Zoom Q+A Workshop with Judith Weston! 4/24/20 – YouTube Dictation Transcript & Vocabulary

1.so I'd like to you know check in I'd like to have everybody check in you know introduce yourself a little bit you can say anything you want you could say how you know how you're doing with the lockdown or you can say anything about your professional situation or you could you can talk about what you're hoping to get from this session that would be great for me I love to get find that out as soon as possible what people are hoping for from this session because that way no and it's for a teacher I know Wesley is also a teacher for a picture though it's awfulest feeling in the world to get excited about the idea that you think everybody needs to know about and to talk and talk about it for for quite a while and then my dad is something that people aren't interested in so that really helps me if you know if you just did this little 30-second intro you if you can you know say what you're most concerned about or are most interested in or or or just what's going on with you right now and anything you could see anything but but it's I like to hear from people so anyway what first of all I want to thank Wesley this would not have happened without Wesley he suggested it and then and then I wrote back home and I said well maybe and would you do it for me and he said sure so anyway he just took it over and turned it into something professional so I'm just I'm really inspired him anyway thank you thank you Thanks so cool and what Leslie are you gonna call on people or yes I happy I have the order in which they are they signed up okay in here so we'll just go that way that's easiest sure sure and I might make some notes so if you see me looking down I'm just I'm that's because I'm making notes okay so let's start off with David chambers hi everybody I'm David chambers I currently live in Atlanta um and I think what I'm looking to gain the most out of this is just like a deeper insight in select things I'm already personally doing because as I was reading your book I kind of started to see trends that I that I was doing um but a much deeper and well-rounded way to ask you them okay okay great Thanks and now we have Francisco Cabrera everybody I'm Francisco da da I'm in Florida I went to school with some of you but ya know I'm looking to right now I'm looking to learn more about kind of shifting my approach when things aren't working you know each other is a different you know house it is a different you know person a different communicator and I think at times you know you're maybe I'm take eight and you're like oh no I need to fully change my approach because we're not getting there so I'm interested in that I'm interested in that shift in interaction yeah when things aren't working out okay thanks thank you and next we have Denise Jimenez hi I'm sorry I was having a little trouble connecting all right guys nice to meet you thank you so much for having me and all of us sure good thanks for coming thank you for coming everybody a quick intro some Denise I went to school with wife's aunt st

2.John's I'm an actress and filmmaker and I currently work in post-production and the reason that I'm here is because I did start out as an actor and you know the more that I learn and the more that I do things I have done directing before but it's something that I want to do more of course so I guess what I want to take away from this is how to see the bigger picture sure and not concentrate so much shunt like the little things you know as an actor I'd have the habit of the moment by moment so it's just really taking that leadership in that's mean thanks and next we've got Bobby a mommy yeah we can do we let's let's come back to Bobby and lets me know I see Bobby I be here and I just want to stop it up on my skin okay your audio is a little tricky but anyway well we'll figure it out me okay let's see next we have Palos st Oh buddy my name is Thomas St I am a 16 year old looking a filmmaker based in Miami Florida and if there's one thing I want to take out from this seminar or class is the best way to work with non-athletes I've had about a little bit of trouble with that in my high school phone career and I want to see like what's the best way to approach not acused okay next we have Lima an 18 hi hi hi guys I am calling in from Berlin Germany so cool to be with all of you and I guess what I'm just interested in for this meeting is just getting to know more about how to work in prep especially considering the first meetings you have with actress before you even start talking or rehearsing for example that would be really interesting for me thanks and next we have Allen guillermo gutierrez everybody and Allen Gutierrez I'm from Mexico City I took directing a workshop directing actors workshop which you did a long time ago I think like 12 13 years ago and a filmmaker I'm also an actor and I'm a film teacher so all my classes are based on the books of of course I'm Judith West and so I'm so happy to be here thank you very much for the opportunity and nice to meet you everybody and next we've got Brant Daugherty hey everybody I'm I'm an actor and screenwriter I'm here in Los Angeles as well well Judith hi I'm your neighbor apparently I am slated to direct my first feature later this year hopefully if things go according to plan and I would like to kind of piggyback on what Paolo said and talk about working with actors of various skill levels and sort of rehearsal techniques that we can use to help some are more experienced actors along great thanks thank you next we've got Chavez Kaley oh you sprays your hair okay oh hi how you doing I'm Japan's Kaylie MFA graduate from Florida State University also former classmate of Bosley I'm just happy to be here on this call the main thing that I want to learn from this call is when you're using action verbs with actors on set and then your different ways to communicate when you run out of those said action words okay it's a good time okay so after today's we've got ganesha genus good make a nice finish up in Florida but I live in Queens I also need a haircut I'm just here to learn from everybody you know steal ideas and come out on the other side a little a little bit smarter okay okay next we've got Jasmine Peck jazz music oh hi jasmine I nice to meet you guys um going to school was a long saga now let's say I'm working as an assistant production company right now I'm in always being in a place he's just sitting in your room I don't know it counts as being somewhere that's that's the city I'm interested in sort of just the idea of staying sharp and refreshing myself I haven't directed in like a year in picking up some tips of like maintaining the tools in solitude especially given everything that's going on it cuz that's gonna be important I don't how to keep sharp in sullen and solitude and in lockdown so I want to make sure I just try try to say something about that okay great thanks and is Jason wish now Jason okay hi um so I guess like Alan I took a workshop with Judith several years ago so that's my connection to all of this and when I saw this was happening I was so excited because it's been a while um I've I think you know I was just curious to hear what you would say in any setting like this I um like Jasmine I'm curious to hear you know how he could continue to sharpen our skills maybe in situation like this or you know even for me I feel like my directing career has been somewhat start and stop off and on and how I can keep sharp for when I go back into my new projects great great thanks now we've got Jessica Boyer I'm a Florida State University College motion picture MFA student directing specialist and what I would like to learn from the class is how to explore and learn an actor's range and just new directing techniques to take on set okay great and next we've got Martine Donald I'm Martine I'm in Los Angeles I have a lot of the same questions as everyone here but I'm specifically interested in working with non-actors young people children and teenagers so it's excellent to see young filmmakers here as well who are we're still working with high school students and just really happy to be here great thank you up next we've got Tyler Tyler Mon scene I hope I'm saying that right yep you see me I haven't used him before is this working yes okay cool hi I'm living in Los Angeles from Florida originally my pure coincidence a huge fan of directing actors and I'm amazing on your book incredible and I just want to learn more I guess about introducing roles to actors without I don't want to expect I'm a tendency to over explain or talk too much I just want to find ways to kind of keep a mystery alive without feeling apathetic about not answering questions how did how do make us that I can watch an actor perform without feeling like I'm neglecting anything wait what was less easy just how to how to keep questions in the air you talk a lot in your book about questions and you know how would you do this and how to bridge the gap between my understanding of the character and posing a question to the actor without making it like as if I don't as if I'm stepping back or something I'm not sure if that makes sense no yes goodnight thank you go back to me yeah thanks and up next we've got Ryan booth how's it going yeah I'm a filmmaker living in New York New York City and yeah I was set to direct my first feature in May and so that's kind of indefinitely it's on hold for awhile and but it was going to be a very small movie and so I'm kind of making use of this time to just sharpen myself you know and to prepare and to get better and get ready for whenever I am able to make the film but primarily I'll be working with both professional and non-professional actors within my cast and so that's definitely something that I'm quite interested in chatting about other than that just here to listen and learn for sure okay okay great thanks thank you and now we've got Miguel's soul Eamon hey Miguel hi Judith how are you me i Wesley um so I would like to look at directing language and directing with facts as you mentioned in the book and I'm not sure if this is even the topic that we can perhaps delve into or if I'm imagining it but um I was thinking of directing as I read the book directing sort of by by your personality or sort of honing in on what your voice is because I think you do talk about directors having different ways of communicating and some types might be a stronger personality or come off as one and not mean to so um that's what I mean by one I want to look at language in general from a directors perspective and then I am also a I'm an instructor and a programmer for a film festival so I'd like to also if we can maybe towards the end we can talk about teaching directing and and where it's going and how that could be changing because I feel like when I was in school directing the actor was not was not a thing it was it was a void that I felt I needed to seek and so I did take the acting lessons on my own okay yeah I wanted to do that investigation but then I found that with that there was a lot of this the sense of of of doing the cycle analyzing of a thing rather than speaking with the fact that there was a lot of competition in that in the acting world so coming back into the directing chair from that world felt like I was always being rivaled or challenged or I had to step up to that with an actor really okay I'll ask you more about that okay that's that's a that's interesting okay and next we're back with ba ba oh no no bespoke no you gotta go okay I wrote it down sorry that was me DP is next hi there I am so sorry I'm literally just wrapping up a grocery story long line my name is Vincent Powell I am a filmmaker in Los Angeles I just got my MFA from USC along with dad and Peck and we're out here rushing it in these Los Angeles streets you know the good gets in my Ryan booth on the call and so great for you too for taking time to do this I've directed my first feature last fall and I taught well I took a class in Minnesota and talked to courses where we use your book as the main and only text and so uh fan of your work and your book was in my hotel room while I was filming my feature of course I didn't bring it to sit but you were getting me through it every night and sergeant's good thank you for that if there's anything that I could take away from a girlfriend from this call particularly I believe it's about collaborating with actors that Lots up on non actors but I have this apprehension of working with actors that are far more seasoned as far as like where do where do I start directing and where do where do I stop if I get Morgan Freeman on my set how much direction does Morgan Freeman need you know compared to you know NYU Tisch grad and so I think that that caused me some apprehension sometimes depending on what setting I'm in great great and what about you Leslie well uh so I'm Wasley Wasley Castillo a writer director and most recently an instructor at the Georgia Film Academy I'm based in Atlanta and I'm hoping to learn from you all today this is super exciting for me as well as just getting to see all these incredible minds here getting to talk directing and making movies so anything I can get from that I'm ecstatic okay well wonderful thank you these are all great things to want to hear about and hopefully I can now here's what I want to suggest it I think people also have specific questions they want to bring up but I there's enough material that you just gave me that I can talk about a few things right away shall I go ahead and do that or yeah because they're especially a couple of things that came up more than once like like working with non actors so let me just go or a blend you know a blend of professional and non-professional actors first of all here's what here's here's the bottom line don't ask non actors to act it's really it's I know it sounds simple simplistic but it's really true if you you you don't it don't ask non actors to act cast them as close to their own personalities as you can and then tell them that that's what you've done when you say you know you are you know I'm can see you in this role because you are exactly right for it just the way you are you don't have to do any acting and I don't want you to I want you to respond to the other actors and to the circumstances as you know as they hit you you know and and I I don't and I don't want you to act I think that's I think that's so crucial I think it's so so crucial I once saw for awhile about eight years ago I was you know 10 years ago as watching a lot of commentaries and luckily because you know eventually they disappeared so I was really clever I watched them you know a whole lot of women back then and there was one really about Thornton did a commentary for Slingblade and he he said that you know I don't know if you were anybody remembers that movie I still remember it was really wonderful movie and and in the early scene Slingblade is in a institution and you know there's somebody there's a man wiping mopping the floor so really but I wanted a non-factor he went to have a real janitor playing that role he felt it was important to have a real janitor playing the janitor in that seat so he got this real janitor and the guy looks fantastic and he's you know and and then Billy Bob liked him so much that he said you know I want to give you some lines and I want to you know and I want you to get into a fight with me with my character and then and he's like I said well I wouldn't do that I I wouldn't I wouldn't do that I wouldn't get in a fight with a with a patient and and so it simply put but but it's acting you know it's not you you don't have to feel bad like you're doing something that's wrong it's okay you won't get in trouble you know but but it'd be it'll be great for the scene and like I said what but no I wouldn't do that I'm not gonna do that I wouldn't do it so I just thought that was the best lesson you know that guy was like a great was fabulous because he refused to do something that he wasn't trained for he was very good janitor but he you know what I mean and he was wonderful in the scene but if he tried to get into a fight with a patient which is something that he and real life would never do it would just look like bad acting okay so I don't know that there's something central about that that you you you don't try to manipulate them and and it's gonna mean that you're probably gonna have less you know less coverage less you know less options about about your camera camera shots and you know unless less repetition of you know a lot less repetition of lots of takes so I think that's you know if you've got all non actors I think you really want to keep them non actors don't just turn them into poorly trained actors okay because you know after take one they're not non-actors never anymore you know before take one they've never acted before after take one they have so don't let them don't turn them into poorly trained actors uh say I want you to stay a non actor that's what I like I'm really happy to have you now if you're working you know in a high school situation and in fact the only reason you're rich was nine because professional actors are not available to you then still tell them I'm really glad I have you I think you're perfect and I've changed you know I wrote my scene for you and you know that's gonna be your best bet it really really is and and and you can still use a few little things the you know the you know intentions objectives you know like you can say well what what do you think you're you know what do you think you want and this scene and you know and then and the person will say the non-professional actor might say well I want him to get out of my get out of my face and then you can say great great let's do that do you know what I mean you can you can you can reinforce this idea of the objective or the verb or you could say you know I mean this is just like when you have to go to the store and and they don't have anything that you want and then word is rude to you it's just like that you know so you you so that's the as if that's what I'm gonna mention somebody said what do you do when you run out of verbs the as if the answer is is is is the bomb it's great so you know so it's like you don't always have to have a verb for everything but it's great if you can start to figure out metaphors in other words the as if metaphor parallel analogy you know the it's like when Mike Nichols used to call it the it's like when this is like when you you know this is like when you go to the store they don't have what you want and the guys route to you and but it might by the situation of the script it might be you know on a spaceship right so yeah so it's a it's an analogy if this is it's like when so you can do use those with non-professional actors as well that those can be you know there's those are simple to understand it's it's not it's not a big big jargon a big jargony kind of thing getting into a deep analysis about backstory this is going to be as helpful for non-professional actors but you know like like you know so this guy has been beaten up his whole life and if the person has not been leaping up there beating up their whole life and they're not an actor they go yeah you know okay but they don't they don't have training to to bring that to life but the objective does come can work with non-professional actors and the and the metaphor be it's like when those are very helpful backstory not so much you know invented backstory or backstory this season in the you know because you might see to it somebody who's a non-professional untrained actor well this guy has has had this and this happened to him I said well and he'll just say well that isn't it that hasn't happened I don't know anything about it and you can't argue with that right now as far as working with professional actors and non-professional actors you should if you possibly can I don't know what's happened to these commentaries that the directors were doing you know ten years ago but I mean they still exist on the internet somewhere or do you have to buy the disc from you know can get get the disc from Netflix is it still classical get them anyway if you possibly can you you have to find the commentary of Paul Greengrass for the movie United 93 I mean no listen United yes United 93 it's about the flight on September 11th the one that went down in the Pennsylvania field and so it recreates you know that flight and the and the people the heroic actions of the people who were on that flight anyway he he hired flight to pay to play the flight attendants pilots to play the pilots and air traffic controllers to play the air traffic controllers in fact the air traffic controllers that he hired were the ones who had been on duty on that day okay and now that sadly wasn't true of the flight attendants or the pilots because all those people died but you know the flight attendants were but they knew what it was like to be a flight attendant and they their ability to imagine what it might have been like to be a flight attendant on that flight was infinite you know they didn't have to do any work didn't have to be trained they you know I mean I'm sure that every flight attendant every pilot and the world when they heard the news of that they wondered what would I have done you know their their imagination was already going there on you know as the news hit as the news hit the televisions on that day so so they didn't have to do any acting does that make sense and have to do any acting but he hired for though for the passengers on the flight he'd hired professional actors he he'd hired professional actors who were not well known that was a deliberate choice to hire professional actors who are not well known but were professional actors and so he said you know they just get just get them to talk talk to each other like people they're listening you know the talking and listening get them to talk to each other like people and so if that's that's the best you know the kind of that story of how he worked on that is the best suggestion I have for getting professional and non-professional actress to work together is is to you know treat everybody like people the characters are all people and and I don't act asked the the non actors to act okay all right [Music] what else what else what else what else it could be fun to look at the the other on the other side of the spectrum with what mr

3.Powell asked about Morgan Freeman yes yeah you don't have to direct working Freeman in fact don't he doesn't like it I mean I know that from reading interviews with him you know anybody that you might see where are you the person who said that boy having trouble keeping up with everybody Oh Vince down there yeah okay can you hear me yeah okay okay so yeah if you're working with stars you still should prepare script analysis very deeply but the main reason that you're preparing the script analysis is not to give direction to them but to keep up with them you know just group to be able to listen to their ideas and and and I don't know not shoot them down right away that's good that's gonna be your best reason for being very prepared when you get to is with stars is so that you have had a lot of I need you know your own idea but a very strong principle of my script analysis is to have more than one idea you have your idea that your love think is fantastic and then you yourself come up with two more ideas for the same thing you know for the same moment or the same scene or the same character and you make yourself find way a way to absolutely believe in another way to do it I just think that that's like all it the technique of three possible it's you know it's it's it's fair in directing actors the original directing actors but I've I've expanded on it since then it's more expanded on in from directors intuition and then it's even more expanded on in the revision that I did for for the audiobook this past which came out of September and I'm working on a you know a another addition of directing actors which will be up next year 24th 25th anniversary I mean it's 25 years Wow come on yeah so it'll be a 25th anniversary edition it's it's it's actually pretty different I mean this is exactly the same but also very different and you know certainly updated and what was I saying before I got off on that and I didn't mean to might turn this into an infomercial by the way you were talking about the the theory of having little ideas yeah yeah so I really really bear down on that the longer I've todd the longer I've Cod you know I mean it's 25 years since you know since the first directing actress came out no longer I've taught the more I thereby bear down on that idea of in your preparation you know find Europe find your own voice your own idea what you what you feel it is and you know as clearly as you can absolutely do that but then take the time to make yourself think how could it work otherwise now I should give you an example you know like what if your your idea is that the two these two characters have been in love secretly in love since childhood okay and that that could be a very fruitful idea for a lot of different situations but but I think still think it's good it's helpful to take time to say what if it's the opposite what if they you know they're their secret backstory is if they've never gotten along you know that you know they've grown up together they've been next door to each other but they they never they never we're right for each other I don't know I mean that we don't have a script so that's you know it's very abstract here but to but to kind of make yourself think of more than one way that you can think of the characters now the most helpful thing about doing this is that it prepares you for the actor to have a completely different idea than you have okay so that you know so that when the actor has a completely different I did what he says you know what I don't think these people like each other at all then you're not going to do you know cuz cuz that can easily make you think oh my God he's my script he's my ideas he's never gonna he's never gonna trust anything I say and if you already know that there's more than one way to understand the character or understand the script then you'll have you'll be so much in so much better position to you know to not get freaked out when when an actor has a different idea than yours rudabeh man it doesn't mean you take a side you know you could you could say I you could say that's a great idea I totally see where you're coming from and then you can say and and yet you could say and yeah there's the scene there's this line there's this there's this thing that happens that makes me really wonder about that you know what what has been you know what has been going on do you know what I mean so that you come in thank you so much so you can it makes you flexible and it makes you able to hear them but also the other thing if you if you're going to work with a movie star look them up you know look them up on you know find as many interviews with them as you can because you know that I've read interviews with Morgan Freeman and he doesn't like to be directed so that's what I that's what I've read I don't know I don't know I haven't talked with anybody personally that's weird but but but I have read that and of course you know you have to take everything with a grain of salt because sometimes actors say certain things about themselves and it's they're not right they're wrong you know so it's but it's still get as much information as you can and you know talk to people that have worked with him and and then ask him what do you how do you want me to how do you want to work with how do you want me to work with you do you want me to stay back and wait till you come to me or do you want me to to jump in ask them you know you you you can I mean you know one thing about movie stars is they're surrounded by people who don't tell them the truth you know if you if you really think of them as people and people with problems people with problems like we all have then one of their problems is that they're they have all these yes men around them no one you know less people less people telling them that they're everything's great when it isn't and so you can be the person who tells them the truth you know but the thing is you want to have a relationship now I want to say Miguel Miguel what were you asking about Oh directing by personality that was such an interesting question because you have a strong personality don't you I've been told yes well that's cool so for that or no it's never been trouble but like you said I think that you come to discover these things sometimes at inopportune moments when perhaps you want to establish that relationship with someone or specifically a trust with an actor um and it can happen for any number of reasons as I'm sure experience has taught us all but um I think it's just that I think it's perhaps balancing knowing when to say something in a certain way and not be someone's yes person but then also knowing that there's ground to do that safely I think is what I've learned well here so I'll give you a percentage listen more than you talk hear your voice less than 50 percent of the time that's that's a place to start um and and then ask questions is somebody somebody else asked about asking questions you know I think you should always start with what are your thoughts about this what what do you think the character wants what what do you think is what do you think this scene is about what do you think the character spine is I think it you you can really I'm not sure how you can go wrong if you always ask Oh what do you think before you pipe up and and one of the things you can ask again is how do you like to work it's really okay to not talk so much somebody said they over explained who is that I forget yeah my tailor yeah yet just stop you know what I learned this once it's one of my favorite stories this is a long time ago I was talking to somebody I was telling them a story that I thought was incredibly interesting and I was talking and talking and talking and all of a sudden I saw them go away in their eyes you know I just saw and I thought oh gosh what am I gonna do they're not interested in this but I have to finish my story and then and the next moment I said to myself or do you and then I just stopped I stopped my story I stopped in mid-sentence you know what happened nothing they didn't notice you know why they weren't listening so you can stop talking you know if you started on a train of thought and you feel you're the person you're talking to going away you don't have to finish the train of thought you can stop and you can you can say or what do you think you can say or let's just try something where you know why don't we wait to see it you know you you I mean I think the or what do you think is a very helpful thing to say you know engaged collaborate with them you know um I don't know just to go back to Miguel you know just you can even say I've been told I have a strong personality actually inside I'm a teddy bear and that's what I think anyway and about you and so but I'm tough enough to hear criticism so if you ever feel like I'm coming on too strong would you please tell me would you do would you do me that favor please telling me if you ever feel like I'm coming on too strong okay I think one of the most important things you can do with certainly with a star or with anybody is to do this is a new thing not in the original book but I call it you know exchanging a promise with them for an agreement you know to say I want you safely actor I want you to be able to say anything to me anything in the whole world I any complaint you have a complaint about the script a complaint about your you know something that's going on technically a complaint about wardrobe a complaint about even a complaint about other actors which is actually unprofessional to do most actors you know no they shouldn't complain about other actors but you could say even fat even you know even even fat if you have a complaint about another actor you can tell me and even if you have a complaint about me you can tell me and I want you to tell me I want you to tell me anything that is bothering you but here's what I ask in return and you sit and you can say and I will listen and I will take it on the chin if I have to and I will do something about it whatever is in my power and and then you say but here's what I want to ask of you I want it I want you to promise me that you will tell me these things in private you you will be in so much better shape if you do this with everybody even if they're you know just your your friends you know that I've never acted before the thing you don't want happening you don't want gossip you don't want people yelling at anybody on the set okay and you don't want to be living in fear of that because if you live if you're living in fear of that I don't know it just shuts you down so that's uh that's no good guys just a quick flag on the play sorry completely my fault our boy Danny Malone didn't get a chance to introduce himself I just want him to get a chance to do that before we continue sorry about that man now you're all good eyes hi my name is Danny Malone I classed me the Oise as I was about two years ahead of him at st

4.John's and a year behind him at Florida State I'll be graduating this summer your book was incredibly helpful to me on my thesis this past this past semester really what I kind of want to learn about is figuring out ways to empower an actor who seems really hesitant to speak on their beliefs and their opinions on a character or a scene I feel you kind of just touched on it actually which is which is weird but when they seem like they just want to hear your ideas on the project what are some ways you can really get them to to feel empowered and let their mind run free that's that's what I would like to yeah well I think you have to start with your belief system you know because I I've heard directors say you know some actors come to the set and an empty slate and I just don't believe anybody's an empty slate I just don't believe in it everybody has experiences I mean there are some people who are not articulate in the sense of being able to you know have to say this is my idea do you know what I mean not not everybody has that this is my idea you know that intellectual confidence or interest even sometimes but but everybody has experiences and that means everybody has impressions everybody has impressions so that's what you could say what are you what impressions do you have what or connections what connections do you have here's something you could say and and you know you have to do this so it doesn't feel intrusive but you can say you know what I'd love to find out I'd love to find out if there are three ways that you think you're like this character in three ways you think you are quick it's interesting I don't know I just get I don't know you know I can't tell you what to do next mm-hmm I I think I think something always happens yeah I think something always happens ideas come from that how does that help yeah absolutely thank you okay but yeah if the word idea sometimes the word idea is like too much for some people it's like you know saying I'm not you know cerebral which is fine they're not that's not part of their job to be cerebral really is their their job is to be impulsive so so okay so you could call the impressions or connections instead of ideas thank you very much here sure what else what else do they do here um we've got we've got some people either getting ready to shoot a feature or having already shot it so maybe maybe those people could come forward and talk a little bit about that and their concerns yes great speak up who is that the person who was supposed to shoot in May that's why you that with me I'd already forgotten that I was supposed to be sitting in there I just had to remove it from my mind I know I know I know well let me try a little something that I I thought of to try to show you and I'm just connecting with Mike my lap time back here a little bit and um I don't know if this would be helpful or not I mean of course one thing you know read read read I was trying to fix this area up a little bit so I put my favorite looks Kazan on directing Kazan on directing it's fantastic Cassavetes on Cassavetes Kieslowski's on key slaps key you know I don't do let's see and of course so Sidney Lumet's book making movies those are the books that I think are just really crucial really really crucial I mean you don't have to be a kind of filmmaker that Cassavetes was he's are unique and keys last key to they're both unique one of them they were both one-of-a-kind and it's not that then anybody should try to imitate their methods but their their devotion their absolute devotion to the deepest truths that the beachie you know thinking of each actor that came in front of them as as as a creature who is in possession of a deep truth somewhere and and that yeah every actor that came in front of them they they had the idea that that act that every that it was a person that was in possession of some deep truth and that there and they also the belief that everybody wants to express their deep truths and the idea that you know that we're all a vessel for whatever that deep truth is I mean David Lynch Roseland like that too about that kind of thing the big fish the way he puts him in his own unique way but so those things are inspiring and you know the if you if you can get around to to thinking of yourself that way that you know that that you're gonna find out what makes this actor tick you know what what what turns them on what's important to them what if they got to say and how can how can you help them I mean you will have already cast them so you know you gotta take responsibility for your casting you know so you don't cast them and then turn them into another person I'd be like marrying somebody and then deciding you want to turn them into another person I mean that's not it but that's not a good idea right if you marry somebody and you know you gotta make something work you get to get to I don't mean you got to you get to it's very exciting and but you know you don't have to you can even get divorced but but you know you you you get to kind of find out what is the most work you know the wonderful things they have to offer so and that's true about actors too so that's one thing we read those books they're just invaluable do listen to my audio book it's really good and you can get it for free it's not enough you know it's not Spotify it's you know if you don't have an audible subscription it's on Spotify and as some libraries - so there's a list of places that it's on and some you know there should libraries of course would be free I think Spotify is free if you have us you know if you're signed up for it so yeah anyway I I think it you know I think it goes deeper and will be helpful and then there's more there's you know more more up-to-date references but then what else you know hang out with actress Chris no we're not allowed to hang out with anybody but but what about I don't know I mean is it possible to get in on you know actors chat lot of chat groups or something - I mean you know the people are just wondering what more to do you know to interview you know to call up your act your friends and say I want to interview you I want to I want to find out what you know I want to ask you what you what the actors are doing that you what directors do that you hate what directors do that you love I want to I want to interview that and and then ask them why are you an actor be sure you only ask that question if you've got an hour to despair actors live to talk about glass pushing their life story basically yeah rehearsals I'm curious to talk about the rehearsal process I know a lot of us have had experience in doing short films and we have various some you know amounts of resources so I think we think comfortably all speak from the independent level obviously but what do rehearsals look like if you don't have that actor in person until a certain day and that day is a shooting day how do you how would you advise us to kind of consider processing rehearsing especially in this environment well well here's the thing in order to have real rehearsal you do have to have some time and if you don't have real rehearsal if you don't have time you're gonna rehearse with the camera running that's the way it is so I don't know dig it you know I would recommend you know if we had all this time on her hands but weren't forced to not be you know weren't forced to be away from each other then I would suggest you know doing practice rehearsals getting together with actors and and but you know that's not allowed now so so you know I think that you should learn how to rehearse a single scene two or three page scene in a two hour time period I think you should learn how to do that I think you should learn how to have enough to do that it can stay interesting and fun and exciting and forward moving for two full hours that's a long time for a short scene right but I think you should learn how to do that and practice that over and over and then you'll get better you'll get better at dealing with having you know 30 minutes or even 15 minutes or even five minutes you'll get better if you if you practice doing it in two hours does that make sense it's there there aren't really there are there isn't a magic wand for that you know that if you really haven't seen the met the actors at all until the day of shooting they haven't met each other and you haven't met them first of all you've got to acknowledge what a weird situation that is I mean that is weird I still you know I cannot help you understand why the agents and the producers want to do that they want to do that they think that's perfectly okay for the actors to meet each other and the director on the first day of shooting that's nuts as far as I'm concerned it's nuts you know I mean you've got to at least Skype with everybody or of zoom with everybody ahead of time get this close you know it you know think of it is this an intimate relationship and you know then tell them why you wrote this thing tell them what matters to you about it ask them for you know I'll tell you let's start this thing why are you an actor it's they will talk you know if they if they feel you really want to know you know if they feel that you really care and want to know okay and maybe you need to tell them first with why you're an artist yourself I don't know but but you know don't assume there is interested in you as you are in them they might not be but but you know and and make it easier I was actually it been I've been consulting you know I do these one-on-one consultations and now they're all in zoom but I respect but I used to just access which is somebody in Berlin actually a couple of weeks and he he's doing something that's actually gonna have part opera in it so this because was how do I direct these actors where some of them are going to be opera singers and an opera cars stars of the Opera world and some of them will not have acted before much at all and so we talked a lot about you know and he was gonna have a zoom call with this big opera star big diva big opera diva and the casting director and the producers wanted her to do like a screen test over zoom so I said well that's terrible you know she won't be lit right she won't you know I mean at least the thing about a screen test is you're lit properly and you know that that this is so unfair so the only thing you could do at the beginning is to talk about it frankly this is you know this is a crazy thing this is not you say this is not an audition I mean that's what the producers wanted they wanted an audition right they wanted to see if she could act for film right and and I said you know you gotta tell her it's not an audition it can't be an audition because we're not in the same room and you say but we're gonna get to know each other that's huh we're gonna get to know each other and explore the characters and if we feel like reading a couple of scenes maybe we'll do that and how do you feel about having the camera running for the whole thing we could either have a camera running for the whole thing or the camera not on it all for this particular conversation but the idea of do you know interacting with an actor on zoom and then you say okay now we're going to turn on the camera and you're gonna play the scene ah you know it's it's it's not good so acknowledge it say this is crazy we're in a crazy world so let's just see if we can you know it's floor have some fun see if we learn anything together okay so that's what that's what I would suggest for now and you know certainly meet interview what else I I was going to show you something what time is it oh it's 4 o'clock yes we're at the we're at the hour mark so I just want to note that we are at the hour mark amazing how quickly time flies right when you're having fun so dude if you wanted to show what you wanted to show and then we could take a couple more questions well if people want to leave now you know we said it was an hour so if you want to leave now that's completely understandable these are my dollhouse dolls let's see ok [Music] these are I I think they're so useful again this is not my original book of directing actors but this is something I've figured out since then is you can can you see anything can't really see much can you anyway I've got some got some dolls get some furniture and well I had a whole little kitchen up there but you can't see it I had to bring it down here anyway and then you can you can see the lines and make them move around and this is really helpful for imagining scenes you know before you do your before you do your um let's get the word for that you know when you sketch you know this is really kind of blocking Horse three boys that's it's a very simple word before storyboards and before you do your blocking diagrams before you do your shot list to just help you imagine it in three dimensions you know it's sort of more like a theatre sort of putting it into a more like a theater kind of thing so so the oh well gosh I had it up on my but you can't really see it anyway so and then you they say the words and then they move around and then maybe you have a refrigerator over here anyhow this is not gonna work but but but but you could try that get yourself some some [Music] dollhouse furniture and little dollhouse dolls or action figures or see art supply dolls and and you know and make them move around while you're you know so and and see if that see if that doesn't anything for you you know and even if there's a scene that you've already storyboarded see if you like start from scratch what would it be like they're really people because if you do this they're just dolls of course but but it will actually look and feel more like what you're gonna see when you get to rehearsal or the set because it's you know people moving it around in a little little room or little park or whatever so I don't know it feels pretty lame as a way to let you lock down you know I don't know it's really hard what are people doing what are you guys doing to kind of yourself alive anybody possibly a coincidence I was saying and lots of writing watching YouTube videos just trying to stay into everything because it's all you can do when you're in the house is kind of watching different directors actors just trying to stay a part of it yeah I'm joining a lot more like Ryder groups sorry just a lot of any group that I can join like zoom group to check in on each other has been like the best thing okay good Jasmine you were gonna say something I mean I'm trying to do to learn a skill it's like creatively and she sent some picking up like guitar and piano to keep me going a little bit baby stuff like this obviously Tyler had random yeah I was just wondering Francisco did you know those people that you're meeting up with on Zoomer is that how are you finding these things I've always wondered about that online I'm like you know I actually follow a lot of y'all online and one of somebody posted like hey you know you want to join a writers group and then then we did thank you for that it was thanks I'm finding it fun to do a lot of cooking with the podcast involves like John August script notes is great and just to like listen to a bunch of those experiment cooking and storytelling okay I've actually been trying to develop so let's figure out a way to shoot a short film one of my old ideas reformat it for like a zoom kind of like shooting it over zoom so that's a great idea you know pre producing like crazy get all my high school friends I know they're also filmmakers say hey y'all produced I believe I think I'll run up the schedule for you I got arranged shot list all that I got you back and forth try to work with as many people as I can within this time yeah I've been I've been hosting writers circles I I normally do one a month in my apartment in Jersey City and I'll invite anywhere between 2 and 12 writers with any short material that they want to discuss and by short I don't mean just only short films but it could be features but we tend to keep to a maximum with 12 to 15 pages so that everyone gets about an hour of first reading their piece and hearing it out loud and then anywhere between 20 and 30 minutes for comments and feedback always constructive of course and there's no prerequisites for that so if anyone from this call wants to join um by all means if wisely wants to pass on my my email it's not closed off to you know people that I know it's open to anybody who wants to hear their piece or wants to share need some feedback I'm a screenwriter first so that's where I specialize and I like to get back in that way awesome Thanks Thanks that's great that's great how many of you are quarantine alone without without anybody else in the house yeah yeah but everybody else has somebody else in the house oh that's tough I think that's tough so are you guys are you making sure your talked to somebody every day I'll talk to this that's nice good good very important and yes it's possible to get some fresh air these least open oh we know at least I have a little bit of a yard I'm very grateful for good that's good that's good that's good so did you know did anybody else have any other questions just because we're we're 10 minutes overtime so I don't know if you guys want to try and ask your questions one after the other and I can start off like a little cue here or if you guys just wanted to go for it and start talking about the things you want to know a little more about I have one question can make it really quick so my record is more in doing improvisational comedy and just the play of that but I was watching binge watching easy the last couple weeks and that whole show is centered around it's an anthology series but it's all improvised so I can realize when I was watching it so it seems like the director is doing outline and then it's the same cast over the three seasons but I was just curious if you have thoughts on doing something that was an episodic series where what were your thoughts on how you support a cast who may not have an improv background to kind of lean into being open to working that way well I recommend that you find people with an improv background I really do you know there's so many of them you know released out here I don't know I don't know about the East Coast but out here man everybody has taken the groundlings course or the UCB no UCB he's just closed up it's it's it's heartbreaking heartbreaking they closed in LA as well as you well they just well they stopped classes of course everybody has I realize know they they closed their shop pointer what Groundlings are still going I so everybody here I reactor is just rotting just doing because with easy there it's a drama I mean drama D but also that it's that you're working with an extended bit of material in outline form so you're just I guess you would just build it through a season and work with your individual cast members well I mean you know but you know if you wanted to get a group of people together and you wanted to learn how to well it's it's a whole skill it is a skill to I mean I like I can get people improvising who have never improvised before but I'm very extreme about telling them not to perform you know when I when I was teaching well so where's Ellen selling is Ellen gone oh well anyway so when I was teaching the acting for directors course I I was you know I would get people on a third day to do little improvised scenes but I was I took like 15 minutes to explain the ground rules and the ground rules were absolutely no rules you know no no no acting no trying to perform no trying to make it funny no trying to make it dramatic no trying to push the scene in any particular direction just absolutely just responding to each other with no obligation so my rules were no denial no obligation but I got good at explaining these rules but I you know it always took me 15 or 20 minutes and it was always worth it to take that amount of time so it's it's not that it's it's not that easy to get people to not watch themselves if they're not used to it if they haven't had training in it and you know the center of improv training is you know your partner then it's that it's pencils off that's one of the great things about it you know that it's focused there no denial means that you whatever your partner gives you you know that they you know I mean people have a tendency if they've never improvised before if their partner says oh it's so cold today and then they'll have a tendency to say what are you talking about it's the middle of summer is 100 degrees it's been 100 degrees for three weeks you know because they think it will be dramatic or something but you know oh you're just arguing about what planet you're on and it's not that interesting after all so so you know so no denial is the heart the heart of improv training they they caught the yes and you know the associate your partners says it's so cold today and then you say yes and it's just amazing because it's the middle of July you know you can still you can still do that if you say yes the end if you if you say yes am and you know and and then you know keep keep building so so that's at the heart of improv and people who don't have expressed with it they think it's something else I think the heart of improv is being clever well highly recommend that show if anyone wants to explore Oh easy okay Netflix so it Wesley did you have a question no I was trying to see if anybody else had any questions question so kind of trying to figure out on set when things aren't working and and when you know when to regroup when to when to completely shift that you know your direction you know realizing that it's not working and then how to shift from that because yeah I recently I've you know i had a I was working on a scene and the actor was crying and even like even though there was no crying in the script and I was trying to like trying to push them away from crying and it felt like a constant thing on everything even scenes that weren't emotional I was like please I can't tell you that to them but I was trying to like oh please you know you're trying to empower him I was trying to use words that basically away from tears and and and that was a time where I was like oh as a director I don't know what to do anymore so yeah it sounds like a time to take him aside I mean you should tell her everything you say to an actor should be a private I mean you know never never we all call to them from behind the monitor but um it sounds like you could take them aside and say tell me some more about your choices because ah I don't know just start there you know yeah you know like treat it like it's like it's an artistic issue and not you know not something wrong with him like it's you know it's it has to do with choices that he's made choices about this you know tell me some more about your choices or particularly and then if he if he says what do you mean you could say well I'm wondering oh why he's so sad I don't know you could just say it like that I'm wondering why he's so sad okay thank you no yeah I guess I worry to use words like that like asking them questions about like the choices that they've made because I feel like I'm like attacking there there's their their approach so I don't so that's good that it is that you know be sure that nobody can overhear that that's important but I think you want to be direct I mean here's the thing just look at it this way an actor you know they might be might bother them to be us two other choices questioned it might even make them angry might maybe make them feel hurt might they would make them feel defensive but as long as you're in privacy that'll be okay you know you could take it right you're tough you can take it you you have to be the one that can take it and but which do you think the actor would rather have happen that they get told something that's uncomfortable to be told or that they get cut out of the scene right it's pretty simple right okay so so you you know you you have to you know most of us are not don't have a lot of experience telling tough truths to other people in real life we don't have a lot of experience with that so get some thank you so much you know I think lockdown is a perfect time for that really I mean I just don't sit down in so many ways and you know emotionally you know I just feel like why keep up the facade you know if you you know and the other thing is you have to realize you you have to tell yourself you know you check you know where's my heart it's my heart pure am I telling him this out of love because I know he can do better then yes you can say it whatever it is beautiful thank you and I saw Lena had a question yeah kind of jumping back to rehearsals if that's okay if we for a second assume we have basically the opposite problem we don't have no rehearsal but we have a lot of it and you talk in directing actors he talked a lot about in rehearsal marrying back to the actors what you liked what they did to me right back and yet you also talked about maybe just making a note and saving it for the shoot and I'm wondering so when do I make a note and when do i mirrored back directly so when is it better to save something for the actual shoot and when should I explore it more in rehearsal wow I'm gonna I'm gonna punt on that one I don't know I can't give you a you know an absolute thermometer there that comes with experience I mean I'm how I can tell you is I have made both those mistakes telling them too much and not telling them enough I've made them myself and you know here's the thing here's the thing about mistakes you know if you if you're not yeah if first of all you can ask them am I to say I might be am I talking too much here's a great question am I talking too much you know or or do or do you or do you want me to talk more but that's that's how find that out and phooey what was the other thing I was gonna say it was very important I was gonna say something else oh oh just remember you know if you do make a mistake it's not the same as a surgeon you know like you know this you know like we're creative we're creative we're creating imaginary circumstances and imaginary stories and imaginary people if you make a mistake you can change your mind and if your surgeon when you make the cut if it turns out you've made the cut the wrong place that's a different kind of mistake then the you know you know the I think I think it's so helpful to realize you know make choices jump in and then benefit if if you feel like you you know if you could get to where you could say well that didn't work you know now you don't want to do that with producers around okay you don't want to do that let's do more crew yeah but if you're it's just you and the actor and and everybody's focused on the word then it really becomes okay to say well that didn't work let's try something else let's move on you know the sort of no-fault Noah Noah now it you don't even have to analyze you can just say let's move on and but that's the value of having rehearsal without producers or crew around you know they're kind of rough yeah directors and let's see we've got Paolo next and we're gonna we can do one more question after Paolo it looks like it can be Miguel unless somebody else wants to go and you got followed you're out there sorry about that so Judith one thing I would love to ask you is what type of advice would you like to give to young directors and even younger directors like myself oh well I still think you should go to college are you gonna go to college uh yeah I'm aiming for at the Superdome school oh great okay good good and I think you should study other things besides foam I think you know she should take electives and you should you know study philosophy and poetry and science I really I really think that science and math is really helpful for for directors that's my belief you know that I don't know develop both sides of your brand I kind of one point I really got into left-brain right-brain theory and you know that and the idea that writers and actors are very right right brain actually some people said the right brain I don't know anyway right brain which is a imagistic impulsive non analytical and then and then directors are more left brain yeah that's but but you know everybody's a mixture of both and so I don't know I think you know different well parts of your brain that's all develop all parts of your brain and it really excites is so interesting and I philosophy in all kinds of stuff like I really think it and Shakespeare here's what you could do under lockdown read Shakespeare what about finding a group that wants to read Shakespeare out loud together maybe I'll start one I don't know I think that I think reading Shakespeare is I'll tell you I'll tell you what I figured out is that everything that I understand about script analysis really can from Shakespeare and Emily Dickinson because there's so hard to understand so hard to understand and so just reading it over and over until something came to me really and then and then I figure out one little phrase and then I don't notice there's something else in a sentence or those character would start to make more sense and it would be like you know it's like a puzzle and you know you find more more parts of it and and and thinks I don't know everything that I write about imagery about using imagery subtext imagery I learned from Emily Dickinson bring out her imagery because it's so hard to figure out and and I just thought this is you know this is so much and then and so I yeah that's another thing dream lockdown beat a lot of shakes Birds read it out loud thank you mom and we're gonna sneak this one in here but we have our last two things we're gonna go with jasmine first because she had a question or a an ask of Judith and then we'll go with Miguel to wrap us all up for the day I was just wondering I listened to an interview did ya put your fees for and mentioned not wanting to go into the older stuff like from the seventies and before and I just want to know what those movies are because I'm down for that content oh oh oh what did I say that the 70s that's the best that's the best okay 70s all right you want you want suggestions and movies to watch yes please Doug de aqui you seen Doug Day Afternoon dark day afternoon it has to be a number one and all that courses got well The Godfather will be CERN from the seventies you know there's we what am I gonna do I'm not gonna remember all the all of them here's here's a couple that not everybody has seen I've always been surprised it you know how people haven't seen that Day Afternoon as many as many as should but um clewd who's uh who's uh who's a Pakula fan anyway anything by Alan Pakula anything you know all the President's Men Sophie's Choice flute you know fantastic mm-hmm so I'm just talking but I'm trying to come up with lesser-known ones because of course that was the heyday of Coppola and of course taxi driver I mean I've you can always rewatch taxi driver you know that's so but anyway those those are ones that everybody know but trying to they shoot horses don't they Sydney back when he was doing that dark dark stuff before to see when all he was doing this dark dark stuff Jason you know what I'm talking about Jeremiah Johnson you know dark dark dirt so what else who else Jason you must have some suggestions about seventies filmmakers you know what is actually fantastic is there was a recent interview with Quentin Tarantino it's a two-hour long podcast where he lists every single movie he saw in the theater when he was 15 years old in 1979 because they used to publish these compendiums of every movie that came out and it's kind of magical to hear that and to hear you know still these little gems that he takes from them um I'll dig that up in a in a second and I can post that in the chat box but also I mean while you're on the Coppola stuff I was thinking of the conversation at all have a favorite yeah absolutely French Lieutenant's women woman you know I mean there's a whole lot of stuff I mean The Deer Hunter of course Deer Hunter so have you just Jasmine have you seen The Deer Hunter I've seen the first you just circle back oh it's it's hard to watch definitely very hard to watch I think that might have been in the 1979 like release group I I feel like I've heard something about The Deer Hunter recently where them that the main character is the town like an interview with Jim you know he was talking about how it's about it's about this like you know town where everyone is still speaking Russian and it still got this like old-school connection changing over time um which isn't the the first read that a lot of people bring to that movie and I thought that was just fascinating okay last question and Miguel yes yeah I just want to throw in I love the Exorcist and the French Connection and Lincoln Center ran a very short film series on films from 1972 and I saw what is I thought was the most incredible gems the films that I would have never seen in my life which were the deep and the car they're both semi sort of horror films ones about a shark and gold at the bottom of this Bay and the other one is about this car was just out to run people over it's amazing but also my question and and I'm trying to read the room here especially since I think his name is Paulo asked the question about schooling so I did want to ask Judith about teaching directing in today is sort of how every every University almost has a film Department if not a film Academy in and of itself and I've been to three of them that range anywhere from a mom-and-pop one to you know middle-of-the-road and then one of the greatest cinema academies you can think of and what I find is that in all three there's there's there's like in any any subject and in any place there's gonna be a lack of something but what I was shocked to find was that a lot of these film schools seem to be lacking courses in directing the actor and I'm wondering is there activism on your part with this book that I love that you go back to and happen going back to for I think you said 25 years you know is there something that we can do to become more involved and fill that void and change the way that universities are approaching you know offering lessons or diplomas or whatever you want whatever have you in directing and never once bringing an actor to to a classroom I think it's criminal but I don't know if that was everyone's experience or perhaps just one of mine that happened to just always be a constant well you know you have to ask you you have to lobby for it you know you have to say we want this and I think it you know it's it's it's it's I think I think a lot of people are more comfortable around the machinery around the toys you know so you you have to say yes we want to go into the uncomfortable areas you know around around either the toys around the discussion of great movies and so I mean it's the students are more comfortable as well as the teachers and so you have to say we want to go into the uncomfortable area so we want to fail in front of our peers and I'll take those chances because it's you know it's it's trial and error and it you know it finding a place to you know you know that it's so that it so that it becomes about the work not just about the product but about the work and it's very yeah you have to keep asking you know I don't know write petitions or whatever but but I do hope that this 25th edition is going to be helpful because the chapter and rehearsal I leave am quite a bit and actually said you know to make it more but you know to have a section of it that would just be about how you know a study guide for for a class you know that would include a bunch of stuff that you would never get to do on a professional set but you know to say this is uh but but these are things that would be good to have practice with in you know in a two or three hour time frame wait and you know with with actors who who you know what want to play around you know I mean actors can't do anything without other people so they're they're they're game for that kind of thing you know they're they're game for for working out you know as long as it's not punishing you know as long as it's not a punishing experience and and that means listen you know another client a couple of weeks ago well we you know we've been working together for a while and this is before lockdown he's in New York and and he was getting ready and he he hadn't really directed before and he was gonna do a feature first I tried to talk him out of doing it you know I think what I really think he should do is because short films for a year or two and then make your feature but he didn't he didn't cotton to that but anyway so I said well then you've got an you know practice you've gotta meet backers you've got it have practice rehearsals with them you've got to and and Fridays I'm not gonna work with you if you don't and so so he started doing it and then you know he was ready and he was going to the first one I said let me just give you one last thing because he had the big I like to talk a lot and you know I had noticed it when he was when he was talking to me and I said you I want you to practice talking less really practice it it will feel uncomfortable to you because you like to talk but practice you know use this 50% thing talk less than 50% of the time hear your voice less than 50% of the time and and then he came back he had to you know this practically in front some actors him and in practice rehearsal then when we met the next time I said oh how did it go and he said great but it so great and he said that the the actors have said to him you know then then I said at the end ask the actors for feedback you know how they they've you know how they felt about it and he said he was just shocked at how complimentary they were and then they said specifically they said you know it was so interesting how you didn't talk very much that's such a relief because most directors they're just they use rehearsal just to micromanage so you know I can't remember where we started out but the question was gonna be started out but I was something yeah I don't know I think I went a little afield but anyway it said well that was that was an amazing question and I think was was answered a great way to I really just want to thank you guys all for coming we've been here now an hour and 40 minutes and you guys all have been have been amazing for joining in on this beta session you know we've definitely we've all learned a lot definitely leaving here with more than we came in so Judith thank you so so much you don't give our hearts I know I think you're very welcome it was a pleasure really a pleasure and I want to thank Wesley an absolute play an absolute pleasure guys I hope we can do a lot more if we can do one last thing before you guys get out of here if you have your book closed or a screenshot of your book on your phone if you can bring it up towards the camera I want to put a screen cap so we can put it on Twitter yeah go ahead and find it online there it is there we go find them online bring them up put up your phones and you guys it's not just a beta class so do us a favor and go back on Twitter and let everybody know how much fun you had let everybody know how awesome the meetup was and to all your friends that couldn't get in this time let them know that there's gonna be more and they can always reach out to be put on to the next ones thank you guys so much thank you mind your phone wonderful