to his master.

572
00:31:33,400 --> 00:31:34,080
Speaker 1: You know what that means?

573
00:31:35,400 --> 00:31:37,640
Speaker 2: You got me, shunk? You can you can tell me.

574
00:31:37,800 --> 00:31:40,400
Speaker 1: I don't know either. I have no idea what that means.

575
00:31:41,880 --> 00:31:45,520
Speaker 1: I do not know what that means. Some things can't

576
00:31:45,520 --> 00:31:48,440
Speaker 1: be taught, some things can't be tough.

577
00:31:50,120 --> 00:31:53,480
Speaker 2: It seems like a fitting. It seems like a thing

578
00:31:53,520 --> 00:31:56,719
Speaker 2: that could be taught. We just needs someone to explain

579
00:31:56,800 --> 00:31:57,239
Speaker 2: it to us.

580
00:31:58,440 --> 00:32:00,560
Speaker 1: You're gonna call it. You're gonna dig up Johnson and

581
00:32:00,640 --> 00:32:10,800
Speaker 1: have him explain it. Guys, bring a worm food. Let's

582
00:32:10,840 --> 00:32:13,520
Speaker 1: talk about ideas. Maybe I threw you in the deep

583
00:32:13,600 --> 00:32:15,600
Speaker 1: end a little bit, having you do that story, right,

584
00:32:16,160 --> 00:32:18,080
Speaker 1: I kind of did the story only think Brett?

585
00:32:18,480 --> 00:32:20,680
Speaker 5: Yeah, yeah, about nine.

586
00:32:21,960 --> 00:32:22,400
Speaker 2: But maybe we.

587
00:32:22,360 --> 00:32:26,760
Speaker 1: Shouldn't start with the story. Let's talk about ideas. Sure,

588
00:32:26,880 --> 00:32:33,400
Speaker 1: what's an idea? How do you have one? How do

589
00:32:33,400 --> 00:32:38,080
Speaker 1: you do it? Maybe you can start with maybe, maybe

590
00:32:38,240 --> 00:32:40,520
Speaker 1: maybe how do you have an idea?

591
00:32:41,040 --> 00:32:43,560
Speaker 4: How do you have an idea? I see that seems

592
00:32:43,560 --> 00:32:46,560
Speaker 4: to me like something that can't be taught. Two steps, okay,

593
00:32:47,520 --> 00:32:51,480
Speaker 4: number one, know what an idea is? Number two?

594
00:32:51,720 --> 00:32:56,120
Speaker 1: Go ahead and have it? Go ahead, all right, go ahead?

595
00:32:56,680 --> 00:33:00,720
Speaker 1: Sure right now, I've got one. Think you have one?

596
00:33:00,960 --> 00:33:05,479
Speaker 1: Think so okay, don't tell it to me. Okay, let

597
00:33:05,560 --> 00:33:13,000
Speaker 1: me guess. He looks nervous on Brett.

598
00:33:13,800 --> 00:33:15,360
Speaker 5: Yeah, I wonder if he does have an idea.

599
00:33:15,560 --> 00:33:18,000
Speaker 1: Yeah, that's what I wonder too. I feel like you

600
00:33:18,080 --> 00:33:21,080
Speaker 1: might not have one yet, and it might be because

601
00:33:21,080 --> 00:33:25,920
Speaker 1: he skips that one knowing what an idea is? Okay.

602
00:33:26,080 --> 00:33:29,240
Speaker 4: I I think I know what an idea is, and

603
00:33:29,280 --> 00:33:30,920
Speaker 4: I'm allowing myself to have it.

604
00:33:31,440 --> 00:33:33,960
Speaker 1: Okay, now don't tell me what it is.

605
00:33:34,400 --> 00:33:34,760
Speaker 2: Okay.

606
00:33:39,680 --> 00:33:44,320
Speaker 1: He looks uneasy on Brett. Yeah, yeah, he does. Do

607
00:33:44,400 --> 00:33:45,280
Speaker 1: we think he has one.

608
00:33:47,240 --> 00:33:48,240
Speaker 3: That's hard to say.

609
00:33:48,360 --> 00:33:51,120
Speaker 1: Yeah, it is hard to say, hard to say.

610
00:33:51,440 --> 00:33:54,040
Speaker 3: I mean, you never know if he didn't have one.

611
00:33:54,640 --> 00:33:56,280
Speaker 1: Let me do this. Can I give you an example

612
00:33:56,280 --> 00:34:02,720
Speaker 1: of what's not an idea snowboarding? Yeah? I agree? Yeah,

613
00:34:02,800 --> 00:34:07,280
Speaker 1: I agree. So do we maybe want to start over?

614
00:34:08,400 --> 00:34:11,799
Speaker 1: My idea wasn't snowboarding. Here's what your idea was. I

615
00:34:11,800 --> 00:34:15,240
Speaker 1: don't think I want to do a movie about snowboarding. Alright,

616
00:34:15,360 --> 00:34:18,600
Speaker 1: that but you don't have an idea yet because you

617
00:34:18,640 --> 00:34:24,879
Speaker 1: didn't know what an idea was. There's no obstacle. Hell,

618
00:34:24,880 --> 00:34:30,680
Speaker 1: there's barely an intention. Slide down the hill? Yeah, that's

619
00:34:30,719 --> 00:34:31,440
Speaker 1: the story.

620
00:34:31,640 --> 00:34:35,400
Speaker 4: Well, that's a guess out of nowhere about what my

621
00:34:35,520 --> 00:34:39,239
Speaker 4: idea was. I could do something about snowboarding. I could

622
00:34:39,239 --> 00:34:39,839
Speaker 4: come up with it.

623
00:34:41,080 --> 00:34:42,880
Speaker 5: Sweet like down the hill.

624
00:34:43,120 --> 00:34:46,239
Speaker 1: There's not really Well that's interesting. That is interesting, and

625
00:34:46,280 --> 00:34:49,680
Speaker 1: that's something i'd like to see, But it's meaningless unless

626
00:34:49,719 --> 00:34:52,640
Speaker 1: we have attention, and.

627
00:34:52,640 --> 00:34:55,800
Speaker 5: I know you can't do more than a one ad attention.

628
00:34:56,719 --> 00:34:59,440
Speaker 1: And an obstacle. Okay, does that make sense?

629
00:34:59,719 --> 00:35:02,600
Speaker 2: Yeah, it makes totally. Yeah, you've been saying the same

630
00:35:02,600 --> 00:35:04,719
Speaker 2: thing over and over again. That's not my idea, wasn't

631
00:35:04,800 --> 00:35:07,480
Speaker 2: snowboarding in general, and hey, we.

632
00:35:07,440 --> 00:35:10,440
Speaker 4: Want to come up with a story about snowboarding. I

633
00:35:10,880 --> 00:35:12,880
Speaker 4: could fit that into your formula.

634
00:35:12,920 --> 00:35:16,640
Speaker 1: I think, hey, Bank, I'm just some schmuck. Man. Look

635
00:35:16,680 --> 00:35:19,120
Speaker 1: at me sitting here teaching a class. I'm just some schmuck.

636
00:35:19,480 --> 00:35:21,400
Speaker 1: I think the problem. Get out of your head. Stop

637
00:35:21,480 --> 00:35:26,080
Speaker 1: worshiping me. Okay, just do the class, man, I'm not

638
00:35:26,120 --> 00:35:30,040
Speaker 1: I'm taking this. I'm free class. You decided to take

639
00:35:30,080 --> 00:35:31,400
Speaker 1: another one, in which case you got a.

640
00:35:31,400 --> 00:35:34,080
Speaker 5: Paper and I have a I have a feet.

641
00:35:34,920 --> 00:35:37,360
Speaker 1: Well obviously Brett that's at Bay. I mean he's you know,

642
00:35:37,440 --> 00:35:39,399
Speaker 1: he's not here for free, right. Yeah.

643
00:35:39,440 --> 00:35:43,520
Speaker 4: I did this more as just because we're friends and

644
00:35:43,560 --> 00:35:45,759
Speaker 4: we got into a bit of a spat about the

645
00:35:45,840 --> 00:35:48,560
Speaker 4: last class, and I thought this was kind of you

646
00:35:48,640 --> 00:35:53,839
Speaker 4: making amends as we do this for free.

647
00:35:54,600 --> 00:35:58,200
Speaker 1: Yeah, I'm showing out a gribb and rip it. I'm

648
00:35:58,200 --> 00:36:02,920
Speaker 1: sick of just handing you fging headless fish. That's attention obstacle.

649
00:36:03,800 --> 00:36:11,120
Speaker 1: Sot obstacle story in a way, right, knowing which idea

650
00:36:11,280 --> 00:36:14,200
Speaker 1: to pick to make a story out of. As we

651
00:36:14,360 --> 00:36:17,120
Speaker 1: just learned, maybe snowboarding wasn't the best one for your

652
00:36:17,120 --> 00:36:20,120
Speaker 1: first idea, or I guess your first idea actually was

653
00:36:20,160 --> 00:36:25,200
Speaker 1: I read a tweet today. Yeah, example, So it's a

654
00:36:25,280 --> 00:36:32,000
Speaker 1: little like being playing tennis and knowing which one to

655
00:36:32,080 --> 00:36:39,319
Speaker 1: swing at, picking your pitch a little bit okay, you know, yeah,

656
00:36:39,400 --> 00:36:43,040
Speaker 1: you can't just swing at every ball. No, yeah, you

657
00:36:43,080 --> 00:36:46,319
Speaker 1: want to take good you gotta get the right one.

658
00:36:47,280 --> 00:36:54,080
Speaker 1: So you had this idea snowboarding, so that is not

659
00:36:54,120 --> 00:36:59,160
Speaker 1: necessarily your pitch on the tennis court, and you maybe want.

660
00:36:58,960 --> 00:37:02,320
Speaker 2: To wait one go buy Okay.

661
00:37:02,440 --> 00:37:05,520
Speaker 4: I feel like you're mixing metaphors a lot, like pitch

662
00:37:05,600 --> 00:37:09,680
Speaker 4: makes me think of baseball, and like picking your wouldn't

663
00:37:09,680 --> 00:37:12,600
Speaker 4: it be you know, even just picking your.

664
00:37:12,480 --> 00:37:15,359
Speaker 1: Shots makes more sense? Or like, well, what makes sense

665
00:37:15,400 --> 00:37:18,200
Speaker 1: really is? It's it's you're right, it's not just tennis.

666
00:37:18,920 --> 00:37:22,920
Speaker 1: You're playing doubles. Okay. When you're trying to create a story,

667
00:37:23,000 --> 00:37:27,520
Speaker 1: a movie, a show, you know, you're not alone. It's

668
00:37:27,560 --> 00:37:30,120
Speaker 1: a team effort, even if you're writing the script alone.

669
00:37:30,320 --> 00:37:33,320
Speaker 1: Marketing plays the net right, studio is going to return?

670
00:37:33,920 --> 00:37:37,320
Speaker 1: Uh oh you know now all of a sudden, Uh,

671
00:37:37,680 --> 00:37:40,279
Speaker 1: somebody here at the network is gonna weep in and

672
00:37:40,320 --> 00:37:42,400
Speaker 1: try to poach. You know what poaching is?

673
00:37:43,280 --> 00:37:44,560
Speaker 2: I don't think so I mean not like.

674
00:37:44,480 --> 00:37:48,359
Speaker 1: An egg, not like an egg. Thank you. I didn't

675
00:37:48,400 --> 00:37:48,839
Speaker 1: think that.

676
00:37:48,960 --> 00:37:53,239
Speaker 4: Well, I'm here, yeah, uh no, I'm getting lost here

677
00:37:53,239 --> 00:37:53,719
Speaker 4: a little bit.

678
00:37:53,960 --> 00:37:59,920
Speaker 1: Yeah, so poaching. So if marketing explained, the net you're serving, okay,

679
00:38:00,320 --> 00:38:04,760
Speaker 1: and you serve a big pitch out there, now freaking

680
00:38:04,840 --> 00:38:09,120
Speaker 1: studio hits it back. The studio is your partner. So

681
00:38:09,160 --> 00:38:12,160
Speaker 1: the studio, no, the studio returns, the studio is the

682
00:38:13,480 --> 00:38:19,080
Speaker 1: network's partner. So then so then you I guess for this,

683
00:38:19,840 --> 00:38:25,520
Speaker 1: they're no, thank you, but no, who's fetching the ball

684
00:38:26,400 --> 00:38:31,080
Speaker 1: Probably your assistant, right, But that's only if it hits

685
00:38:31,120 --> 00:38:35,080
Speaker 1: the net, because that is not necessarily if they have

686
00:38:35,120 --> 00:38:36,719
Speaker 1: to fetch the ball, because when the net, that's not

687
00:38:36,719 --> 00:38:39,960
Speaker 1: the right idea to swing at. Right. Tennis is chess,

688
00:38:40,160 --> 00:38:47,640
Speaker 1: you know, it's it's movement, it's angles, it's it's six

689
00:38:47,719 --> 00:38:49,160
Speaker 1: moves ahead, it's boxing.

690
00:38:52,640 --> 00:38:53,000
Speaker 3: Ballet.

691
00:38:54,440 --> 00:38:57,640
Speaker 1: Yes, bussing is just a dance. It's just a dance,

692
00:38:58,040 --> 00:38:59,600
Speaker 1: so sure you use your arms.

693
00:38:59,600 --> 00:39:02,640
Speaker 4: More so, coming up with so piggying ideas is like

694
00:39:02,840 --> 00:39:06,320
Speaker 4: tennis mixed with baseball, boxing, ballet.

695
00:39:06,520 --> 00:39:08,880
Speaker 1: It's not mixed with anything. I mean, tennis really is boxing,

696
00:39:08,880 --> 00:39:12,440
Speaker 1: which is just dance, so it's ultimately all dance. Boxing

697
00:39:12,480 --> 00:39:17,439
Speaker 1: is chess, I mean cutting off angles, closing patterns. Right,

698
00:39:18,160 --> 00:39:24,160
Speaker 1: you're a big right fist is the rook, don't you think? Yeah?

699
00:39:24,239 --> 00:39:26,800
Speaker 2: Yeah, I can see how that that.

700
00:39:26,840 --> 00:39:29,320
Speaker 1: I mean you're trying to smash pieces off your opponent's

701
00:39:29,320 --> 00:39:31,960
Speaker 1: board his face. Yeah, I mean it's the same, and

702
00:39:32,160 --> 00:39:37,160
Speaker 1: it's the same in tennis, except you got this net

703
00:39:37,200 --> 00:39:40,960
Speaker 1: in the middle, don't you right, And then that is

704
00:39:42,600 --> 00:39:46,280
Speaker 1: the marketing, thank you. Yeah. So let's say you've got

705
00:39:46,280 --> 00:39:51,399
Speaker 1: an idea. Sure, the network fails to poach cut off

706
00:39:51,440 --> 00:39:54,920
Speaker 1: the angle right because if you because if you're too

707
00:39:54,960 --> 00:39:56,560
Speaker 1: close to the center line, they're gonna be able to

708
00:39:56,560 --> 00:39:59,040
Speaker 1: come right in and poach. Okay, so you need to

709
00:39:59,040 --> 00:40:00,919
Speaker 1: take a wide angle. But you see that they're thinking

710
00:40:00,960 --> 00:40:04,160
Speaker 1: about doing it. Take it right down the alley because

711
00:40:04,160 --> 00:40:07,879
Speaker 1: it's doubles the wider court. So you've got the idea. Now,

712
00:40:08,800 --> 00:40:14,000
Speaker 1: marketing's at the net, your partner's there. What is the idea?

713
00:40:15,080 --> 00:40:16,640
Speaker 1: What is it?

714
00:40:16,800 --> 00:40:20,400
Speaker 4: My idea is I'd kind of like to tell about

715
00:40:20,440 --> 00:40:23,080
Speaker 4: some of the stories from when I was growing up.

716
00:40:25,239 --> 00:40:31,120
Speaker 4: My idea is sort of a kind of a Robinson Caruso.

717
00:40:31,280 --> 00:40:35,720
Speaker 4: But it's a kid just by himself and making friends

718
00:40:35,840 --> 00:40:40,239
Speaker 4: with people in the woods who are surviving with him.

719
00:40:40,600 --> 00:40:43,200
Speaker 2: So it's a survival story.

720
00:40:43,480 --> 00:40:45,320
Speaker 1: If you just if your whole, if your whole idea

721
00:40:45,400 --> 00:40:47,920
Speaker 1: is just like, oh, it's my story, I wrote a

722
00:40:47,960 --> 00:40:49,640
Speaker 1: tweet or you know what I mean, it's your thing

723
00:40:49,680 --> 00:40:53,520
Speaker 1: you did. Yeah, then that's just journalism. It's not really

724
00:40:53,520 --> 00:40:54,279
Speaker 1: a story, right.

725
00:40:54,400 --> 00:40:56,040
Speaker 4: I don't think it's journalism. I think it's kind of

726
00:40:56,040 --> 00:40:57,440
Speaker 4: an amazing, unique story.

727
00:40:57,920 --> 00:41:03,719
Speaker 1: Okay, so this is something that happened to you. It did, yeah,

728
00:41:04,600 --> 00:41:07,320
Speaker 1: is it? You know, because Brett had if you remember

729
00:41:07,320 --> 00:41:11,920
Speaker 1: the buzzing headphone story, Brett had a clear intention obstacle, right,

730
00:41:12,040 --> 00:41:13,439
Speaker 1: that seems very easy to fix.

731
00:41:13,800 --> 00:41:15,240
Speaker 2: Yeah.

732
00:41:16,320 --> 00:41:18,919
Speaker 3: I mean you said, man, stay in your lane, right,

733
00:41:20,400 --> 00:41:22,440
Speaker 3: you don't want the last season again?

734
00:41:22,760 --> 00:41:26,400
Speaker 2: But yeah, yeah, I'm just saying it just seems like

735
00:41:26,480 --> 00:41:27,399
Speaker 2: you you I.

736
00:41:27,360 --> 00:41:30,000
Speaker 5: Didn't even finish the story, all right, go ahead.

737
00:41:32,920 --> 00:41:33,600
Speaker 3: I had to, like.

738
00:41:35,680 --> 00:41:37,480
Speaker 5: First I didn't know what was going.

739
00:41:37,320 --> 00:41:39,520
Speaker 3: On, and then I had to jiggle the you know

740
00:41:39,600 --> 00:41:45,239
Speaker 3: connector meanwhile, you know, Scott is you know, annoyed with

741
00:41:45,280 --> 00:41:49,480
Speaker 3: his headphones. All of a sudden it starts working and

742
00:41:49,520 --> 00:41:54,400
Speaker 3: then it's fine, Well, it's fine, but you don't know

743
00:41:54,400 --> 00:41:55,640
Speaker 3: if it's going to come back.

744
00:41:55,480 --> 00:41:59,200
Speaker 1: Or yeah, sure, Okay, so you're the tension that's created.

745
00:41:59,280 --> 00:42:00,920
Speaker 1: You know, you're kind of in the room with the

746
00:42:01,000 --> 00:42:04,600
Speaker 1: killer still. Yeah, but isn't that just life?

747
00:42:04,600 --> 00:42:08,440
Speaker 4: I mean, aren't you always constantly like things could go wrong?

748
00:42:09,880 --> 00:42:17,040
Speaker 1: Holy shit, fucking fucking depressing, Holy shit, man, Well I'm

749
00:42:17,080 --> 00:42:20,160
Speaker 1: bummed out. Hell yeah, Jesus. I mean people are paying

750
00:42:20,200 --> 00:42:22,279
Speaker 1: for the class man. I mean, I know you're not

751
00:42:22,480 --> 00:42:24,560
Speaker 1: yet telling you want to take another one, which you will,

752
00:42:25,360 --> 00:42:27,799
Speaker 1: but people are paying. They're not paying to hear your

753
00:42:27,840 --> 00:42:34,320
Speaker 1: fucking weird, nihilistic, fucking just everybody dies bullshit.

754
00:42:36,480 --> 00:42:40,719
Speaker 2: I'm just it's just my reaction to that story. It

755
00:42:40,880 --> 00:42:42,600
Speaker 2: just doesn't seem.

756
00:42:42,200 --> 00:42:44,800
Speaker 1: So let's say, so you've got this idea. Yeah, he

757
00:42:44,840 --> 00:42:49,160
Speaker 1: didn't even finish yet, but let's save it. He's got

758
00:42:49,160 --> 00:42:52,840
Speaker 1: this cool idea. And when I hear Brett's idea, to me,

759
00:42:53,800 --> 00:42:57,560
Speaker 1: that's probably a movie or a series of movies. That's

760
00:42:57,600 --> 00:42:58,560
Speaker 1: how I see.

761
00:42:58,760 --> 00:43:03,239
Speaker 4: You see you see him fixing a head a headphone

762
00:43:03,280 --> 00:43:06,280
Speaker 4: buzzing sound is a series of movies.

763
00:43:07,480 --> 00:43:10,719
Speaker 1: It's sort of a Harry Potter style universe to me,

764
00:43:11,160 --> 00:43:13,719
Speaker 1: because he's got Scott in there, and who knows who's

765
00:43:13,719 --> 00:43:16,839
Speaker 1: coming in next? Here's kind of this cool saw that

766
00:43:17,080 --> 00:43:20,759
Speaker 1: the magical world, and and I immediately can see this

767
00:43:20,840 --> 00:43:23,200
Speaker 1: is a movie or a series of movies. Now with

768
00:43:23,520 --> 00:43:27,200
Speaker 1: some of your ideas you're talking about, sure, if we

769
00:43:27,239 --> 00:43:29,560
Speaker 1: can agree it's an idea, I'm not sold on it.

770
00:43:29,600 --> 00:43:32,200
Speaker 1: But if it was, we want to say, what's the

771
00:43:32,200 --> 00:43:34,520
Speaker 1: best vehicle for this? Is this a TV show? Is

772
00:43:34,520 --> 00:43:36,799
Speaker 1: it a play? You know? Is it? Is it a

773
00:43:36,880 --> 00:43:40,400
Speaker 1: poster for something? Right? Is it a label on a

774
00:43:40,560 --> 00:43:43,080
Speaker 1: on a funny soda bottle company?

775
00:43:43,200 --> 00:43:43,400
Speaker 2: You know?

776
00:43:43,719 --> 00:43:49,160
Speaker 1: Like, uh, it's like a picture like a fizzy man

777
00:43:49,360 --> 00:43:52,680
Speaker 1: who has like a sword and shield. He's like slaying

778
00:43:52,800 --> 00:43:56,719
Speaker 1: bland flavor. It seems like a lot for Is it

779
00:43:56,760 --> 00:43:59,719
Speaker 1: a phone called your stepdad? You know? Is that all

780
00:43:59,719 --> 00:44:02,319
Speaker 1: of it is just call him and just actually talk

781
00:44:02,320 --> 00:44:04,840
Speaker 1: about some of this stuff? And is it not necessarily

782
00:44:04,880 --> 00:44:08,560
Speaker 1: a movie or series of movies like Brett's idea? Yeah?

783
00:44:08,600 --> 00:44:10,600
Speaker 4: I mean I thought of it more as maybe like

784
00:44:10,640 --> 00:44:12,160
Speaker 4: a movie or is it a show?

785
00:44:12,480 --> 00:44:15,640
Speaker 1: Okay? But is it better? And we should always ask

786
00:44:15,760 --> 00:44:18,120
Speaker 1: is it better as just like a podcast ad like

787
00:44:18,160 --> 00:44:19,600
Speaker 1: an ad for Blue Apron or something.

788
00:44:20,480 --> 00:44:22,359
Speaker 4: I didn't see it that way at all, like as

789
00:44:22,400 --> 00:44:24,879
Speaker 4: a Blue Apron ad. Yeah, there's no kind of like.

790
00:44:24,840 --> 00:44:27,360
Speaker 1: No, but you didn't even look at it because I

791
00:44:27,400 --> 00:44:28,719
Speaker 1: can tell you this, it's not a movie. It's not

792
00:44:28,760 --> 00:44:30,840
Speaker 1: TV shit. Okay.

793
00:44:30,880 --> 00:44:36,279
Speaker 4: You think my story about a kid surviving in the

794
00:44:36,320 --> 00:44:42,520
Speaker 4: woods and figuring out how to stay alive, m you

795
00:44:42,560 --> 00:44:45,320
Speaker 4: think that would be a good ad for Blue Apron.

796
00:44:47,040 --> 00:44:49,200
Speaker 1: It would be a better add for Blue Apron then

797
00:44:49,320 --> 00:44:53,279
Speaker 1: for for a movie or something, because you think it

798
00:44:53,280 --> 00:44:58,040
Speaker 1: would be because they use natural product, organic ingredients, and

799
00:44:58,120 --> 00:45:00,120
Speaker 1: so you put me in the woods, I go, what

800
00:45:00,160 --> 00:45:03,680
Speaker 1: the fuck am I doing here? You know, unless I'm

801
00:45:03,760 --> 00:45:06,799
Speaker 1: trying to get some plants and stuff to make a

802
00:45:06,800 --> 00:45:07,440
Speaker 1: fresh meal.

803
00:45:07,800 --> 00:45:09,880
Speaker 3: The thing is they want they want to hear your

804
00:45:10,200 --> 00:45:13,640
Speaker 3: personal testimony too. They like hearing your stories in the ads.

805
00:45:13,760 --> 00:45:17,359
Speaker 1: Yeah, really like you can do what you great point. Yeah,

806
00:45:17,640 --> 00:45:20,400
Speaker 1: so you having this personal story about actually being in

807
00:45:20,440 --> 00:45:23,040
Speaker 1: the woods, and I guess you got I think you've

808
00:45:23,080 --> 00:45:26,600
Speaker 1: mentioned this before. You got abandoned or lost in the

809
00:45:26,600 --> 00:45:29,759
Speaker 1: woods and you had to survive out there for a

810
00:45:29,880 --> 00:45:33,080
Speaker 1: year or eight months or something. Yeah, but but that

811
00:45:33,160 --> 00:45:34,640
Speaker 1: is the kind of thing that you put in a

812
00:45:34,640 --> 00:45:36,640
Speaker 1: Blue Apron and you talk about some of the plants

813
00:45:36,680 --> 00:45:39,480
Speaker 1: you ate and how you found some Swiss chart or whatever,

814
00:45:39,600 --> 00:45:44,280
Speaker 1: and you mix that up with some you know, yeah,

815
00:45:44,360 --> 00:45:46,279
Speaker 1: and all of a sudden, now this is an ad

816
00:45:46,320 --> 00:45:48,640
Speaker 1: that I could see you actually getting, you know, not

817
00:45:48,680 --> 00:45:52,239
Speaker 1: having to do a make good to make good A

818
00:45:52,320 --> 00:45:54,000
Speaker 1: lot of times to do make good.

819
00:45:54,160 --> 00:45:55,759
Speaker 5: Yeah, lots of stories there.

820
00:45:55,920 --> 00:45:57,239
Speaker 2: Yeah, what do you mean.

821
00:45:58,320 --> 00:46:00,840
Speaker 1: Sometimes they don't like what you said, Yeah, it doesn't

822
00:46:00,880 --> 00:46:03,319
Speaker 1: sound like you like to or eat the food, and

823
00:46:03,480 --> 00:46:07,200
Speaker 1: you have to then do another one for free because

824
00:46:07,200 --> 00:46:08,640
Speaker 1: they paid for the ad, and then they didn't like

825
00:46:08,680 --> 00:46:12,920
Speaker 1: the way you did it. Sometimes you have your friend

826
00:46:13,400 --> 00:46:16,279
Speaker 1: read the add copy and then they go, the fuck

827
00:46:16,360 --> 00:46:17,840
Speaker 1: is this guy? We paid for those to do it?

828
00:46:17,960 --> 00:46:19,680
Speaker 1: You know what I mean? Yeah, I could see that happening.

829
00:46:19,960 --> 00:46:21,879
Speaker 3: Or you send it in on like a shitty cell

830
00:46:21,920 --> 00:46:25,279
Speaker 3: phone recording and they don't feel like you.

831
00:46:25,280 --> 00:46:28,120
Speaker 5: Put enough effort into it, they send it back.

832
00:46:28,480 --> 00:46:30,640
Speaker 1: But you know, we're running into the same problem over

833
00:46:30,640 --> 00:46:34,120
Speaker 1: and over again in a way because you and it's

834
00:46:34,160 --> 00:46:36,200
Speaker 1: going to recur forever until we sort of get to

835
00:46:36,239 --> 00:46:38,120
Speaker 1: the root of it. And so I'm going to just

836
00:46:38,160 --> 00:46:40,279
Speaker 1: say one thing right now that I think is going

837
00:46:40,360 --> 00:46:44,080
Speaker 1: to make it very clear. You seem to want to

838
00:46:44,080 --> 00:46:47,000
Speaker 1: break the formula. You don't seem to want to have

839
00:46:47,000 --> 00:46:50,919
Speaker 1: an intention in an obstacle. You don't seem to want

840
00:46:50,920 --> 00:46:55,840
Speaker 1: to follow the rules. And I know where this comes from.

841
00:46:55,880 --> 00:47:00,480
Speaker 1: And I don't blame you. You're going, hey, man, why

842
00:47:00,480 --> 00:47:02,560
Speaker 1: do I gotta do all these rules?

843
00:47:02,760 --> 00:47:03,120
Speaker 2: Jack?

844
00:47:04,719 --> 00:47:10,319
Speaker 1: Jud don't follow the rules? Right, I'm going to see

845
00:47:10,320 --> 00:47:13,400
Speaker 1: these movies. Yeah, hell yeah, I'm going to see these movies.

846
00:47:13,440 --> 00:47:17,400
Speaker 1: I seen, you know, I seen. This is forty this

847
00:47:17,600 --> 00:47:21,959
Speaker 1: dude day follow the rules. That's a big movie, man.

848
00:47:22,480 --> 00:47:26,160
Speaker 1: And you're saying, come on, Jack, let me do my

849
00:47:26,400 --> 00:47:29,000
Speaker 1: thing and let's just put it to bed. And this

850
00:47:29,080 --> 00:47:31,440
Speaker 1: is something to keep in mind for the rest of

851
00:47:31,520 --> 00:47:37,120
Speaker 1: the class and hopefully the rest of your life. You ain't, Judd, Pal,

852
00:47:38,680 --> 00:47:42,560
Speaker 1: you ain't. I'm sorry to say it. I hate to

853
00:47:42,680 --> 00:47:44,319
Speaker 1: have to be the one to break it to you,

854
00:47:44,800 --> 00:47:47,239
Speaker 1: but at the end of the day, yeah, Judd does

855
00:47:47,280 --> 00:47:50,839
Speaker 1: break the rules, and you know why because he's Judd

856
00:47:51,560 --> 00:47:55,520
Speaker 1: and you ain't got it, come padre.

857
00:47:57,400 --> 00:48:01,440
Speaker 4: Yeah, I figure I've never called you Jack, and I

858
00:48:01,480 --> 00:48:05,320
Speaker 4: don't talk like that, but yeah, I get it. I'm

859
00:48:05,800 --> 00:48:07,960
Speaker 4: you didn't even give me just to follow the rules.

860
00:48:08,600 --> 00:48:10,360
Speaker 4: I mean, sure, I'll throw my story.

861
00:48:10,480 --> 00:48:12,120
Speaker 1: Most people don't need to get a lot of chances

862
00:48:12,200 --> 00:48:13,680
Speaker 1: of all the rules. They just go, oh, those are

863
00:48:13,680 --> 00:48:14,960
Speaker 1: the rules, and they'll all do them.

864
00:48:15,280 --> 00:48:15,520
Speaker 2: You know.

865
00:48:15,560 --> 00:48:17,759
Speaker 1: But you don't really want to do that because you

866
00:48:18,239 --> 00:48:24,000
Speaker 1: have seen some of these avant garde, these insanely just creative,

867
00:48:24,560 --> 00:48:33,320
Speaker 1: sort of trippy, you know, postmodern freak geniuses do things

868
00:48:33,400 --> 00:48:38,600
Speaker 1: that defy categorization. This is forty or whatever.

869
00:48:38,840 --> 00:48:40,680
Speaker 2: Yeah, I mean some of those movies are kind of

870
00:48:41,200 --> 00:48:44,080
Speaker 2: very typical comedy.

871
00:48:44,200 --> 00:48:48,920
Speaker 1: Yeah, and you go, oh, that's what I like to see.

872
00:48:49,000 --> 00:48:53,480
Speaker 1: You know, this guy's getting all this fucking doe and acclaim. Damn,

873
00:48:53,520 --> 00:48:54,920
Speaker 1: I want to be like him. Jack.

874
00:48:56,880 --> 00:48:58,759
Speaker 2: Is that what you think I sound like.

875
00:49:00,600 --> 00:49:01,040
Speaker 1: Brett?

876
00:49:01,719 --> 00:49:04,040
Speaker 5: I think it sounds like how I wish you sound.

877
00:49:04,160 --> 00:49:06,520
Speaker 2: Okay, Yeah, because I don't talk like a beatnik.

878
00:49:08,120 --> 00:49:11,759
Speaker 1: That might be part of the problem. But say it

879
00:49:11,800 --> 00:49:17,880
Speaker 1: with me now, you ain't jug, you ain't all. So

880
00:49:18,320 --> 00:49:24,800
Speaker 1: maybe don't draw lessons from him, somebody who freaking broke

881
00:49:24,880 --> 00:49:27,200
Speaker 1: the mold, then put the mold back together different, then

882
00:49:27,239 --> 00:49:32,000
Speaker 1: broke it again. Maybe just take lessons from me, somebody

883
00:49:32,000 --> 00:49:35,719
Speaker 1: who's trying to show you how to find your dick

884
00:49:35,760 --> 00:49:42,480
Speaker 1: with both hands in here first. Okay, sure, and someone

885
00:49:43,400 --> 00:49:47,319
Speaker 1: someone remember and something to remember. There are no rules really.

886
00:49:48,560 --> 00:49:50,799
Speaker 2: Okay, Now I'm kind of taking a step back.

887
00:49:50,920 --> 00:49:52,399
Speaker 1: There used to well, there used to be a lot

888
00:49:52,400 --> 00:49:55,200
Speaker 1: of rules, right Brett. There was certain structures we had

889
00:49:55,239 --> 00:49:58,759
Speaker 1: to follow. Oh, here's a procedural, here's a serialized here's

890
00:49:58,800 --> 00:50:04,200
Speaker 1: a drama. Here's a drama, here's half, here's the multicamp setup, punchline. Now,

891
00:50:04,280 --> 00:50:07,080
Speaker 1: there's no rules really. I mean, you can make anything.

892
00:50:07,120 --> 00:50:11,600
Speaker 1: You want to make a freaking sci fi drama, go

893
00:50:11,840 --> 00:50:16,440
Speaker 1: for it. You know you want to do a space show,

894
00:50:17,600 --> 00:50:22,319
Speaker 1: Hey be my guest pal. You want to do a

895
00:50:22,440 --> 00:50:28,680
Speaker 1: serialized Western set in the future, hard sci fi Pistricken robots,

896
00:50:29,280 --> 00:50:34,479
Speaker 1: hey man, no problemo. So that's something to keep in mind.

897
00:50:34,560 --> 00:50:36,279
Speaker 1: You know you can dream it, you can do it.

898
00:50:36,560 --> 00:50:39,520
Speaker 1: There's no rules. There's only one rule though, I remember

899
00:50:39,520 --> 00:50:41,040
Speaker 1: about that. You ain't jud.

900
00:50:42,280 --> 00:50:44,640
Speaker 4: Okay, Yeah, I would never if I'm doing a sci

901
00:50:44,680 --> 00:50:47,280
Speaker 4: fi like drama, I wouldn't want to be jud.

902
00:50:48,280 --> 00:50:55,239
Speaker 1: Here's your homework. Watch TV, watch a movie. Great sounds fun, right, Yeah,

903
00:50:55,320 --> 00:50:59,120
Speaker 1: Well it's not. Okay, do it? So freakin learn something

904
00:51:00,200 --> 00:51:04,719
Speaker 1: because it is still homework, And keep in mind when

905
00:51:04,760 --> 00:51:08,400
Speaker 1: you watch this all the story stuff we talked about,

906
00:51:09,239 --> 00:51:15,480
Speaker 1: but also who are the characters? What makes a character?

907
00:51:15,920 --> 00:51:19,480
Speaker 1: How do we know them? What's an iconic character? Is

908
00:51:19,520 --> 00:51:24,640
Speaker 1: it the moment that we see the beetlejuice Man hump

909
00:51:24,719 --> 00:51:28,560
Speaker 1: the gravestone? Then what does that tell me about him?

910
00:51:28,760 --> 00:51:33,920
Speaker 1: Right when slender Man first loads his gun and shoots

911
00:51:33,920 --> 00:51:39,120
Speaker 1: a kid, like, is that like, that's when we know, hey,

912
00:51:39,200 --> 00:51:44,799
Speaker 1: this guy's moral compass is different from mine. Right the

913
00:51:45,000 --> 00:51:51,960
Speaker 1: very first time the Snowman writes a letter. Okay, Yeah,

914
00:51:52,080 --> 00:51:56,680
Speaker 1: so he's literate all right, and he's cold, okay, and

915
00:51:56,760 --> 00:51:59,919
Speaker 1: that then informs everything else we see. So think about

916
00:52:00,080 --> 00:52:01,879
Speaker 1: this because I want you to come in next week,

917
00:52:02,000 --> 00:52:03,560
Speaker 1: and I want you to have some characters.

918
00:52:03,960 --> 00:52:05,760
Speaker 2: Slender Man's just like a mass shooter.

919
00:52:07,200 --> 00:52:09,919
Speaker 1: I just don't get caught up in slender Man because

920
00:52:09,880 --> 00:52:12,040
Speaker 1: there's a million of these characters. There's a Bye Bye

921
00:52:12,040 --> 00:52:15,480
Speaker 1: Man there everywhere. You know, there's a ton of these guys.

922
00:52:15,960 --> 00:52:18,240
Speaker 2: Okay, I just didn't what you said iconic characters.

923
00:52:18,440 --> 00:52:21,440
Speaker 1: The first time the bye bye man, you know, waves

924
00:52:23,160 --> 00:52:31,240
Speaker 1: bye bye, oh chills, but then you know, oh, he's leaving, Okay.

925
00:52:31,320 --> 00:52:33,640
Speaker 1: So that's one thing that defines that character is he's

926
00:52:33,640 --> 00:52:36,480
Speaker 1: on his way out. I don't know if he has

927
00:52:36,560 --> 00:52:39,719
Speaker 1: somewhere else to be, if he's running late, but we

928
00:52:39,880 --> 00:52:50,200
Speaker 1: know like he is inherently an exeter. Yeah, so think

929
00:52:50,200 --> 00:52:52,600
Speaker 1: about those kind of traits, like what kind of character.

930
00:52:53,000 --> 00:52:57,279
Speaker 2: I don't think that's in the movie. I actually watched

931
00:52:57,320 --> 00:52:58,360
Speaker 2: The Biby Man as.

932
00:52:58,239 --> 00:52:59,760
Speaker 1: Part of the last class.

933
00:53:00,080 --> 00:53:01,600
Speaker 2: Yeah, I don't remember him waving.

934
00:53:01,360 --> 00:53:05,640
Speaker 1: By chilling up bye bye and then and it's subtle,

935
00:53:05,719 --> 00:53:07,520
Speaker 1: but he seems to pull up his sleeve and check

936
00:53:07,560 --> 00:53:09,520
Speaker 1: his watch and kind of like pick up the pace

937
00:53:09,560 --> 00:53:12,319
Speaker 1: a little bit as he's kind of goose stepping out

938
00:53:12,320 --> 00:53:15,200
Speaker 1: the door. So something to think about.

939
00:53:15,920 --> 00:53:18,960
Speaker 2: Okay, go I put it. I'll write it down, send

940
00:53:19,000 --> 00:53:19,520
Speaker 2: the notebook.

941
00:53:20,239 --> 00:53:22,440
Speaker 1: Hey, we're just tuning in. That was a masterclass. And

942
00:53:24,000 --> 00:53:30,680
Speaker 1: it's over. Hey way, hey, fine, So it's over. As

943
00:53:30,800 --> 00:53:33,799
Speaker 1: Bank pointed out, he's so smart, right, everybody freaking give

944
00:53:33,880 --> 00:53:43,480
Speaker 1: him a clap clapform. But that was that was a masterclass.

945
00:53:43,560 --> 00:53:47,799
Speaker 1: You gotta see it to believe it. So, uh, tell

946
00:53:47,840 --> 00:53:51,120
Speaker 1: your friends, buy the money and do and get and

947
00:53:51,280 --> 00:53:55,640
Speaker 1: get in here and and and writer's right, buy the money.

948
00:53:56,280 --> 00:54:01,840
Speaker 1: And that was the Freaking Masters. Hollywood Masterclass is a

949
00:54:01,880 --> 00:54:05,800
Speaker 1: Stitcher original and a production of Mineral Media. Our executive

950
00:54:05,840 --> 00:54:09,560
Speaker 1: producers are Chris Bannon and Jenny Rattlett Music and sound

951
00:54:09,640 --> 00:54:10,840
Speaker 1: by Brett Morris.