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when we tell a story to our friends
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about a recent vacation or a date we went on
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we tell the story
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most of us probably recognize that
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the first time we tell the story as an anecdote
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it's a little too long
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it's a little awkward
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it doesn't quite get the reaction
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you thought it ought to
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um you've forgotten something in the middle
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and you have to remind people later
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um you don't tell it very well
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but you know
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people still kind of lean into the story
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and they're curious
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you'll find the next time you tell it
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you probably tell it a little bit better
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why because
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it's a communication that's meant to express an idea
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and let's face it
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you're you're
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you're asking people to listen
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you know there's an expectation that it's
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in its own way
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it's going to
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what entertain
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it's gonna engross
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it's gonna fascinate
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it's gonna express something in a meaningful way
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by the eighth time you tell the story
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you know maybe you've even embellished it a little bit
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who knows uh
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but it's better
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it's tighter
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you wanna put your screenplay through that
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through that process
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the director is the keeper of the story
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and ultimately
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it's the director's taste
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that's going to determine
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the creative choices that are made
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and that sort of the allocation of the resources
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I'm talking about a live action production now
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more than animation
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that comes back to the script
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and the way it's going to be interpreted
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and the director needs to you know
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intimately understand that screenplay and support it
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and if there is a difference of opinion with a writer
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over the screenplay
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this is where collaborators can come in
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very handy but great
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a great exercise
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which is used in television all the time
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is used in theater all the time
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is used in movies some of the time
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but it's so valuable
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and that is to simply do a read through
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get a group of actors
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they don't have to be the actors
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who are going to
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you know be in the project
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and give it a good read through
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maybe videotape it so you can play it back or record it
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make sure the screenwriter is there
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if you want to
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you can open it up to conversation
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I've done read through
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is where I even give people questionnaires afterwards
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so that they don't
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they're not shy about telling you what you know
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what bothered them
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but go ahead and apply extreme scrutiny to that project
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and at that point
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it's not a finished film
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but you know
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it's a really important step
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and it's gonna raise some questions
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it's gonna give you confidence in the
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in in in some ways
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because you just have a little greater sense
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of how that
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how that story unfolds as written
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and that's um
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a really important step and
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and a fundamental um
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misjudgement in my mind
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when people don't you know
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don't expose the script to that
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that kind of process and that scrutiny
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when it comes to rewrites
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I'm very involved um
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I sometimes it's a matter of sitting with the writer um
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and um you know
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literally pitching ideas
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some writers do better under those circumstances
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and other writer
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writers do better having a conversation and going away
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and sharing with you what they've come up with
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and again I try to adapt my process
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to try to elevate the way that person naturally works
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so I try not to impose myself too much on the process
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you know unless it's simply
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you know not
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not working for me
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but generally
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you know whether it's an actor
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whether it's a music composer
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cinematographer
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I try to begin to discern
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you know how that person excels
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and try to create the
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you know the environment
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the opportunity for them to work you know
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at their highest level um
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the various ways in which a screenplay can be tested um
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really you know
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they begin with the director
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but they carry over to the actors
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and while you know
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I never wanna turn
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the rewrite process over to the actors
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I often really benefit from um
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even a pre rehearsal period
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where you sit
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you do a read through
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you hear the scenes
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actors very
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very quickly come to understand those characters
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and come to terms with them
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in ways even more intimate than the screenwriter
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because they're
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they're imagining
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playing those scenes are
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imagining seeing them
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sometimes they
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they're missing something
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and again it's the director's job
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the keeper of the story
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to be you know
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policing that
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and and not
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not letting wrong headed ideas
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push the project off in a
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you know in a in a
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in a misdirection
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but that conversation between the writer
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the director
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the actor sometimes the producer
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sometimes the studio executive
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a kind of a round table conversation
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is a very healthy thing
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as long as you quickly
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just fill it down to you know
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a one on one conversation between the director um
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and and the writer and
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and ultimately
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the writer is gonna go and
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and and execute
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I have a lot of respect for the writer's vision um
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as well and I will often defer to the writer
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because again
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on some organic level
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I trust that they understand some things
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about this story and script
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that go beyond intellect
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um and that
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that X factor is something that's
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that's incredibly valuable
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I think if you're a filmmaker
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young or old you get to
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you get either an idea that you read
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an article a book um
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you somehow get control of that idea
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and you're a part of developing it
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or it's a screenplay that you look at and you know
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and you might feel like there's some
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some adjustments you'd suggest here or there
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but this is something you're willing to commit to
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you believe in I think at that point
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just you know
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enjoy the excitement of it
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really feel it
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um you know
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um um kind of
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kind of glow a little bit with the inspiration
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and the excitement and the possibility of it
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and then you need to get down to the business
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of really understanding it
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and understanding how other people connect with it
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so do they share your excitement for it
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and if they don't
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it doesn't mean you shouldn't do it
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but you should understand it
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are you gonna be able to bridge that gap or
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are you gonna make a film
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that's tailored for a niche audience
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maybe your particular taste is
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you know never meant to align with broad audiences
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it's a you know
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you have a you there
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you have some like minded um
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um um you know
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audience members out there that
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that you can communicate with
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well can this idea communicate with them
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who does it land with
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your movie or television lover um
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what would it take for you to go see it um
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and begin to step away from the
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the excitement you know
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sort of put the idea on the table and walk around it
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and sort of say
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who does this work for
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who does it not work for
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and how do I align with that
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or misalign
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and I think if you get excited about that
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and there are enough answers that keep coming up
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that sort of say either I can overcome it
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or I can work with that
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or you know
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this is all systems go
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and you you know
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imagine that as you're circling that idea
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that you begin to bring others into your orbit
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and you're all sort of talking
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eventually you're gonna find those collaborators
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who are the key ones
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who can actually help you make it
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maybe that's a studio executive
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maybe it's an agent
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maybe it's a producer
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maybe it's a writer or a co writer
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um maybe it's a
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maybe it's an actor
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you know whoever might be
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begin to sort of see where those connections are
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and then on a practical level
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you have you know
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a chance to believe that
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that you know
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there's a reason to go ahead and
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and invest these people's resources and my own
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in this project
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my affection
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my excitement
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can be communicated in a way
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and that means something
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