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Writing Your Story

What's up guys haven't ever is live studio audience and cameras with like the red thing so I feel like I could like look at any camera and they have to jump to where it is but they're not doing it whatever. All right? So we're just gonna jump right into this thing guerilla filmmaking one a one that's all we're talking about it's going to be like the basic stuff right? So we're going ground floor very basic one o one if you've never picked up a camera after this you'll be able to do this thing but first of all, who are these idiots? Okay, so I'm ryan connelly start to talk about that a little bit filmmaker I started with film school after that I worked at alien wear for a while running their video studio I did that for about three years started film riot did some my own stuff on side short films I will never see the light of day ever I burnt them I buried them I prayed over them and they died uh but I also have ah stark which looks so dashing right there sexual and violent he's my v eff...

ects artist michael stark just like tony stark you're not the first to think that no, he doesn't love it he's done work on things like star trek into darkness beautiful creatures devils do shows like game of thrones I hate him because his resume is better than mine, josh, who is also very violent, formidable that's how he looks when he goes to bed he's an actor and content creator obviously on film riot kind of like I consider him like the main cast member on film, right? Like I'm the host and he's like the star of the show everybody loves him and not me and very envious I have a marshall marshall marshall situation with him hey is to produce films state, which we don't do anymore, right p film state also main actor in proximity losses but his main role for trying in films, which is my company independent production company totally separate from anything in hollywood, which is what I think makes us unique that's kind of the track that we're taking that we want if not hollywood came knocking it's not like I wouldn't open the door, but we kind of want to do it on our own. We kind of wanted we started from the very beginning on our own and we kind of make it want it want to make it the rest of warrior on our own and were kind of they're sort of knocking on the door of that that final goal there, which is a lot what we're going to be talking about, doing it on your own, doing it from the start, which is really? Who we are, but josh is actor and producer for me produces all our online content, but what to expect again? It's, indie filmmaking one o one it's everything that it takes to make your film it's probably gonna be a healthy amount of a d d if you watch film ryan, which is not like a few of you have I have a tendency to go the pot a little bit that's another reason josh is here because, uh yeah, me and staying on track, not best friends and this is live, so that makes it a little more nerve racking, but I had a lot of coffee, caffeine as well. So that's as you could see it, since I'm kind of like almost doing a dance move right now, but josh will keep me on track. That's fine also have ah great tendency of having what I like to call brain farts, so if I go blank, I'm sitting there it's probably cause I came up with an idea and I'm thinking about that idea and like, I have to do that for film riot, and josh is also here to be like, hey, idiot, get back, get back on track, all right, so where ideas come from and I had some caffeine, that was a bad plan okay, so where ideas come from start from the beginning? You know, this is a weird thing for me. We do film right way have five to six days a week to do an episode, which really isn't true because we do two episodes a week. In the beginning, we were doing one episode week, so we have five to six days toe lock out an episode, I also had a full time job, and we're doing one sketch every single week, which I miss, and we're trying to get back to, but that meant that within five days I had to come up with an idea which was hopefully original and different from the last one, so it doesn't feel like we're doing the same thing over and over again every week, right? That's going to get really boring and then to write the thing, I prepped the thing we had to shoot the thing so it's a matter of coming up with ideas, fast and furious star vin diesel, fast and furious, I don't know and I never really had a problem with it was ideas just came really quickly to me, thankfully, so I never really thought about where the ideas come from, and I started getting that question a lot where do you get your ideas for film, right? Just come to me. They just popped in my head. What? I mean, is this an idea? An idea? You run with it. But then after a while, after we started getting more busy, we started taking on more shows. I started getting more client work. I found myself, you know, head down and work a lot more. I wasn't really consuming life like like I used to and that's a big part of it. Our creativity is the sum of our consumption is what I started thinking. The sum of our experiences in life. Right? So what? You watch what you listen to, what you read, the video games, you play the places you travel, this is all what informs our creativity. So I went from constantly watching things constantly, listening to things, playing things, hanging out with people and just absorbing it all and all of this informed all of my creativity. So every bit of this was this was where my ideas came from, but after a while I started finding is having a hard time coming up with ideas because I stopped experiencing life. I stopped consuming things because I was so wrapped up in work that made it really, really difficult again relationships, the people you hang out with your significant others and just analyzing them because what you put in is what you're going to get out right like the creativity that you put into yourself is the type of thing if your horror fanatic more than likely that sort of genre is going to end form what you do a good example of that is spielberg right? The spielberg father figure we'd probably all have heard this when he was a kid his parents divorced right? He blamed his father and then look at his earlier films look at the father figures in his earlier films what happened in his life greatly informed these thematic elements that he started putting into all of his films and consuming not enough we have to analyze the world around you especially want to be a writer or director you want to say something in your story you have to have something to say to have something to say you have to analyze things you see around you analyze people places things why didn't people do the things they do break that crap down you know and you don't even have to fully understand it you just have to want to start to pick it apart why did this person say this thing when they really meant that? Why did this person do this behind my back? Not just don't just be pissed at them figure it out why did they do this? This will inform your character and take your right until homely level for sure and if you hit a wall with your idea, put yourself in a box so what I mean by that if you have a whole universe of possibilities when it comes to ideas that's really hard unless you already have something that you've always wanted to make and you're on a deadline which after man often am and they're like, hey, give me an idea, you know? I mean, you have like this entire scope of things that you could do so plucking one is really difficult but then you finally do you're like, okay, this is the one there's one I want to do, but that one looks good too and then you forget about that one and you don't do what you originally set out to dio because now this one but if you put yourself in a box in my box with film right is always the technique that were teaching so that week we have to do with supersede speed effect that we just did right? So ok has to be a super speed fact that's my box, I have a limitation it's really easy to then pin an idea on that so put yourself in a box for me I'm writing a feature right now and the way I came to that I would had this like setting but I'm like this type of movie would be awesome that setting I've never seen that so I had my setting all right? Who the players, one of the characters where the characters I want to put in there and mess with and ruin their lives okay, those these characters I'm gonna put them in right and slowly but surely this idea starts to blossom from that and then you start to figure out things you want to say I would like to talk about this but that in there and that's going to start informing your story so where ideas come from I think is a lot more simplistic than a lot of people think a lot then I thought, at least for me slowly but surely these things started to make ah lot of sense to me now breaking your story couch time it's not napping it's working my mom my wife says that snapping like shut up working me alone I'm not relaxing, I'm working and it is its brain power man, right? I mean brand power that's the hardest work that's most exhausting stuff and sometimes stressful because you're like, come on, come up with that thing but just sitting there is where you're gonna come up think driving is usually where I break a lot of the ideas in my story showers, which I like to call the atom state you you're vulnerable I'm a never nude though, so I'm like I got the short shorts on it's still sexy research this one's huge it helps you crapped your story again with the feature that I'm writing this one has completely saved me it fixes plot problems it plugs holes saves you from inaccuracies one of the big things with the future that I'm currently writing is I did my basic outline and they were just so many holes like why does this happen? How do okay no we have to get here I know the character has to do this why how? But then I started researching this certain setting and the things that go on there and is up well that that's the actual that's perfect and it started solving my problems for me so research is one of the biggest things when you have your general outline just start researching whatever it is even if it's you know relationship drama that takes place in one room start researching relationships different types of people that stuff we'll help you a lot should I write what I know I know you shouldn't uh I've said it on the show before and I think people misunderstand what I mean and I hope other people mean by write what you know if you wrote only what you knew we wouldn't have hard wouldn't have fantasy certainly wouldn't have you know hobbit star wars star trek clearly even things like gravity you know alphonse a crime has been to space to my knowledge but when you're talking about emotion, that's what I mean write what you know, how can you write a true love story if you've never experienced love, but you don't necessarily have to have experienced that, you just have to understand that I want to understand it, which is where research comes into play, right? So research, understand or just want to ask questions, explore through that, you know, a coming of age type story sort of thing. Why did these sort of things happen and ask a question don't necessarily have an answer, which is what ah lot of good films do they don't shove an answer down your throat? You ask a lot of questions to get you to think plot devices, which you know a lot of us uses inherently in our stories because it's film language we know film language we've experienced in our entire lives, but the macguffin this is the big hitchcock thing, something that pushes the story forward keeps momentum, hitchcock said it's thing that the characters are worried about what the audience doesn't care this usually consists of treasure map, spy planes, briefcases, a character in the story hangover is a good example of that the groom care who the groom is or where he is I just care that he's the driving force to make these guys do ridiculous things right? So that's it's really helpful to know these plot devices? Because if you understand and you know the thing that you're doing it's really easy to manipulate it where is if you're just going on a whim? It's a lot more difficult to kind of refine everything examples are gonna covenant raiders of the lost ark rose but in citizen kane obviously and if you know this it's getting story what rose but actually wasn't reality it's hilarious uh multi stallion in multi spoken red herring this is a false bit of information mislead your audience misdirection to cover up a twist a killer that isn't the killer this happens all the time. It could be very contrived it's a it's a little more of a dangerous one but if you use it properly it's awesome night has used it both ways some good examples every team har film ever made ever forever uh sex makina hope I said that right it's a point in the story where seemingly impossible problem suddenly solved my rib by a miraculous event. This is definitely the dangerous kind is usually when it's a full on you know this is the device it's usually made fun of quite a bit because basically it's nothing else could have solved this problem and all of a sudden, like god intervenes just this very coincidental situation happened where'd the gun come from why did gandalf just show up suddenly lord of the rings the eagles is a big one that's talked about quite a bit the t rex in jurassic park dress apart my favorite film kind of pisses me off that people talk about it but I it's true the team works all of sudden I just it's a wrap their don't like, damn it! How did he get it like that? He had keys. I think we should hash this out. Who gave him key's on dh? Those little hands has opened a door in spielberg's just like I just opened like a little garage. But the garage was named for a garage to have in a stephen field steve spielberg. But I forgive it for me, it's like, if you can cover it up and the audience doesn't think about it. Fine. I thought about it later with jurassic park, but in the time at the time, I wasn't thinking about it, but definitely this is one to keep in mind flying back in time and superman the movie what mood? Crap! Uh, okay, I'm sorry. Uh, script formatting we'll move on. Uh once again a drastic park great movie. I'm just going to point that out like several times and it shows up in my note several times script four minute scene headings exterior field day is the scene heading exterior stands for exterior outside interior be inside field is the location that the scene takes place in day obviously time today interior exterior you'll see this when you are floating in between like in a car there's a conversation happening the car and you're ending up outside looking in and then you're inside with them you'd put into your exterior that covers both that way you're not bouncing back and forth exterior field continuous continuous is you need seen headings whenever you move seeing so your telling the people that are working with you and your film that hey this is an entirely new section we're gonna have to pack up and move right, but if you're moving from lim living room, the kitchen and the script a little redundant have say day day, day day so you would just put continuous and we know that we're moving from one place to another it's not cutting to a different day we just walked from the living room to the kitchen action lines so this is a big one with new writers I definitely did this and I got called out on it quite a bit of years ago, but a lot of people will just pack those action lines full action lines where the bulk of your script writing happens film is a visual medium and action lines is where you write those visuals anything that happens it's not words gonna happen in the action lines and a lot of people will just it's like eight lines of action lines like ten lines and just looks daunting you open the first page and it's just like look at all that text but if you break it up if you keep it like two three that looks really easy to read in people gonna glide right through it cause the last thing you want is for people who skim through your script, start missing important points and ruin the experience. Five lines is kind of a max for me personally I don't usually go over five lines on my first page I try to stick to three max for if I can unless I'm writing for myself from ryan for myself to direct something who cares but it's good even then to just be in the habit of formatting correctly character q and dialogue the character q is where the name goes a dialogue is obviously dialogue os you'll see next to the name or vo us is off screen vo is voiceover offscreen means the character is actually present but we're not seeing them within frame voiceover is a narrator often could also be something like a television then you also see oh see that's off camera that's usually just used in television not really films capitalisation this khun b definitely overused capitalization is a really good tool tio hone your reader and emphasize certain things, so if you're using it too much, it's, kind of just yelling your points all the time and it gets less and less lessens the effect. But seeing headings are obviously always going to be capitalized. Mid scene slugs that's if you are not putting a full scene heading, but if you say you know josh is in the kitchen, josh then walks into the godown liver that's all test mid scene slug that's going to capitalize. First time a character is introduced into the story, so first time, say, josh shows up into the story, capitalize his name. After that, I'll never capitalized him again. Some people dio, I think, it's, a little distracting. I don't sound effects are always gonna be capitalized, let's, see what else? The effects and practical effects. First time, our first mention of any important thing, like a wardrobe. Anything like anything somebody's gonna have to get the reason that you're doing that for certain things, like sound effects and wardrobe and props is because somebody is later or you are going to have to go through well for us, it's going to be you, they're going to have to go through your script and you're gonna have to find all those little things you have to get, depending on how long your script is. It's very easy to miss things, so if you're capitalizing stuff it's really easy to skim through and find all the things they're going to remind yourself of. We have to have this and you're going that's going to make it really easy for you later when you do your script breakdown, dialogue that's this guy right here that's when two characters air speaking at the exact same time. So what you do is you would write both their lines on top of each other, like normal, you would select those and in most screenwriting software, if you go in a format, believe it's like dual dialogue, then you come up with this. One of my favorite examples of dual dialogue in the film is what lies beneath love it have you guys seen alive any I think somebody said, no bill. Go watch what lies beneath there's a scene where they're talking at dinner and there's two conversations happening at the same time and it's so seamless I love it I'm pretty sure it's one shot should I write camera moves no unless you're writing for yourself of course, the thing about this is for me one that you'll hear a lot of people say that it will piss off a director it'll piss off, you know the dp it'll piss off actors, producer whatever I don't know how much you know I buy into that sure for some I'm not going if I read a script and somebody says the camera moves this way or that, whatever if I like the idea, I'm gonna take it if I don't, I'm not going to do it doesn't faze me, but I think it is lazy and cheap writing and I do think it will take your reader out of your script because you're putting tech in there that doesn't really need to be you need to be giving them the experience you want them to experience when they're watching the thing right. So instead of saying the camera moved, then say something like we've moved towards character as he x something like that because it's with how much you do we move towards, but if you say something like the phone on the table starts to ring on the screen we see but what does that tell you immediately? That's a close up right it's closer to the phone so the way that you write will dictate how I see your script so the idea is you're manipulating pretty much every facet of filmmaking is a manipulation of some kind editing is manipulating directing is manipulating your audience the music is manipulation script is manipulation of anybody reads it so you're just trying to get them to see it the way that you want them to see it without them knowing that's what you're doing something I did the practice a lot early on when I started writing was I would just write a paragraph of something handed to somebody and then ask them all right, what color was a girl's hair? Did she have an accent? When did this take place? But none of that info was in there, right? And for a while they got none of it, but then slowly but surely they were like, oh, she's blond and I guess so that is something like that's great practice is to figure out how to make them see something that they totally thought they made up, so now they've made it their own, but really you steered them the entire way software final draft super expensive unless you're heavy into production, I don't think you really needed anymore there's really great stuff out there it does have some stuff that the other guys don't have, so if you are doing a big gig and there's a lot of moving parts, final death sometimes can be mandatory fade in is my personal favorite right now for a single writing when I'm writing on my own fading is ah, that's my baby right there. I think it's like forty bucks to super cheap adobe story also great has a lot of integration with a different pre pro things like scheduling and stuff like that. Breakdowns on ifyou're doing collaborative writing. If you're writing with a partner, I would definitely suggest a dhobi story uh, that their top on that one right there, celtic, which I believe is still free. So if you're looking for just something free to start out, definitely celtic will be the thing to go where to read screenplays because I think the best I say it all the time. The best way to figure out how to write a screenplay is to read them most the time get ah big grouping of them, because if you're reading tarantino or shane black, you're not really reading how to write a screenplay you're reading how they can write screenplays because they're shane black and tarantino, but weekend read on the ii ios app if you have an iphone definitely download this app it's awesome it's john august happened makes reading on your iphone really, really simple you can import your own scripts in there to be able to read them easily there, but it also has a download section for a bunch of scrips, which is great simply scripts dot com google it obviously some of my favorites alien raiders of the lost ark and die hard blog's and podcast just living on john august a little bit more john august dot com and script notes podcast both john august I think that's some of the best resource for writing or just filmmakers in general that ever seen they don't really get into too much of the tax but it's everything behind it that will really change the way that you think about stories the way that you think about filmmaking, so if you're not on his site and on that podcast, what do you do with yourself going? The story dot blacklist dot com this is the official block of blacklist definitely check that one out a cz well, they were always posting great stuff I retweet from them often they'll post like dialogue from different types of genre and scenes god help me it's finally time to write this is usually where I panic the beginning portions easy it's like the safety net portion, but when it's finally time to write it's a little scary but you've gotta find and maintain your tone for me I use visual inspiration comic books sometimes depending painting sometimes depending screenshots from other movies usually music playlists sure you've heard this a million times but it's it's how I think everyone does it it's just so good music brings back that emotion that feeling that you had of that certain things so well that I'll create a music playlist of this is the music that it points out exactly how I want my film the feel and it's usually populated by a ton of soundtracks that I can easily because it's kind of hard to go out you go back to your normal life you come back and you're supposed to jump right back into what your script supposed to feel like it's really difficult to hit that sometimes but if you have that music it'll rip you right back to what you were feeling at that time and it's a lot easier for me to jump back into what I was thinking three act structure I'm going to go through this really quickly because there's obviously a lot of attention about structure they ten thousand different ways to structure something apparently there's a three act structure there's a six there's a nine there's three acts within the three acts there's the hero's journey you know and then people argue of which one's right and then you can go online and read analysis ten thousand different versions of indiana jones I don't buy into all of it that much react is one that works a little more for me hero's journey I think makes a lot of sense to but thinking it in those terms don't always find that helpful I usually think of it as a beginning middle and an act one the beginning right? Some truths for me is you have to establish you have to establish character if establish the world you have to establish the rules so if you're you know, making born identity established the rules of bourne identity act one and act too were totally you know jason bourne just kicking people in the face but all of a sudden act three aliens show up it's going like what is this where the aliens come from? What if you establish in act one that yeah, aliens exist in this universe and that's fine, you could bring that in, but if you haven't established that and you do that you lose your audience is what is this piece of crap uh they also have the inciting incident. This is the call to action. This is the moment that happens that the character has to act he goes from his door ordinary world to something totally different which leads us in act two which I like to call the middle beginning middle end is where stuff happens is where they set off on the event adventure is where you start you know, paying off on the promises that act one gave this is the big action bits you know finding out what what's going on in this world things get worse for the character he realizes he has to change which leads us in act three which is the end the resolution we got the final confrontation and the resolution final confrontation is that big blowout seeing resolution is the calm after the storm where the hero returns it was regular life but now having changed which is the big thing we have to have a change we're not reading material story by robert mckee hears journey by joseph campbell and syd field's screenplay all those are really good and uh I've heard a lot of really good screenwriters that I respect say same thing read him throw him out and I agree with that I think it's good to read to get certain ideas in your head because I think there are some truths to a lot of it and does get you thinking differently but if you've locked too hard onto any of these structural ideas you're never going to get a pulp fiction you know because I mean pulp fiction does if you look at it it does kind of stick to those rules but it breaks crap out of the rest of them foreshadowing a literary device in which a writer gives an advance hit hint of what is to come later in the story. Ah lot of people will use this for stuff that is a little more in your face. I don't think these air the subtle things that happened, the kind of things that add nuance, the things that on repeat viewing, you get excited that you caught that thing. Some examples of that the seatbelt in jurassic park love this one if you don't know what I'm talking about their first going in jurassic park and if you notice I keep using traffic park it's gonna happen, you and me, man. Best movie ever they're going down on jurassic park, right? Dr grant pulls the seatbelt on what he has. He has two female into the seatbelt can't put them together sooner or later, he finds a way later we have in malcolm's saying life will find a way later we find out that all the female dinosaurs figured it out found away some switched over. Now they're, uh, procreating the dark knight. You either die a hero or live long enough to see yourself become the villain, which of course, harvey dent says that we know what happens to harvey dent, I love that one very subtle and that's the thing about foreshadowing you have that moment, it doesn't necessarily mean you have to pay off. Harvey could have said that never become two face and that's fine that works in the moment, this seat belt thing could happen and had nothing to do with what happens later. It's fine, it's just a little funny moment with him, you know, every nothing works for him. That's fine, well set up in payoffs is similar to foreshadowing, but more deliberate. You can't have a set up without a payoff, right? So that's, how I look at it? I'm not saying that's how everyone looks at it, but for me, thinking in terms of setup and payoffs is probably my number one when I'm coming up with a story when I'm writing this story that I'm thinking about what experience I want to give my audience, because you might be thinking about the story and you haven't you know who this character is, you know where he comes in and makes sense that he comes in where it comes in, but if you haven't set that up thought instances like who's this guy, but if you set up how evil this dude is, when that moment comes that he has to face off with the character that's when you get the goose bump moment jurassic park again I loved that myself this point dr grant explains how raptors hunt to the little kid what happens later we pay off with that exact scenario happening toe one of our characters if we didn't have the set up it would've been a no casing but it would have felt a little thrown in with them hunting him but since you knew that tension was much bigger because you knew what was going on although he's looking at this wrapping but you know what's about to go down aliens ripley's is the power loader to help the marines load later on we pay off with that she defeats the queen I'm sorry if you haven't seen aliens with the power loader if you haven't seen any of my films I'm gonna preface is if you haven't seen any of my films or any movie ever I apologize for the spoilage because they're coming I won't do any new films that's my promise I mean aliens when that come out of something you haven't seen it it's your fault america every now and again I'm just gonna look and then into the audience uh but the power loader moment that's a really really good example because all sudden she jumped into this big machine defeated the alien likes to stretch this thing but since they set it up you never think about it you never pulled out of the film you just continue on jaws the combustible scuba tank are called out, one drops be careful, puts it back in what happens in the end, of course kills the shark. If you haven't seen jaws what's wrong with you, I don't even feel bad about spoiling it. My own film boy, my own film too. We introduced the knife when a character comes over, so we have a character that killed his girlfriend is trying to hide it. Another character comes over who's, her friend and it's this little bit that we kind of have to do tow learn a few things I didn't want to be the boring conversation, so I set up. I used it to set up something that happens later, but also is a point of tension for that scene. Will he won't he kill her? But then later on, we pay off the knife with killing the cop in the end, if he would have just whipped out the knife and stabbed her? Sure, you know, it begs the reason there was a knife in the kitchen, obviously, but it would have been maybe a moment of what the knife come from, which would have taken you out of scene and really hurt the scene also another point of tension with the cop later on chekhov's gun, remove everything that has no relevance to the story. If you say in the first chapter that there is a rifle hanging on the wall in the second or third it absolutely must go off it's not going to be fired not be hanging there basically what that means is if you have something in your story use it if you call emphasis to something and it's there for no reason it's just that trim the fat on of course he says if the guns there and it doesn't go off that's not necessarily the case that gun could be there and be something that says something about your character but it has to be doing something I see it all the time where there's something in a script and I'm reading a script and I'm like okay, that was interesting what was with the roses? Okay, we get to the end and I'm like what was with the roses and that's the worst thing that you could do if there's no reason for it to be their trim the fat and already talked about that writing dialogue uh don't right on the nose again. I did this for years and I read to look back on my old script I'm just like ill that's so bad but people don't really talk or say things that they literally mean at that moment we all talk pretty cryptic ble cryptic cryptic capita hit me with it cryptically way all talk pretty cryptically but we have those emotional cues of social cues and I get what you're saying sometimes you like I love you right and like you just had a few I hate you know my wife is great in that by the way so right in those terms and and as an audience you're going to get those emotional cues to it makes it a lot more interesting because you're unfolding this story with the other characters you're not just saying everything that you think right off the top of your head of course you do that sometimes in your story because we usually don't do that in real life because of a conflict with other people but that's what makes those moments interesting but overall you're not going to do that so make them lie don't use a character's name repeatedly the worst I'm not going to sit here being like josh what do you think about how I'm doing so far? Josh is a good josh thanks josh I appreciate that josh you just sound like a car sales in like a greasy car salesman and I want to get away from you unless that's what you want. I've done that with characters when that's when I purposefully wanted them to be but again these are things to keep in mind so when you break them you're breaking them with purpose makes sense and it's actually good for your story not harmful I mean, we can all think of films were like, why does he keep saying his name? Stop saying his name cast the characters you're writing. This is brand new for me, and I just love it so much he'll make a friend of mine. One of my biggest issues with writing is I write a lot of mies in my script, so everybody talks exactly like me, but it just feels like a bunch of the same person just having an argument with themselves. So that was like feedback that I would always get back from my buddies. And then I realized from one person that if you cast them in your mind like ideas, elba is this guy. Mel gibson is this guy. Whatever actor pops into my head is this guy on you cast him. This is the type of person that would actually be perfect for the character that I'm thinking, you know, those voices. So you start to write for those voices. You start getting a very diverse group of people super super helpful for me.