Thanks for checking out this movie review video. So this is for the 2019 film Metamorphosis. It's a South Korean film It's a shutter original and when I'm recording this and putting it up It is out today on shutter now apologies I would have put this review up ahead of time like I usually do but I didn't get my screener for it until Yesterday afternoon, and I just didn't have the time to watch it and do the video and put it up and all that so Going up same day. So if you're seeing this on Thursday the 2nd of July It's available on shutter this day. So go ahead and hit it up if it sounds interesting to you. So One of the things I want to say or a few things I want to say about this one. There will be no spoilers since this is a Film that has just hit shutter and no one had really seen it prior So I don't want to spoil anything for anyone So I'll give people an idea if they really want to watch this or not now Disclaimer on that this is part of a subgenre of horror that I typically don't go for I don't get excited about and film has to be a particular Particularly good or do something really really new and crazy in order for me to want to watch that and want to go out of My way to recommend it to people so listen to this review and Listen for the certain things that you think might be like key things to for you personally And then you can make a decision whether you should watch it or not I would say that I'm theorizing that people who are into the possession film subgenre of horror Would probably enjoy this film I'm not big into it. So I didn't really enjoy it that much. It was fine But I just I can't highly recommend it because I didn't get excited about it But there are things that were really good about it that I did enjoy but I'm just saying for overall But anyway, so this was directed by Hong Sion Kim Who did films traffickers the con artists and the chase now? I've heard of the chase before and I've been meaning to watch that film So maybe this will be my impetus to get there because I do think the directing this was handled very well The cinematography as well. It looks good. This is a film that looks very good So if you're into films if you're into possession films and you're into films that look really nice and are directed Well, and I have great cinematography then this is it The acting also is very good in this and and one of the biggest things about it is Almost all the roles are relatively demanding roles So it's it was pretty impressive what the cast was able to get done because they have to hit a range of Acting within the film and you'll kind of you'll see why So like I said South Korean films is shutter original. There's not a whole lot of backstory on it, but Something I am gonna be doing now with these ones. I'm not doing spoilers for I'm gonna give you a quick little Synopsis about it. I don't want to give the synopsis that shutter gave me because it tells you way too much in my opinion So I'm just gonna give you my sentence or two of what I think you should know going into it to see if that Interests you or not. So basically it's about a priest who has a a terrible confrontation with a demonic possession and doing an exorcism and then Years go by and that same demon reappears and starts to target his extended family so That's all I'm gonna say about it. So does that sound interesting to you if it does You probably want to watch this if that sounds interesting to you So it immediately looks and feels a lot like the exorcist the very beginning scene Is very very exorcist like although happily for me It kind of departed from that after that beginning setup scene So that I kind of enjoyed about it. It did kind of do a bit of its own thing But the very beginning I was just like oh my gosh This is so much like the exorcist and those are the things I kind of hate Like I've seen so many possession films that are a lot like the exorcist and are heavily inspired by the exorcist That every time I see that I kind of roll my eyes So it was nice though that after that initial scene They got to something new something interesting something more fresh Because I was like oh my god. I hope I don't have to sit through almost two hours. Yes, it's almost two hours Run time not good. I Was hoping I wouldn't have to sit through almost two hours of a ripoff of the exorcist basically and it's not so that's that's very good Although like as I bring up the runtime right now So it was basically an hour and 50 minute film With credits and all that so It's just not it wasn't warranted like with horror films specifically You probably want to hit around the hour and a half mark or just be unbelievably engaging and have so much story to tell that If people are watching an almost two-hour film, they don't feel like it's almost two hours This feels like it's two hours and that's not a good thing There are some things that definitely could have been cut down scene wise There are some things that could have been cut out altogether to be honest and really that should have happened to keep it a lot You know shorter a lot tighter, and I think that could have helped a lot with this film for me, but it's not a bad film though like Technically from all the technical standpoints. I think it was very well executed It's just are you a fan of this type of story or not, and I'm really not They create a great atmosphere in this I will say set design and props in particular They do a really really good job with that that is One of the things that really impressed me it seems like they put a lot of thought and a lot of prep time into creating their environments creating the atmosphere and The music helps with that the directing the cinematography It's certainly the acting really really helps with that to create an overall cool dark Terrible atmosphere which you know you can kind of feel when you're watching it So I do like that aspect of it Also, it just looks drab like the way they shot the film it It's like maybe they leech some color out of it They keep it kind of like dark and kind of blues for most of the part although there are times where it's more light But for the most part it's pretty pretty dark There's a good push and pull of kind of trying to figure out what's kind of really going on versus What's really not going on because there are some things that happen where you're like, okay? That just happened But is it like real life happened or is it in someone's mind happened and so at least for a while There's kind of a good push and pull of trying to get that figured out where you're a bit confused and you're just like I don't know what's what right now, and that's good because that creates interest Through a series of events There's a situation created where you don't know what will happen next or who will end up doing what? You could think pretty much anything would happen at any time So I do like when films do that type of thing where they create an environment where you're just like Anything could go in this case, and I do think they kind of create that relatively early on with the film So it opens up possibilities my only issue is that They took that opportunity a few times to to go some interesting new places and then other times they didn't So it's It's a half and half in my opinion There's one part that made me make a noise out loud Because what happened would really really hurt and it's actually shot and acted in a very nonchalant way Which makes you kind of cringe even more with it if you've watched it or if you do watch it You'll know what I'm talking about. It's one of those things that There are certain things in films that when they happen to someone people go Like I it was one of those moments where you're just like ooh I could just I could just tell that that would hurt so bad, but the way they do it It's very nonchalant which was kind of an interesting just juxtaposition of What that would actually do to someone versus what it doesn't in the film and it doesn't feel out of place the way They did it though either The writing is actually pretty good because there's family deterioration in this film and it actually feels very very realistic To what degree the deterioration is and in what ways I'm not going to talk about because I'd be too spoilery but the familial relationships really feel Real and and that's a good thing that does speak to good writing It speaks to good character development. It sees good dialogue and it certainly speaks to the acting which I already praised a lot for this film There's a portion where they include people beyond the real Story of what's going on into the film and I honestly think they should have just cut all that out cut all those people out Because it didn't end up mattering that much in the end. Yes It ends up being a way to move a portion of the story, but it could have been done a Different way and relatively easily with who was already included it became too late in my opinion to introduce those characters and it just didn't feel like it mattered that much and It just felt like it added extra runtime that we didn't need at an almost two-hour film That does have a tendency to drag at times which you know, that's no good There is a pretty good twist towards the end of this film that I did quite enjoy and there is a For you know, if you're open to it, there is a pretty impactful Ending to it for the implications that it has on everyone involved in the story So if you like those types of things, I was happy with the twist I did think the twist was a good one for this type of film But it just wasn't enough to sell me on the entire film in general. This is a film that yeah I'm glad I watched it. I'm down to watch every film once and I would recommend it like I'm like I am Recommending it to people like possession films. I do think people were into that sub-genre would like it but past that I'm not really gonna recommend it I wouldn't watch it again, but part of that like I said, that's my bias of my personal taste Yeah, so like I said the ending it actually had some good impact It actually was a decent ending The problem is the ending was so drawn out and that's one of the things I really don't like in film Is when they take an ending and they have so many moments where you're like, oh, okay So they could end it here But then they keep it going and it doesn't feel like they kept it going to get to eat an even more satisfying Moment it feels like they're just stretching out to stretch it out like and this kind of had that They it just goes back to cut the runtime Runtime down they they could have cut some things out and trim some things down and I really wish they would have but you know There's a mixture of practical and CG effects in this and they look good both of them look really good This goes back to what I was saying with the film with the technical aspects are done really well in this film So I was very very happy with that visually. It's very appealing. It's a good Visual immersive film in my opinion They already talked about the acting Okay, so the last thing I have to say is the main evil is used to bring up real-life issues like family tension and stresses Dealing with starting life in a new place having to deal with neighbors You don't really feel you can trust or connect with and when you choose to engage in a profession that puts loved ones in harm's way so it does have a lot of You know Subtext to it even some that's that's more on the surface because obviously you see like I was talking about the familial the family deterioration That's something that's very much on the surface and it but it's done well so it doesn't feel like You're getting bashed over the head with anything, but yeah I mean, it's it's saying some things that are kind of under the skin of it and that's and that's nice I always like to see that in film. So What do I give this film? So with five stars possible half stars in play. I feel like for my personal taste I want to give it on the lower end, but I would honestly say looking from as objective as standpoint as I can I'm gonna give it a three star rating. I think it's like I said all the technical stuff is really good There's some good writing to it. There's a lot of good stuff, but it's too long and needed to be cut down some Yeah, I mean and you might be watching this and saying I feel like it's biased against possession films It's coming in a little too much on that rating and that may be it's just hard for me to to make that determination But go ahead and put some comments down here. Let me know especially if you saw it and you were a fan of it I want to know from the perspective of someone who saw it and really enjoyed it Like what did you see in it? Would you pull out of it and what got you excited about that film? So put some comments down here and we'll talk about it But do me a quick favor if you like any of the reviews or videos that I do hit that subscribe button because that's your way to repay Me it's like it takes a second. It's totally painless and it really does mean a lot to me I really do appreciate that But if you're going to subscribe or you already have make sure you also hit the notification bell Because that makes sure that you know when I have a new video going up or when I'm live streaming because I do that And it's a lot of fun, but regardless. Thanks everyone for checking this out and until next time keep it brutal


Welcome everybody to Udette's ad hoc session. We finally got it going, so enjoy. So, my turn? Yes, it is. It's all you now. Okay, thanks. Hello, everybody. My name is Ralf. I want to do this in three steps at first. I want to tell something about my motivation. In the second step, I would like to present a bit how stuff is thought. And in the third step, I want to show an example which might point out a few implications. So, yeah. Is my video working? I don't see myself in the live stream. Hello? Anyone still here? Okay, at least I hear myself. Okay, I seem not to be able to. So, I see my own video, but I don't see it in the live stream. So, I assume there's still a little problem, but I think that should not be the problem for me explaining my motivation. So, before a few years, I started to realize that probably with how we think functionality, we cannot really model things we see when we are looking into nature. And also, we have quite a few problems in informatics, SSC, with utilizing our today's CPUs with multiple cores. Ah, now you can see me. That's perfect. So, I started to first do classic simulations. I created a software called Simulation Studio, was kind of a proof of concept simulating, doing symmetric simulations, physical simulations on GPUs using OpenCL. But the problem with this was it couldn't really convince me that it is what I observed when I look into nature. So, I searched a bit further. I stumbled over the actor model, but also this couldn't really satisfy me. So, I started to think if the way how we think functionality might be the sweet day we want to model certain things observed in nature. So, finally, I came up with an approach to split time more or less in what we know as causality, but thinking it more as a branch instead of a string. And this is basically what I want to present you now. Where is it? Here it is. Oh, come on. Okay. My share your screen button is not working. I fear I need to rejoin the JITSY session. Share the screen. Block temporary. Okay, that's the reason. So, okay. The presentation, hopefully, is seen now. Okay. So, at first, I want to introduce you to a German word, which is called Wirkung. Sadly, I didn't found an adequate translation to English. So, first, I seem to need to describe the idea of Wirkung. The German word Wirkung describes how cause leads to effect. Now, you might think it's about a mechanism about the way how something happens, but it is not only that because it also depends on the circumstances this mechanism is processed in. So, causal dynamics is basically the idea to describe this Wirkung and its dependencies on data. So, how I said there are circumstances, a mechanism gets processed in, and these circumstances are basically data. So, when I have some mechanism, what it does strongly depends on what data it gets. There is something interesting about data, what we can strongly observe in informatics, and we probably also can observe in nature when we think a bit about quantum physics. Data seems to be exclusive. So, it seems that you cannot have two mechanisms working on data at the same time. And I assume also in physics it might turn out one day that when two things are interacting, there cannot be another interaction happening on the same thing. We know this problem practically from informatics. When we do multithreading, we need to synchronize. Yes. So, what is the difference between thinking algorithmic functional, how we are used to do or thinking it's causal? Functional algorithmic always converges towards linearity. What is basically caused by a function having one return value and multi-parameters. So, we get from many to one. While causal algorithmic is more to be seen like a function or a procedure to be more precise, so a function without return value, but taking in-out parameters, in-out references to memory. So, such procedures in causal dynamics are called ticks. We will tighten that down a bit later. And then there is something we don't know in informatics yet, what we know in real world. And this is the uncertainty of something. So, what is uncertainty? Well, in real world, we struggle often with uncertainty and something being uncertain or something being unsharp. Well, Heisenberg really meant that things are uncertain and not unsharp, but this is also kind of a philosophical struggle. In practically in informatics, it means we can have a reference which is shared between different aspects of a system, but it's not pointing anywhere. So, let's continue with a few definitions. An aspect is a piece of data describing some exclusive systems data, while a system can consist of multiple aspects. So, if I take a human, a human has eyes, has nose, has hands, a lot of aspects, and each of these aspects can do something different at the same time. So, concurrent. Such an aspect in systems we know usually is quite very certain. As we know from quantum physics, things doesn't need to be certain. Aspects can be nested. So, that means if you take a hand of a human, while the hand is an aspect of the system human, while the finger is an aspect of the system hand. So, we have a nested hierarchy of aspects. And they can be entangled in quantum physics. We call that entangled, what basically means two systems are sharing an aspect. And these systems need not to be at the same place. A tick. The tick is now this procedure I talked about previously. And it defines how data is modified. So, a simple tick at the clock would be a move a handle by 360 divided by 60 degree. So, just a tick as we would call it in context of a clock. Here is the point where this German word Wirkung kicks in. This Wirkung is basically a tick getting processed in a certain context of data. While Wirkung is not only this single act, we could say in meaning of informatics, where we intend what happens. But also includes everything consecutive. So, if I have such a nice domino track, we sometimes see in TV. And I bring the whole thing into moving. The Wirkung is not only one stone falling, but the Wirkung is the whole thing falling. At least if it is done well. And a branch is basically what we can see as the whole of a Wirkung. It is from the beginning act from the beginning cause to all consecutive causes until the last effect. So, I want to show with this slide a bit systematic of the aspects. So, we can have an aspect which is just existing but uncertain. So, that basically means we know there is something, but we have no idea what is there. And probably it is also not decided what is there. For informatics, this uncertainty doesn't play a huge role since probably once it will, but for now it doesn't play a role except we are speaking about quantum computers. Then we can have an atomic aspect, what basically means there is no nested aspect anymore, but just some atomic values which cannot be shared. An example would be for an electron, not really an electron, but the impulse of an electron. This is quite very atomic. This doesn't contain anything. While the electron itself has an impulse and a position and some from quantum physics we know we cannot know both at the same time. So, this is the detailed aspect. So, the electron would basically be a detailed aspect of a system. What means it contains another two aspects or probably more the impulse and the position. And then we can have entangled aspects. So, the electron has for example also a spin. And here we have a very nice effect that we can have two electrons which previously uncertain spin and then not the same but the exactly opposite spin. This is also very well shown by experimental attempts. So, now we are coming to the tick. The tick is a procedure taking aspects, being able to modify these aspects but not necessarily and causing consecutive ticks. Not only one but probably more. And this is also the reason why we probably don't want to think causality linear. So, in a sequence as we usually do we say okay there is this cause and there is an effect and this effect can be the cause for another effect and so on. But we probably have a cause which has multiple effects which again causes multiple effects. If we bring this all together we get a branch. Here the branch is shown quite sequential. So, it is easier to get the point. Yeah, this here we don't really need to talk a lot about. I think it's quite clear. And then we can also have entangled branches. What basically means we have two systems which in their self own causality. So, there is happening something within the systems and there is some interfacing between the systems what entangles these systems. So, and then we need to think about order of execution which is strongly influenced by this exclusivity of information. What basically means when tick one and tick n are executed and in this figure we see a tick one which is acting on an aspect one and on an aspect two. And this tick one causes a tick two and the tick n and this tick two would act on aspect two and aspect three and tick n would act on aspect three and aspect n and the thing is tick two and tick n cannot run concurrent since they are sharing an aspect. So, there is some kind of natural order given by this exclusivity principle. So, this was the presentation. I hope you are here. I will check now the etherpad for questions. There are none. So, I'm checking the channel. Okay. I don't see questions from now. Does anyone have questions so far? I assume I need to wait now a bit. I don't see my cam now. Okay. Then let's continue. If there are coming questions now I see my IRC and also can switch now to the etherpad. LibreOffice occupied my whole screen so it was a bit hard previously. I will now show an example. This example is about, let me, okay. I don't see my application in the sharing selection. Probably I try to restart it outside of my IDE. Okay. Ah, here it is. No, this is Tilex. This I don't want to have. That's quite interesting. I cannot see my GTK application in this sharing drop-down box from Firefox. That's quite interesting probably when I overlap them. No, not really. Okay. Probably I need to start it by F2. Okay. I will share the whole screen and probably it will work. Okay. It wants to share all of my screens. This is probably also not what I want. Natty, are you still there? Yes, I am. Do you have any idea how I can share a GTK application which is not started directly? I had this problem myself a few days ago. I'm going to ask the person who fixed it because it seemed like a sort of one-line command thing. I'll be right back. Okay. Thank you. Okay. I'm just the messenger, but so Ralf. Yeah. Okay. So in capitals, GTK underscore. Front end. Yeah. Oh, hold on. Hold on. Sorry. I've just been told back end. I think I might just get the relevant person here for a moment. If you look in the speak-it-ask channel, I think I'll just write it in there rather than. Okay. Thanks. Okay. Look in the it should be there on ILC. Again. No, it doesn't seem so. Oh, sorry. No problem. Probably using an export, but okay. Back end. My Tilex is here. Okay. I will try to start this using F2. Probably then I get it. This works. This works out. That's interesting. I don't get the application in sharing. I get the Tilex terminal, which is also a GTK application, but I don't get my application. Oh, meanwhile, we have a question from ILC. Okay. So the policy principle is about the probability of a vehicle. So yes, it is the same vehicle, the same word meant, and it is about a cause leading to an effect. So probably if we take the, how is it called? When you have a photon of a certain energy, you require, for causing something, you require a minimum energy. Einstein got his Nobel Prize for this, I think. He showed that you need at least blue light to cause anything on a gold atom, in a gold atom. I have a huge screen, but I will try to limit my desktop only to the full HD screen, so then I could share my whole screen. Yes. So display settings, let's turn off the huge screen. This one. Okay. Now enter a screen now. So let's see. You see my screen now? Yes, we do. If you want people to also see your face, just click on the camera icon as well. Okay. Here we go. Okay, that's perfect. Okay. So the application you will see now is doing not many things, but it is doing them in a probably interesting way. So here we have a graph, this graph, which is describing a matrix of 101 by 101 objects, nodes, which are interconnected with each other. So each node is connected to the node above, below at the left and at the right. And the border nodes in this case are fixed. What this means you will see. It's about oscillators. So probably a few of you know from physics lessons. Could you just make the font a bit bigger? I think people having difficulty seeing. Sorry. Yes. That's interesting. In GNOME editor, how to zoom. Okay. Probably it's better this way. So I would say even bigger, please, like make about 20 points. Okay. Yes, preferences. So, oh, that's very big, but that's fine. People can see now, I think. Okay. So each line presents an oscillator. From physics lessons, you'll probably notice this mechanism. You have on a pipe, there are road weights, which are connected with springs. And if you push one of these weights, then you get a wave which is traveling along the along the pipe. And at the end, it reflects and comes back. And you have this game until the momentum is gone. If you imagine this in two dimensions, then you get a matrix of oscillators. And if you push one, then it causes not only the left and the right one to change its impulse, but also the above and the below. So this graph is graph, basically describes such a matrix. You could also see this brain if it's easier and how set the borders of this brain are fixed. So let's go to the application. This application basically loads this dot file. At the left pane, you see two blue dots, which are marking the center of the fuse. On the left pane, you have, see the impulse, the negative, the positive and the negative impulse. The positive impulse is in red. And the negative impulse is complementary. And on the right side, you have a pane which shows the elongation. Again, the positive elongation is red and the negative elongation is, basically. So if I push here in the middle now, you see there is a quite nice wave going through. So as I said, this is the matrix of oscillators. There is no wave function involved. There is even no float or double involved. This is a pure integer version of Feather equation. And yeah, you see basically waves are reflected at the borders. They are interfering. You could also push, cause a bit more waves. You see the brain is moving up and then it is moving down. And you have a lot of interferences now. So this is just a small example of what you could do with causal dynamics. And what is happening in behind here, we might see now in this file here. So I need to check if there are some questions. Nothing on ILC at the moment. Okay. Perfect. So this is the program. It is a bit, so what you see actually seen was distributed across seven cores. And it's basically you have a class oscillator which has a model with impulse elongation heat. The interesting thing is the system knows something like entropy. And these oscillators are interconnected by springs, which have a Feather rate. Yeah. So this is only one tick causality. So that means there is only one effective tick, which is doing nothing but applying the elongation of one oscillator to its neighbors. So basically pronouncing its impulse passing it further. This is just the formula for Feather force. Nothing really special. It is an integer variant where we get this left over energy, which is caused by integer division here simply called using the model law as heat. So this is basically the entropy. So this system really loses energy by the effect that it cannot utilize energy packages which are too small. So probably what we are observing in quantum physics. And after it is applying this or passing the energy to the neighbors, it is calling or it is causing the itself. Here we go. It is causing itself on the neighbor's oscillators. So this is quite simple. It is symmetric. Causal runtime is more dedicated to asymmetric use cases, but this is simply some Grenzfall, some corner case of a symmetric system of a symmetric simulation. The point about this is to show that it is possible in such a system to distribute or to scale the work quite very automatically to multiple cores. This is a self-limiting system, so there might be a limit on how many cores it can run. Probably a mathematician would be able to also calculate on how many cores this can effectively run. I didn't. Yeah, you could do with this also different stuff, so you could also do something like a multithreaded version of an automatically multithreaded version of Game of Life. So this is also running on multiple cores. It is no follow-up. It is using also only one tick. Very same principle like the oscillator example. These examples are more or less to prove that the runtime is capable of covering this corner case of a symmetric system, which you might believe it or not is quite harder than an asymmetric system because such a system has a variable meaning of time. Time is basically this consecutive follow-up of ticks. An asymmetric system doesn't require the time to be that precisely synchronized like for example GOR or in this case such a wave. So if you mess up order in scheduling, then you mess up this circle. There is no pi, no constant nothing. This very nice circle is really just appearing because things are getting executed in the right order. Yes, I hope now there are any questions. Still nothing on ILC. Is there anything on the etherpad? Ah, okay. The question you mentioned before. Yeah, I think that's it, isn't it? Yeah, that's it. But I hope I could wake the interest for someone to play with such systems. I think they enable us to do things cannot think in a classically way. Yeah, probably someone is interested. Well, have you given people your contact details so that they can talk to you afterwards or? Yes, on the MykitLab instance is mentioned on the TOX page. There is a question if it is free software, it is licensed GNU-Aegypia. So yes, it is free software, even a bit more restrictive than necessary. Okay, if that's everything, shall we thank the audience for bearing with us over the technical difficulties and thank you all for coming. Thank you for hosting. I thank you all for listening and also you for moderating. Yeah, that was accidental. Well, honestly, I'm glad because I'm not that experienced with such stuff and I'm also not the empathic communicative guy. So I'm glad this time is on my side. We do what we can. So yeah, thank you all for coming. The next ad hoc session is at 1400 UTC, but at that point also the main track resumes in English. So thank you all very much and see you later. See you later. Bye.


Philip Arnaud, director and founder of the Center for International Theatre Development, and the president of the Martin Borosch International Fan Club. And we are here to talk with Daniela Topol, the artistic director of the Rattlestick Playwrights Theatre, playwright Jonathan Payne and Martin, the aforementioned wonderful director from Hungary that I've known for almost a decade. And I think he's one of the most interesting directors working right now. I followed his work and it would create variety from operas to wonderful mind-bending pieces in the theater to unique things like a drive around in a bus, a promenade, that we helped him do both in Baltimore and in Albuquerque. And now have been following like a very interesting grandfather, this four-year project that brought us together today. I was able to see last night a dress rehearsal and I was just so inspired knowing the history of this incredible project, four years of bringing people together. Not, you know, if you were all lived in one block in New York City and were able to pull this off, I would have been standing up and giving you a standing ovation. But the fact is that this was, you know, a true international collaboration. It was stunning for me to be there last night. I want to do two thank yous before we start though. I want to thank HowlRound. HowlRound is celebrating its 10th anniversary and we've had so many good projects with them and I think they're so important to the theater ecology in America. And I wish them a very, very happy 10th anniversary and you can donate money to help them keep going. So I would highly recommend you do that. And then I want to thank the four of you for being here. Just a real quick introduction. I spent many years putting my body in theater seats, sometimes seeing as many as 300 performances a year when I was hopping from festival to festival and seeing four or five a day. When probably in 2016 I went to Urani, which is a wonderful developmental nurturing incubator space in Budapest, into a classroom. No stage lights. I'd heard about this production. I saw everything. There was no pretense and I didn't know what to expect. I had a script in front of me, a translation because it was being performed in Hungarian and Martin was sitting over my shoulder pointing out where the text was going. And then I stayed around afterwards and there was a sort of a coda afterwards. And I left that theater changed and I tried to shake. I tried to say, wait a minute. This really didn't happen to me, but it did. And Martin, I've told you this before, many times. I wanted every human being who walks the streets of America and walks past these people to be able to experience this really getting inside of what is essentially this shared humanity we have with people that are far too often written off.  So I'm going to try to almost disappear. That's hard for me to do, but Daniela, I'd like you to talk about this incredible journey of four years that, in spite of everything thrown in your way, how we've arrived to this moment where this weekend, this piece gets open to the public in a very different manifestation than it was originally, but something that's for our time and our country. Thank you so much, Philip. And maybe we can do that narrative together, Martin and Jonathan, but I'll just give a little bit of context and say that Philip Arnau has been like the godfather of this project and never would have happened without him saying, you need to, when I went to the Duna Park Festival in Hungary in 2017, you need to come to this festival. The Trust for Mutual Understanding was so supportive in making sure that it was possible for me and a number of other theater producers and presenters to attend that festival and you need to meet Martin Barasch. So that was the first instruction and Martin and I had a chance to talk and I had a chance to see his incredible piece at Dressless and I too felt exactly like Philip felt after seeing it. I am different now than I was two hours ago. I am different now. I am the conversations I've just engaged in, though what I've just experienced, it has changed my life and I just fell in love with the piece and it is just an incredible mix of both theater, theatrical gaming and essential community conversations. It's an individual experience and a collective experience simultaneously and I think that makes it so profound. You're sort of watching it from your own perspective but also really understanding things from other people's perspectives as well. So our first step was to figure out the right playwright to work with Martin to adapt this for the New York City and a beautiful playwright named Corey Thomas said, you need to talk to Jonathan Payne because Jonathan Payne is an incredible playwright who's also a beautiful social worker working about and inside of these issues and these questions and so Jonathan then met each other and maybe I will sort of pass the baton maybe we could do sort of communal storytelling here about the making of the piece for this incarnation to Jonathan Martin to sort of talk about what happened between the two of you when you first met one another. Great that's a great hopscotch. Yeah I met Daniella and she talked a bit about the play and I mean even before it I was like well of course it's me it makes sense that they would want to talk to me. By day I was a social worker, I am a social worker and I was supporting people who were formerly homeless but now was transitioning into supportive housing so I had a background in that and so I think my experience of coming from the theater and stepping into housing insecurity and supporting people who were housing insecure it seemed like such a great way to work on a play because the audience's experience was very much my experience of stepping into this work as someone who has a background in theater and wasn't really thinking about any type of social work at the time when I graduated so Daniella talked about the play and you know I am a lover of brecht and you know I love very creative and interactive theater and stuff that makes people think and so it was a match made in heaven and so I was introduced to Martin and the script was sent to me to read through and what was really fascinating to me you step into that situation and you're like oh well I am the adapter and there's all these things that I will have to do to sort of shift the play and have it make sense for New York audience and surprisingly I was like oh you know it was familiar I was like oh this is I am reading something that I know there is nothing that is very unfamiliar or strange it was universal and so in terms of using the word adapting it's kind of funny because yeah I think Martin and I sort of saw eye to eye in terms of the understanding of what the pieces and what the intention is and so I think that's probably a good way to pass the baton to Martin and I came in a little later in the process and yeah and yeah it's been a great experience yeah all of the above and then and then I remember our first conversation and Jonathan expressed that this theme in general and all the elements of the dramaturgy stigmatization of people experiencing homelessness or housing insecurity the prejudice of the society victim blaming and health related issues and mental issues and addictions that in most cases are not the cause but the result of experiencing homelessness these are all not foreign for him from his experience so he can relate to it but the same time he was open to revision the piece because I think one of the first things we did is we embraced the idea that we want to keep the game structure we are talking about an interactive theatrical game which now is an interactive online play in the New York version or we could say a theatrical computer game really so we we decided to keep the general structure that the audience is divided into teams to lead the three main characters of the story who lost their homes for different reasons and they have to face a number of difficulties that are mostly unknown to an average person and in these situations the audience have to make decisions to rewrite their lives and luckily Jonathan really liked this idea and also that we think of this as a strategy game where people fight for survival and money is also in stakes because the goal of the game is for the audience and for the characters that they are leading to get back to housing and start a new life but as we were scanning through the script we realized that the characters are not always applicable or that doesn't necessarily make sense in an American or more specifically in the New York context so that was one of the first steps to figure out who these three main characters could be and maybe Jonathan can tell about it in more detail but we ended up choosing a veteran an LGBTQ person who is a runaway from upstate New York and a single parent and we we decided to keep that aspect of the original piece that we have a social worker in the cast who besides being a consultant helping us with the script and being one of our consultants also will be the game host and the master of ceremony in the piece plus one of the characters and we weren't sure which character this is going to be one of the the characters should be a person with lived experience and someone who is an activist and someone who can also represent himself instead of just playing simply a role and also articulate and and and present their cause so I think that was that was the first and most important step in the development phase and that was a bit of a journey to figure out who the right social worker an activist could be and we're so lucky and privileged to work with Hope Beaver as the social worker who works at Henry Street Settlement and is the master of ceremonies and Shams de Baron otherwise known as the homeless hero is the activist and they are bringing such integrity and authenticity to the project because this is their lived experience so for a long while we thought we were going to actually be producing the play in Rattlestick and traveling it to the boroughs and at the time we were planning to do that in partnership with the working theater and then there was COVID and could you could you put a timestamp on that like when that first thing was in what 18? Yeah so I think Jonathan and Martin had retreat together in 2018 and started partnering with a couple of different artists at different phases Katie Pearl and Tamela Woodard both of whom were really wonderful collaborators on the development of the concept and the script and a series of other experts and consultants and all of that I think was from 2018 into 2019 and then we were planning to produce the piece in 2020 in the season of 2020-2021 basically the year that then was COVID so I do remember some intense conversations in the spring of 2020 trying to figure out how we reimagine the piece and whether it was possible to reimagine the piece in a different kind of way either of you want to speak about the wrapping our heads around reimagining the piece in some way? It's interesting to think about the timing of it because there are periods where homelessness suddenly pops up into the mainstream and then we tend to forget about it and then it pops up again and the pandemic has been a great sort of window into what housing insecurity is in terms of even in terms of people who you know had quote unquote normal lives who had a job who had a place to live and what the pandemic did to them in terms of income in terms of you know feeling safe one of the big things that's happening is you know the I guess the mortgage moratorium is you know ending and so you know there's a lot of you know terrible horrible things that could happen down the line and I think to actually get together and figure out how we can present this piece at this time at this crazy period made a lot of sense to me and even found its way into the script and so it's interesting that we were thinking about the virus and exploring that within the script and then you know Shams De Baron came along who was quite a big beacon or representative for those who are housing insecure those who were in the shelters at the time he was a vocal figure during the Lucerne hotel on the upper west side and the men who were housed there so yes the play had to live on and it definitely made sense to me in terms of this period and incorporating it into the play and after putting the deciding on postponing and putting the concept in a quarantine to nurture a little bit I think it was this I mean last 2021 January when we finally decided that it should be an online piece to make it COVID proof but also to take that opportunity to make it as accessible as possible so not only people from New York could possibly see it and also because it's so adequate to its content because it's a game and it's not something that people would be unfamiliar with in front of a screen but at the same time it was we realized that it's very challenging and I personally had to I had a struggle about this because while it's exciting artistically it's we need to fight the stigmatization of the zoom performances and aesthetically or artistically limited or visually limited pieces that a lot of theaters came up with as a reaction to the pandemic and we agreed of course that we would not like to do something like that but it's like I said we started to think about it as a theatrical computer game that's featuring film and music and animations and a lot of interactive parts because the core of this piece is that the reason why sometimes we refer to it or I refer to it as a democracy game is that there are a lot of discussions within the audience and those are the most provocative and most risk-taking and the most funny and entertaining and exciting parts not just from an audience perspective but for us creators too when people make a fist fight about whether they should take this deal or run away or let other people humiliate them or fight for their rights go to a shelter and live among restrictions and let the system chip away your autonomy or go on the street where you can nearly freeze or be someone under someone's thumb and couch surf so in all these dilemmas every day people walk into truly unknown space and they must think together about things that they would normally not think about. It's been really exciting to watch the cast work through the piece because it demands it demands a lot of an actor not only are you memorizing texts but you are there live with people and discussing the situations that come across and how you'll hand you know which way which way you should go and so I do have to after watching the run yesterday really I have to give my hats off to the actors and just to think about the actors and their expertise we are also asking a social worker and an activist to step into the piece and not only be representatives of themselves but you know play in this world called acting and also interact with people live it's insane to think of the weight of that to give that to someone and it's been really flooring and exciting to see the two of them step into those roles and you know wear them comfortably I you know it's not like we auditioned a lot of people and you know we we had to pull for what we could get especially during a pandemic I mean who's thinking about that stuff at this time and so there's a lot of luck involved in what has happened and so I just want to give space to the actors and the new actors and their experience of the piece. Yeah and um and there was an important pivotal shift that happened in the middle of December because we were planning to make the piece record the film sections and then have rattles to be essentially like the tv studio for it where all the actors would be gathering in the studio with the technicians and the designers everyone together so that the live portions would be happening at Rattlestick and with Omicron then everything just needed to shift again and so that was not an unstressful moment and so it became about you know how do we set things up so that the um actors homes or wherever they can be based to perform the show can be you know we just have a series of separate studios now essentially so our incredible production team then sent laptops to everybody and lights and microphones and set pieces so that the everybody could engage in making this piece as safely as possible which meant that everybody had to be essentially performing this pretty much independently instead of being in a in a space all together and um just watching Martin navigate that complexity in such a beautiful way keeping the team really cohesive with exciting exciting design simultaneously with engaging the artists and the zoom managers and all these things to to make a cohesive event even while everybody is remote is is quite a feat thank you thank you Daniel uh I think part of the reason why everyone works so hard in this project that is that um speaking of the cast I think they find challenges and good challenges in that and it's also a tool for them it's it's artistically special because they got to make film pieces they were engaged actively in the music making and and there is this always mysterious field of interaction and facilitation of the of the live discussions that's that keeps surprises every single day and there's hope and there's shams who can really make their the the cause vocal and and this is where art and activism meets and it becomes um art tourism and uh and um it's um so they they can uh they they don't need to put aside what's really their life and what's really important for them but use a dressless as a as a different kind of tool to fight for uh what they fight in their everyday life and uh yeah I I'm I'm very lucky that the the design team and the production team just uh thinks it's gotta be a good it's it's a concept that that suits new york and it's it's a it's a script written by jonathan that people should see and experience and and I think that's that's one of the reasons why despite of all the obstacles it's it's going to open in the end I just wanted to add one thing to the pre-recorded film pieces I think this was part of the concept that was also something we came up with last january when we were thinking about how this can be online and despite of producing for screen how it could be and despite of not having a movie budget and the the stuff for making cinema how it can be still something engaging and and then we came up with the idea that every single scene is played out and it's a video and then around two-third of the scene there is a point where where it becomes a fork and we can decide whether we go to scenario a or b and it's it's all up to the audience and meanwhile as I was telling people about it they were familiar with this because of Netflix that I think introduced the first show that has a similar format this summer this last summer so it's also just something I find interesting that now it's it this kind of format became a common sense because of pop culture too so I think people who will experience this they they will find themselves in a familiar space. Daniela could I ask you to talk a little bit about where this fits into the puzzle of Rattlestick because we're looking at lots of leadership changes in the American theater and I think that your leadership and taking over Rattlestick has been one of the success stories of really redefining a theater uh can you just take a minute and talk about how this walked into because I've seen other work and I've been following what you've done how this is a part of the vision of where you're taking Rattlestick. Um sure and thank you for um thank you for those kind words I mean Rattlestick has always been committed to supporting playwrights and new work so and ambitious work so that was that's always been part of the DNA and then um you know a few years ago when I took over it became about really digging in and creating opportunities to see work that responds to the complexity of our culture and so we've produced a lot of work in conversation with community partners a lot of work that prioritizes making sure that those who have lived experience are welcome into the room and can really respond to the work in an organic way and that has been really important that that it's not about making issue theater but about finding and creating a work that is deeply compelling and um and that is really addressing the ache of our humanity and that there's a large umbrella for what is under the ache of our humanity and uh various projects like Corey Thomas's lockdown that dealt with long-term incarceration is one example Cousy Crams Novinas for a lost hospital that dealt with um hospitals and the closing of hospitals that was an is another example and there's a series of different projects along the way that really address um really kind of lean into that space I love this expression artivism that Martin you were just talking about about the bend diagram between art and activism and what lives in between and I think that's actually where Martin and Stereo Act and Rattlestick actually really gel with one another I love um your passion for all of those things too Martin that has been part of the DNA of who you are as an artist and the work that your company makes um and then I would say we have a really big passion to support immigrant artists and international stories um we have a wonderful managing director ua and she's really led with a co with a company of um immigrant artists and other international artists um an annual festival to support immigrant artists and global perspectives we have a monthly global forum called global gab and so a number of different programs that are really saying how can we um create opportunities for artists um from different parts of the world a lot of whom are immigrants but in general how do we create a platform where we can hear stories from other artists so just the fact that this is this beautiful international collaboration not just with Martin and Jonathan but we have a number of international artists on the team um we have um you know a beautiful Brazilian um set designer and props design at Patricia we have a beautiful animator from Japan so it's it's it's really um exciting to see how the international collaboration that is part of our DNA is the DNA of this project as well so this really fits in the sweet spot of a lot of things we're passionate about we have um a couple of important community partners on this project community access and urban pathways and um just there's just so many different ways in which this project is responding to things we are so passionate about um and even though it's what I what I was struck about it seeing in Hungary is that even though it was focused on Budapest the version I saw it was totally relatable to New York as Jonathan mentioned and I think this version is totally relatable to any other city it's there are real universalities there are specifics that would be adapted for a particular city um or a particular country but in reality I think what's so exciting about this is that this really speaks to so many different um communities and perspectives that feels quite universal and Martin as I say followed your work very closely and you're at a moment in your career where you're making choices about what you do um I know that and you made a huge commitment to this project where did this where was your sweet spot in finding uh Rattlestick because there were a number of moments I know that we all agreed that could be exit ramps and you didn't take those exit ramps you kept pushing so somehow that fed Daniela and that must have fed you could you talk about that for a minute sure so yeah I think the most important was Rattlestick or specifically Daniela's commitment to it it's not an easy project and it's it's clear that it's um it's uh it was clear from the beginning and it's just became clearer and clearer how big of a commitment it is and how complex it is and we always knew that there is never gonna be more than 60 people who can more than 60 people taking part at once we knew that it's probably not going to run throughout months and months and months um and and despite of this end and that Rattlestick needs to bring me over from Hungary and and have me here throughout the entire process so I understood that these are challenges and and the only reason to do this is the true interest in in the content or in this concept and I really appreciated it and and if I I can't imagine producing the exact same piece twice ever in my career really um but as I understood how I can find ways uh how this can be different and and what I can gain artistically and as a human from the collaborators and and all the partners and and Jonathan personally uh it uh it became clear that I have more to gain from this obviously than than what what I what I invest in it um so um yeah it's um for me working or making theater um even if it's beneficial or serve the society in any way it's never charity it's um there's there's always a personal ambition in that and in one word that ambition is growing um artistically or as a human and and I felt the potential in that um here I I think what also lifted uh the piece for me was the uh uh collaboration as well just in terms of um I guess an improv they have this thing where you say yes and um and I think Martin and I were very much you know uh yes and uh uh collaboration has a potential for much conflict and uh many disagreements but it seems like uh we definitely sort of gelled and you know um there'd be you know we I wasn't too sure how the filmed parts would look you know I come from a playwright background I can't write you know tv and film stuff but the the melding of that was interesting to think about um so even in rehearsal you know uh Martin would be like oh I'm thinking there's gonna be a a ding here and I'm like oh okay I all right you know I I don't know I don't know but then in the action and seeing it presented I was like oh yeah that that makes so much sense um and I I think that's a testament to um of of course a writer wants their script to be lifted and uh and grow and so yes there was my presentation of what the play is but uh what really built it was the the joining of the two of our sort of understandings and visions and that great sort of yes and and so that's been a real gift of that collaboration especially um being involved in something that is somewhat you know selflessness sense that you are putting forward people who don't usually get put forward and so uh the cohesion of that towards something that is important and needs to be talked about uh has been such a great experience um and uh one of the highlights was a run-through we did and that's when we met we did a read-through and uh and Shams DeBaron um and some other participants were there in the end and the conversation was uh so uh jarring and flooring and uh I don't know it hit me I couldn't speak at the end so I felt really like I can't say anything I I'm too emotional right now um but uh that's one of the things I want to highlight is those after conversations of you know if people can stick around um it's it's amazing what comes out of that um I saw Corey Thomas's play at Rattlestick um and it was fascinating to see people who were formerly incarcerated sitting amongst people who don't have an idea of what that experience is and just the power of those voices to be brought into the room and what that means to uh the you know the common man's ear um uh is uh such a fascinating thing to witness let me ask another question um when I look into my dark crystal ball uh I see the touring international touring is being very very cloudy uh in the coming in the coming years actually I think you know that it's going to take a long time for us to bounce back from the pandemic I think that uh what will be happening it could be happening here politically of isolation the difficulty of getting visas etc uh while there's nothing easy about not too about what you all have done which is a collaboration between an artist a foreign artist and an American company or the other way an American artist and a foreign country a foreign company I think that's in the near future going to be one of the major lifelines along with a baseline of trying to keep conversations going between us no matter what's going on about airplanes what's going on about politics that we've made uh relationships that are friend or copanis are people that Daniella you're going to want to talk to Martin four years ago just because you're thinking about something and you want to hear what he might think about uh and so if I'm if my crystal ball is anywhere near right I see the real growth and the growth potential is in the kinds of projects that you've just done and I've been involved with a goodly number of those as well as touring uh finished pieces but Martin you've done deep work with two American companies now that I know well and you've left them better I think they've left you better and can what can you can you talk about what's really baseline quintessential about making that collaboration work from what you've just experienced in this one from your side Martin and from your side Daniella and Jonathan what's the baseline curiosity is important I I imagine because if you come to not just an international but to any kind of collaboration without real curiosity and openness you can pretend it for a while but in the end it will clash and it will result in compromised work and in in conflicts so that probably plus you need curiosity and openness to understand the difference in norms and and cultural codes and speaking a language somewhat or in an upper intermediate level is not not it doesn't equal understanding the culture um so that's that's something that I needed to learn for example throughout these works and for me these the the ground where I that allowed me to meet parts of the culture were always within um theatrical work which is partially nice because there are um because people who who like generally think about the word similarly and and inclusive and and open-minded tolerant people and but that's but that that getting to know them will never authorize me to make statements about phenomenons that I observe here I can I can chime in and I can post questions but to me when I work abroad it's always important to provoke instead of make statements because I I'm always aware of this position of being an outsider I'm not sure if if this is an answer to your question it's a great answer Daniela sorry were you about to say something no I was saying I saw you getting ready to say something I own um I mean I think I would totally echo the curiosity and um I think ability to be really flexible I mean particularly at this time when what does it mean to make work and how do you make it and various challenges and being able to I mean what has been amazing about watching your leadership through this Martin is that you you've been very clear about what you intend to make and also very flexible and collaborative simultaneously and that is a really hard balance um and you know it's super exciting to find like-minded collaborators um who come from different parts of the world um that in many ways are you know the the collaboration is more similar than someone who lives down the street and that's feels like this so magical and fun um I think we've been very very lucky and fortunate to have such um advocacy and support from the trust for mutual understanding um from Barbara Lancers and um from you Phillip in order to make some things that could be barriers um for Martin to be present here to be fully present here to be supported to be here um that the fact that those things have been possible has made things very um doable you know as opposed to oh we want you but you can only come for five days and not the whole process or whatever that is so I think being able to find hunt the resources somehow in order to make things happen has been really essential also to make this possible just on a really practical level oh maybe go ahead yeah go ahead something interesting to mention that um for me when you and I Phillip first talked about a possible international collaboration or American-Hungarian collaboration I remember that I wasn't there at all on like basic structural things how theater works here as opposed to Hungary and Europe so for example the lack of governmental funding which is not just a financial question but an attitude question and and how self-esteem question and how much you you need to rely on marketing and how much you need to rely on your members and your board and and your audience and um but for example um seeing how different theaters operate within this condition um I also learned so much about how you need to how you can engage different communities and people who really think of your work and of your theater as their own and people who for whom just being part of your your work can become a lifestyle and become a routine and become a community and so every single time I return from a collaboration like this this is this is one of my uh takeaways and also um yeah just to see um yeah learn learn different practices and and different words I I met so many amazing actors here and seeing how many actors are uh here available and hungry for for good work um and good plays and good collaborations uh we we had some unfortunate obstacles throughout the way and and um someone important from the cast uh uh from from this original reading that Jonathan mentioned and we did in the summer couldn't take part because of COVID and and we needed to find someone uh who who wouldn't who none of us would feel uh is a compromise and and magically uh it turned out to be um an amazing uh meeting um and it it was just for example something striking for me how many actors are how many great actors are in this city who who can be available if if there is if the offer is interesting enough well we're about out of time so it's time to give a little plug uh this piece will open Saturday night is that my understanding um it officially opens the 20th although what is opening but it starts 20th of January 2022 because some of you might be seeing this in 2025 because one of the great things about howl around is that they archive this so you know if this is something that you know you think your friend Nancy needs to see she didn't lose out Nancy can go to howl around and look up this on the archives and see it and then it will it will let's roll the tape back to 2022 it'll run until um it'll run until February 13th okay and um I hope you will all get a chance to see it I I thank you all for a very enlightening hour with us uh I'm I'm so impressed with what you've done and so inspired by what you've done uh so keep up the good work and thank you howl around 10 years old save your money peace everybody


As we take a look at the starting line of 4th Central High, Ronick Harriott is between the sticks and Rick Gordon, Tyrese Thomas, Zidane Christie, and Al Rikacic are the back four in the middle of the pot. Javanna McDonald, Javon Campbell, and Nathaniel Howe are six goals and four assists to his name. And up top, James Gallimard, James Dyer, and Dylan Briscoe. 4-3-3 is what they will be playing in Central High. Yeah, James Dine, that first leg got quite a few of the opportunities for Central High. Let's see if you can take them today. Four goals and four assists behind his name so far, the number 11. For William Nibhai, they also have a 4-3-3 formation. Kemal Benjamin is between the sticks. Amari Christopher Reed will fly straight at left back today. Kemar Bennett, Orville Brown, and Joshua Walker will complete the back four in the middle of the pot. Colonel Pyrt, J-Quan James, and Tyon J. Bennett. Up top, we have Jair Skyers. Coran Henriquez, the 15-year-old that we showed you a little bit earlier with 10 goals and a couple of assists. And C-Ron Williams, who has five assists to his name. 4-3-3 is what they will play as well. Interesting line-up, very deep line-up in terms of goal scoring and assists as well. And Anderson the man in charge. William Nibb in their purple and white, driving forward, very soggy conditions, especially in the first half. And the ball stopping, luckily for goalkeeper Harriet, who could execute the save. Keeping it away from Henriquez, the impressive number, the impressive 15-year-old. This man with a strike early, Williams. And he had better yet to come. Central high, getting a few balls into the air. That finish should have been better. Goalkeeper Harriet committing, Benjamin, sorry, committing. And luckily for him, the shot was off target. Central getting into the area on a rare occasion. And Guillemore with the strike, which was wide. And then another strike from outside here. Lots of shots outside the A-team from both teams. That time equal to the task. An occasion for Henriquez to get inside the area, decided to cut back. Not sure if that was the right option. And a low-decentral defense to get back and defend. William Nibb had the better of the first half. This was another strike, which barely made it to goalkeeper Harriet. And then the moment that changed it, one minute into stoppage time in the first half. Good work by Henriquez. And look at this from Williams. A bit fortuitous how the ball got to him, Williams. But look at that strike. Great technique was slipping as well, which is even more impressive. Put his instep through it, locked the ankle, and into the roof of the net. Goalkeeper Harriet, no chance. And Williams with his first of the season, William Nibb, one nil to the good. He was the importance of that into the second half. No central, a better performance in the second half. That was Campbell getting forward, but his strike was into the side netting. William Nibb, again, those strikes from outside the area. Harriet doing enough. Central, even though they got more balls into the 18-yard area, there's another example. Just not enough strikes to test goalkeeper Benjamin. This is another attempt from the substitute deflected. And William Nibb able to clear a strong defensive effort. And Williams with a blinder. So William Nibb threw to yet another round of 16 into the Costa Cup. Dwight Jeremiah getting results. Five shots on target from 15 attempts for William Nibb. Just the one shot on target from 12 for last year's beaten finalist. There were four-year lacquards shown to each. Five corners for William Nibb. They enjoyed majority of the possession and all the goals here at Glenmure High. William Nibb threw to the round of 16 with their 1-0 win. Let's hear from our water man of the match, none other than the goal scorer, Mr. Williams, Seron Williams. Here we have our water man of the match. He is no other than Seron Williams, the goal scorer for today. Congratulations. Thank you very much. Seron, today, though rain had affected the field a bit, but you managed to score a goal in the first half. How was it for you? It was a very good feeling because my team needed the goal to advance to this round of 16. Well, you are in the round of 16, as you said. Again, how does it feel for you and your team? My team, yeah, my team, we feel very joyful, great. I think we can push on behind this competition. You did have a lot of support when you scored a goal today.  How does that feel to know that people are supporting you? It gives me a joy because when they are pushing on to the competition, they're going to need a lot of support. Well, you did well. Congratulations and all the best for the rest of the season. Thank you very much. Now we welcome the coach of Central High.


The BSU football team looks to carry their momentum from their homecoming. Comeback win into tomorrow's game against Upper Iowa. The Beavers are 6-1 in the all-time series. Upper Iowa is 2-4 this year, but already upset then 11th ranked Winona State. As for the Beavers win last week, Bolte attributes it to the never die attitude. It's just something about this group of guys. I've said that since spring. They're just a little bit different. To dumb and naive to know the importance of games or put themselves in situations, they've just been able to continually fight through and really probably be ahead further than I thought they would be at this time this year. I don't think their 2-4 record kind of shows what kind of team they are. Especially on their homecoming, it's not a game that we're going to walk into and just expect to win. We had to play our kind of football and if we do that, I don't think we're going to have any problems. If you enjoyed this segment of Lakeland News, please consider making a tax-deductible contribution to Lakeland PBS.


All right, welcome back now in today's video. All right, we're gonna be talking about how to become fearless in sales Right, I would say out of all of the videos. I've ever posted on YouTube. I Think this is going to be pride the most simple but also the most important video that I post and I know this because of the conversations that I have with coaches every day I talked to coaches who have problems with sales Right, this will help you a lot Only if you do it, right? And if you have more questions for me about sales how to increase your pricing How to get paid up front for a year how to get clients way more committed to your program text me at my phone number 2 1 0 9 6 0 5 7 7 1 it's gonna be on the screen the entire video right So first all right, I have four things that we're gonna cover here All right, the first is you need to be crystal clear with your offer, right?  What is the outcome or the transformation that you are delivering? Right, if someone signs up for your program today, what do you want them to accomplish? What is the goal? Right? If you don't know what that is Right, it is physically impossible to help that client, right? And let's pretend that you walk into a doctor's office right and The doctor without talking to you. He just is like prescribes you all sorts of medication and He has no idea what he's trying to solve Right.  Well, this is exactly what's happening with coaches coaches get on sales calls with parents and They aren't figuring out what does this kid actually need help with and then they assume well if you just join my program Like we're gonna develop and help them get better. That's not good enough Right, if you want like lasting clients in your program, you need to get to the root of why You know, why is this parent on this call in the first place? What do they want? What do they want the outcome to be for their child and if you are not? Figuring that out and you do not have that tied into your offer You're going to lose out on sales calls on a lot of sales calls. There's hundreds and thousands of dollars worth of Money that's on the table Throughout the year that you're probably missing out on because you're not crystal clear with your offer All right, when I say big become crystal clear with your offer I mean and I've said this in other videos It's like when I say that I really do mean like I could come to your house or your apartment wherever you live at two o'clock in the morning and wake you up and You know exactly what you're offering Right, that's how detailed you need to be and if you're not that way then you appear to be not confident on your call With parents. All right, that's number one number two. This is something. I know most people don't do just because they're lazy but you need to track everything All right, and I I've said this to all the coaches in my my mastermind program recently like Every sales call should be on zoom All right, you should be face-to-face With parents on a zoom call. They take it way more serious. You can record it. You can share your screen You can walk them through your enrollment process I mean it is so much easier to close someone on zoom than it is over the phone When you talk to parents over the phone, they could be at Chick-fil-A. They could be completely distracted They could be watching the Olympics And they're like, uh-huh. Yeah, and like they're not even paying attention to you When you get someone over to zoom call, they pay way more attention to what you're saying. They take it way more serious Right and you that should all be scheduled if you go to my website build my sports biz comm go use tidy cow All right, I set up a partnership with them You can get it for $19 for lifetime access and you can schedule all of your calls there it automates with zoom Go to build my sports biz comm go check it out. Like that's the exact same tool. I use Coaches that are high performers in my program. They all use it to all right. We all do the same thing All right, no one no one's reinventing the wheel there. All right next one number three is you need to get better at asking questions Instead of just selling and rambling about your past. Here's the thing. I Don't care if you played pro or if you played D1 or Whatever the level of experience you have as an athlete like that Does not matter to the parents that you speak to like I know a lot of coaches they'll talk about you know, how great they were in middle school and They lead the conversation to shine the spotlight To shine the spotlight on themselves instead of shining a spotlight on the parent and trying to dig down and figure out what what is their Kip struggling with versus. Oh, this is how great I am Right and the thing is is parents become more interested in you when you ask them questions Right so ask them questions. Don't talk about yourself No one cares about you and this is the thing coaches egos are massive. We want to Tell everyone where we played college or where where we played pro That has nothing to do with helping their kid Right, some of the most successful coaches I've worked with believe it or not did not play pro Some didn't even play in college. They're just great at coaching Right, so you're on this call for one reason not to talk about yourself. It's to start asking better questions Right, I have a script inside my program and there's a testimonial on my website that you can go listen to this guy His name's Hector. He's been using that script. His business went from like I think $16,000 to like $60,000 to over a hundred thousand right now. He's on pace to do over two hundred thousand dollars this year He customized the script. He uses the script on every single call. He doesn't deviate Right, so for him that has resulted in you know Over three or four hundred thousand dollars at this point of sales All right, it's huge. He asked questions though. He's not talking about himself. All right Next one number four. This is where a lot of coaches struggle All right, but you need to have a simple onboarding process if it takes too long for someone to register they're not going to register if They have to pay you cash or check when they see you well now you're waiting several days until you physically see them if they pay you on Venmo and like They just pay you there and then you have to constantly ask them for money over and over and over that takes long That's inconvenient for the client if you don't have a system in place like right when someone signs up on what to do next right That is it ultimately becomes a painful experience for the client not a good experience All right, so we need to make this easy. We need to make it better. It needs to look polished. It needs to look professional Right and when you have a simple onboarding process All right, then here's what happens You get better at asking questions All right You'll want to track everything more and you become more confident with your offer Because you have all those things lined up right and you can see how one of these things if it's off It disrupts everything right, so if you're not crystal clear with your offer Well, why would you want to get on sales calls? Right? I can't imagine why any coach would want to get on a sales call If they're not crystal clear with what they're saying or with what they're offering Right, I would feel terrible getting on a sales call if I'm like wow I have no idea what I'm selling here All right, and I have been in that position before and I know how annoying that was in my business at that time I hated those calls because I did not know what I was offering right and then if you don't track everything Well, how are you gonna improve? How do you know? What you need to improve on if you don't track it Right, and if you're just rambling on about you know where you played JV basketball Right and you're talking about how great you were 10 years ago or 20 years ago. No one cares about that Stop talking about yourself Start asking questions about their child. All right, and if your onboarding process is complicated if it's sloppy If it's hard for the customer, all right, then that makes the initial stages of getting into your business annoying And why would they you know give you referrals if the beginning stages of your business is annoying or if it's hard Right, so these are things that help you become fearless and sales Like I want to sell my program every second of the day because I know what my offer is Right, and I track everything and I know what questions. I'm asking and my onboarding process is unbelievably simple Right, so that's why I have the confidence to get as many calls as possible Right because those things are in place right so if those things are not in place for you text me at my phone number and We can fix that right I can absolutely help you in this area This is what I do with coaches every single day the ones that are actively going through my program This is what we do we get these things set up they improve they get drastically a lot better All right, it sails so that's it for today's video Hit the subscribe button if you are brand new to the channel and if you want to text me text me that number It's on the screen That's it for today's video. See you later