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Abode is live. A while ago I started exploring social with the mindset of creating something fun. I ended up creating something deeply meaningful for myself. When I started Abode it was out of frustration. How have we moved to a state of social that cares more about how...

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Joseph Smith

4,286 subscribers

33,292 views • 1 year ago •via X (Twitter)

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Joseph Smith's profile picture
Joseph Smith1 year ago

Get it today ✨

Raffi's profile picture
Raffi1 year ago

OUT OF NOWHERE

Joseph Smith's profile picture
Joseph Smith1 year ago

catch em by surprise

Jon Rothenberg's profile picture
Jon Rothenberg1 year ago

Love that insight around serendipitous connection that came from one friends presence. It’s something we’re excited about and exploring too! Finding more ways to create presence has been our biggest challenge here. Activities (or magnets) are an interesting solve for this

Joseph Smith's profile picture
Joseph Smith1 year ago

Yeah, it's far from being the perfect structure for it yet. But I believe this is very close.

radcraftor's profile picture
radcraftor1 year ago

🤍💙

Daniel Kuntz's profile picture
Daniel Kuntz1 year ago

Lfggg

Yinka's profile picture
Yinka1 year ago

Congratulations ! Beautifully crafted

javamonn's profile picture
javamonn1 year ago

gg! cant wait to try it out

LinuxSecurity's profile picture
LinuxSecurity1 year ago

It's great to see your passion for creating a space that prioritizes genuine connection over perception. Abode sounds like a promising way to enhance social interactions. Looking forward to seeing how it evolves!

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YOKO ONO: ONOCHORD, VENICE, 2004 Yoko: The world is divided in two industries. One is the War Industry and the other is the Peace Industry. The people in the War Industry are totally together. They don't have to talk to each other, even. They know exactly what they want to do. They want to go out there, kill and make money. But the people in the Peace Industry, which are us - we are so idealistic that each one of us criticises the other Peace Person in the Peace Industry. And we are always just arguing and we are wasting our energies doing that. So let's just forgive each other and see that we are in the Peace Industry and that's all that counts. Even if you are not marching for peace, just be yourself, being a florist, being a merchant, being a talior, anything. That way you're contributing to the Peace Industry. People are just concentrating on fear, confusion and anger. And therefore just for a moment, I'd like us to think about Love. In a very magical, straight way, John and I met in London and from then on we stood for Peace and Love. And when I do this kind of event. Well it is... I was inspired to do it, but I still think that I'm still with John in spirit. John and I created the country called Nutopia. Not Utopia, because there was Utopia as a concept already. And we wanted to create a new concept, so we just added N on it - Nutopia - and as a country. Well, that is the concept of a country. And we all are citizens of that country. And in my apartment in the Dakota Building, we put a little plaque on the back door, the kitchen door. It says 'Nutopian Embassy' and even now we have that. (laughs). Nutopia exists in our minds. And because of that, some people want to rebel against it. The reason some want to rebel against it is a good proof that it exists. I think that it was a terrible thing that happened in Chechnya. But we have to still keep our hopes up. And instead of giving up, we have to keep on sending the message of Love to each other. You say that I am the Ambassador of Peace. We are all Ambassadors of Peace. You are too. Everybody in this room are Ambassadors of Peace. Just the fact that we are not participating in War. The fact that we are here, and we are what we are, means that we are in the Peace Industry. All of us. John and I used to say that our apartment in the Dakota is a conceptual monastry, just for the two of us. And when we go out of the Dakota, we get so many people communicating with us, so it's very important that we had silence and quietness. And my apartment is a very small space compared to the world. And I need that for my peace of mind. You should be kind to each other. You should come together, hug each other, love each other, express our love to each other and we should make it work. We should finally create a world that is a totally an Earth for Us. So let's do it. Yoko Ono, OpenAsia Press Conference, whilst exhibiting Onochord, 2004 by Yoko Ono (Nutopia) at the Venice Biennale: OpenAsia 2004, Lido Di Venezia, Venice, Italy, 9 September 2004.

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Karina openly apologized and clarified about her jacket and insta post 💙: But recently there was a bit of an issue and bcs of that I started wishing not just for myself but for everyone around me to live peacefully without any trouble. I honestly had no such intention at all so I really wanted to talk about it. And I felt really sorry about that. I just wanted to say that I’m truly sorry for causing concern to our fans and so many others people. I really want to say sorry. I remember going out with the staff on a chilly day, buying an outer layer, posting on social media to communicate with fans and then getting contacted and having to delete it. All of that made me realize how ignorant I was. Even if I was abroad, it was still something I should have known and been aware of. So it really made me feel like I need to be more aware and study these things more deeply. I think it’s true that I was just very ignorant. And in any case, since I’m the one who put the story out there, it’s something I have to take responsibility for. But it was really hard seeing the other members get affected too

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1,376,873 views • 1 year ago

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Will Ospreay has revealed part of the reason behind why Baba O'Riley was chosen for his AEW All In 2026 entrance was because the song was used for an MV Zone tribute video to Bryan Danielson in 2011. "There was a song that we wanted, but we just couldn’t get a licence fee for it. I won’t put it out there because maybe one of these days I will be able to track it down again. I’d like to leave that as a surprise. But it was Mike Mansury that came up with the idea of The Who Baba O’Riley. "I’ll be honest with you, I have a connection with that song because there was a music video from the MV Zone. It was like a kind of little backyard wrestling music video group, and they did a Bryan Danielson tribute to that song, so I have a little bit of a connection to it. "I was just okay, I quite like the idea and The Who is British as well, so that’s kind of cool. But I remember listening to it and on the travels that me and Al (Alex Windsor) did, and I was just like, I don’t know if I feel it. The other song that I wanted got my juices flowing. It was my favourite song. I don’t know if I feel it. It was only when I heard the voiceover and I saw the clips that were all around it. I was like, 'this is perfect. This is it. Don’t change a thing.'" (Source: Chris Van Vliet)

Cultaholic Wrestling

29,644 views • 1 month ago

On this day, 52 years ago, John Cassavetes' "The Ki!!ing of a Chinese Bookie" (1974) was released in the USA. John Cassavetes explaining why he made the movie: "'A Woman Under the Influence' (1974) was the first picture I’ve had anything to do with that wasn’t made out of plain, simple feeling, but rather out of a real desire to do something in my profession. It was extremely frightening for me not to come to work out of enthusiasm and instead put myself up as something of a craftsman. Earlier films such as 'Shadows' (1958) and 'Husbands' (1970) grew out of personal experiences reaching all the way back to my childhood days. They were expressions of my innermost feelings, and now that I’ve dealt with all that, I feel obligated to view life in other terms. I want to explore other areas of human and artistic experience. I made 'The Ki!!ing of a Chinese Bookie' (1976) as an intellectual experiment– not because I am in love with it. I enjoy a more intellectual and less emotionally demanding view than in my previous work. If I can make, out of certain intellectual ideas, films that are complex in their nature, then I’m entering into new ground. And that is certainly something I look forward to. It is a film that has little to do with me and with how I feel about life. It’s interesting to me to see how other people live in our society, to look at them and ask myself, ‘Why do they do it? And how do they do it?’ Without trying to explain. The fun and challenge of the film was to imagine a self-contained world different from the one I live in: to move into it and live in it." ("Cassavetes on Cassavetes", edited by Ray Carney, 2001)
1:52

On this day, 52 years ago, John Cassavetes' "The Ki!!ing of a Chinese Bookie" (1974) was released in the USA. John Cassavetes explaining why he made the movie: "'A Woman Under the Influence' (1974) was the first picture I’ve had anything to do with that wasn’t made out of plain, simple feeling, but rather out of a real desire to do something in my profession. It was extremely frightening for me not to come to work out of enthusiasm and instead put myself up as something of a craftsman. Earlier films such as 'Shadows' (1958) and 'Husbands' (1970) grew out of personal experiences reaching all the way back to my childhood days. They were expressions of my innermost feelings, and now that I’ve dealt with all that, I feel obligated to view life in other terms. I want to explore other areas of human and artistic experience. I made 'The Ki!!ing of a Chinese Bookie' (1976) as an intellectual experiment– not because I am in love with it. I enjoy a more intellectual and less emotionally demanding view than in my previous work. If I can make, out of certain intellectual ideas, films that are complex in their nature, then I’m entering into new ground. And that is certainly something I look forward to. It is a film that has little to do with me and with how I feel about life. It’s interesting to me to see how other people live in our society, to look at them and ask myself, ‘Why do they do it? And how do they do it?’ Without trying to explain. The fun and challenge of the film was to imagine a self-contained world different from the one I live in: to move into it and live in it." ("Cassavetes on Cassavetes", edited by Ray Carney, 2001)

DepressedBergman

87,103 views • 8 months ago

🚨Should the US create a Sovereign Wealth Fund? Chamath and Friedberg discuss Chamath: “I think that we should start a sovereign wealth fund right now.” “The great news is that these Trump tariff deals come with huge amounts of capital that these other countries have committed to spending inside the United States.” “We've exceeded $1T of inbound capital on the investment side. We get 90% of the upside.” “A lot of that capital should be the seed capital for a sovereign wealth fund.” Friedberg: “The concern I have is anytime we create a new income stream at the federal government, or we have some sort of growing asset that you mark up on the book, someone tends to invest ahead of the curve on that.” “Meaning someone takes that and they're like, ‘Oh, great, I can spend more now.’ I mean, we even saw this in California (with) Gavin Newsom and the budget skyrocketed as the income went up.” “Rather than take the surplus and book it for a rainy day, they went and spent ahead of it, and then all of a sudden they had a huge deficit.” “Which is what happened with Social Security is, it's like, okay, all these people are providing this income every year to the federal government, which they're supposed to be paying into their Social Security Trust Fund, which is gonna go bankrupt sometime between 2030 and 2033.” “But then what happened is we raided the coffers, we took all that money, and we started spending it on random new programs.” “And the problem is, by giving the government more assets, by giving the government more income, we set ourselves up for a circumstance where the federal government, the Congress says, ‘Great, we got more money to spend. Let's do X, Y, and Z program and let's do this. Let's build a high speed train. Let's do this. These are all good for American people.’” “And all of a sudden, you don't actually solve any real problems. And this is why my argument is that we should use it to fill the hole that we have, for example, in Social Security.” “And that needs to become an asset that's strictly used as an offset on Social Security, because if you don't put it in that box, it just becomes another spending mechanism.”
1:38

🚨Should the US create a Sovereign Wealth Fund? Chamath and Friedberg discuss Chamath: “I think that we should start a sovereign wealth fund right now.” “The great news is that these Trump tariff deals come with huge amounts of capital that these other countries have committed to spending inside the United States.” “We've exceeded $1T of inbound capital on the investment side. We get 90% of the upside.” “A lot of that capital should be the seed capital for a sovereign wealth fund.” Friedberg: “The concern I have is anytime we create a new income stream at the federal government, or we have some sort of growing asset that you mark up on the book, someone tends to invest ahead of the curve on that.” “Meaning someone takes that and they're like, ‘Oh, great, I can spend more now.’ I mean, we even saw this in California (with) Gavin Newsom and the budget skyrocketed as the income went up.” “Rather than take the surplus and book it for a rainy day, they went and spent ahead of it, and then all of a sudden they had a huge deficit.” “Which is what happened with Social Security is, it's like, okay, all these people are providing this income every year to the federal government, which they're supposed to be paying into their Social Security Trust Fund, which is gonna go bankrupt sometime between 2030 and 2033.” “But then what happened is we raided the coffers, we took all that money, and we started spending it on random new programs.” “And the problem is, by giving the government more assets, by giving the government more income, we set ourselves up for a circumstance where the federal government, the Congress says, ‘Great, we got more money to spend. Let's do X, Y, and Z program and let's do this. Let's build a high speed train. Let's do this. These are all good for American people.’” “And all of a sudden, you don't actually solve any real problems. And this is why my argument is that we should use it to fill the hole that we have, for example, in Social Security.” “And that needs to become an asset that's strictly used as an offset on Social Security, because if you don't put it in that box, it just becomes another spending mechanism.”

The All-In Podcast

44,452 views • 1 year ago

Selena Gomez reveals how Benny Blanco proposed to her. “I thought we had a shoot that day, so I had hair and makeup done, and I was just going about my regular day. I got into the car, and I was thinking to myself, ‘Where are we going?’ Because at that point, I felt like I knew all the studios I usually go to” “It was just me and my security guard, and he was laughing because he was just like, ‘I don’t know. It’s a new space’” “We got out. I walked in, and all of a sudden, I saw no one in the room. I looked at my assistant, and she just shut the door. And I was like, ‘Uhhh…’” “I think you envision all the things you would do and say when someone proposes to you. But it is actually the craziest feeling. It was really special” “He said the sweetest things, but I was so shocked that it just felt unreal for a long time. I’ve always dreamed of that moment, and he couldn’t have made it more perfect. It was one of the best days of my life, for sure”
1:23

Selena Gomez reveals how Benny Blanco proposed to her. “I thought we had a shoot that day, so I had hair and makeup done, and I was just going about my regular day. I got into the car, and I was thinking to myself, ‘Where are we going?’ Because at that point, I felt like I knew all the studios I usually go to” “It was just me and my security guard, and he was laughing because he was just like, ‘I don’t know. It’s a new space’” “We got out. I walked in, and all of a sudden, I saw no one in the room. I looked at my assistant, and she just shut the door. And I was like, ‘Uhhh…’” “I think you envision all the things you would do and say when someone proposes to you. But it is actually the craziest feeling. It was really special” “He said the sweetest things, but I was so shocked that it just felt unreal for a long time. I’ve always dreamed of that moment, and he couldn’t have made it more perfect. It was one of the best days of my life, for sure”

Buggy

289,329 views • 3 months ago

Ben Affleck says JUSTICE LEAGUE was so TOXIC it became the lowest point of his entire career and says the studio using Zack Snyder’s daughter’s SUICIDE as an “excuse” was one of the SHITTIEST, GROSSEST things he’s ever seen in HOLLYWOOD Josh Horowitz: “So that, that was, I mean, you know, you, you bring it up, like, that was seeming like a perfect storm of horrible things happening. What was going on with Zack… was a horrible personal tragedy. You were going through it personally and professionally, and this film is like kind of collapsing in front of you. Like, did you kind of have any kind of moment of epiphany on that set about personal or professional?” Ben Affleck: “You know, the truth is that the experience of Justice League for me was so, so negative for lots of different reasons… some of which having to do just with where I was personally, some of which having to do with some of the tragedy that happened during that time, and also the fact that I really saw how not to make a movie like that, which is with the studio at odds with the filmmaker… you’re really making a mistake. And that was what really doomed that. I was really glad and gratified that Zack got to release… which was fucking great. And I was really happy for him. Boy, that was shitty that him being taken off that movie and the reshoots that we did. That’s… the low point of my career was that. Yeah, I mean, look, the personal thing… somebody’s death by suicide is… that eclipses everything. And then the way in which that was… used as an excuse, I just thought it was one of the shittiest things I’d ever seen… and it was so gross. And then the whole environment and vibe… that I sort of heard about secondhand in terms of Ray and Gal and other people’s experiences. It was just like, wow, this is about as gross as it gets. And I was drinking too much… that’s when I started to feel like, boy, I’d like to quit drinking and I’m having a hard time not drinking… And I got divorced. It was definitely a very difficult time for me personally… but those things while painful were not what impacted that movie. They just happened to be happening at the same time.”
2:29

Ben Affleck says JUSTICE LEAGUE was so TOXIC it became the lowest point of his entire career and says the studio using Zack Snyder’s daughter’s SUICIDE as an “excuse” was one of the SHITTIEST, GROSSEST things he’s ever seen in HOLLYWOOD Josh Horowitz: “So that, that was, I mean, you know, you, you bring it up, like, that was seeming like a perfect storm of horrible things happening. What was going on with Zack… was a horrible personal tragedy. You were going through it personally and professionally, and this film is like kind of collapsing in front of you. Like, did you kind of have any kind of moment of epiphany on that set about personal or professional?” Ben Affleck: “You know, the truth is that the experience of Justice League for me was so, so negative for lots of different reasons… some of which having to do just with where I was personally, some of which having to do with some of the tragedy that happened during that time, and also the fact that I really saw how not to make a movie like that, which is with the studio at odds with the filmmaker… you’re really making a mistake. And that was what really doomed that. I was really glad and gratified that Zack got to release… which was fucking great. And I was really happy for him. Boy, that was shitty that him being taken off that movie and the reshoots that we did. That’s… the low point of my career was that. Yeah, I mean, look, the personal thing… somebody’s death by suicide is… that eclipses everything. And then the way in which that was… used as an excuse, I just thought it was one of the shittiest things I’d ever seen… and it was so gross. And then the whole environment and vibe… that I sort of heard about secondhand in terms of Ray and Gal and other people’s experiences. It was just like, wow, this is about as gross as it gets. And I was drinking too much… that’s when I started to feel like, boy, I’d like to quit drinking and I’m having a hard time not drinking… And I got divorced. It was definitely a very difficult time for me personally… but those things while painful were not what impacted that movie. They just happened to be happening at the same time.”

Dunmola♋

222,168 views • 21 days ago

Bensky: And then we have the moment where all of my information is released. All of these other survivors — all of our information is literally out there for the world to see. And you’re like, “Wow, the DOJ really — our government doesn’t care.” And so then you’re wrestling with, like, “Do they just not care? Is it incompetence? Is this, like, you know, a cover-up? A major cover-up?” And I didn’t want to believe that it was a cover-up. When I first got here, I was pretty naive and green about all of it.
1:30

Bensky: And then we have the moment where all of my information is released. All of these other survivors — all of our information is literally out there for the world to see. And you’re like, “Wow, the DOJ really — our government doesn’t care.” And so then you’re wrestling with, like, “Do they just not care? Is it incompetence? Is this, like, you know, a cover-up? A major cover-up?” And I didn’t want to believe that it was a cover-up. When I first got here, I was pretty naive and green about all of it.

Acyn

52,336 views • 8 months ago

“The last time that we were touring and stuff, I think touring is quite an isolating experience. And on top of that, when we started touring, it was 2021, so it was kind of like still depths of the pandemic. We were like one of the first tours to go back out. So I think that tour started in that way where it was like, I was really bubbled up even kind of within the tour. And then staying on that tour, we put an album out and it ended up being like two and a half years type time. It's just a long time to be in like a bubble where you're not really spending that much time like in the world around you, other than shows and hotels and stuff. And when I finished, I kind of went off and was spending a lot of time in Italy, and was kind of like having this quiet time, and I was just feeling a lot of my life as I was kind of like, craving like quiet and kind of like private spaces. I was just feeling myself kind of like shut out a lot of the world, “I think, and I think the last couple of years for me was about, you know, there's a lot of things that I think I got used to saying no to, like invites from friends and like maybe a weekend trip or like a birthday party or something. I think I just got used to, you know, if I have a week at home, I don't want to go somewhere else for three days. I just want to stay home, you know. And I think when I got to Italy and was kind of out in this quiet place, I felt like, okay, if I'm going to spend all this time out here and I'm going to keep saying no to everything, I'm just going to like shut myself off from the world. And while parts of that sound appealing, I also like, I love people and I love like being in the world, you know, so it was kind of, I think for me, like there's been both the thing of like learning to set boundaries and stuff is a large part of that has also been learning when not to set boundaries and when to open up. Being intentional with the things that you don't do and being intentional with the things that you do do. So, you know, as a message in the album sleeve, where I said like thanks to all the people who helped me know when to say no and when to say yes. I think both of those have like greatly enriched my life.” - Harry about feeling isolated during his last tour and opening himself up to the world again on Q
3:02

“The last time that we were touring and stuff, I think touring is quite an isolating experience. And on top of that, when we started touring, it was 2021, so it was kind of like still depths of the pandemic. We were like one of the first tours to go back out. So I think that tour started in that way where it was like, I was really bubbled up even kind of within the tour. And then staying on that tour, we put an album out and it ended up being like two and a half years type time. It's just a long time to be in like a bubble where you're not really spending that much time like in the world around you, other than shows and hotels and stuff. And when I finished, I kind of went off and was spending a lot of time in Italy, and was kind of like having this quiet time, and I was just feeling a lot of my life as I was kind of like, craving like quiet and kind of like private spaces. I was just feeling myself kind of like shut out a lot of the world, “I think, and I think the last couple of years for me was about, you know, there's a lot of things that I think I got used to saying no to, like invites from friends and like maybe a weekend trip or like a birthday party or something. I think I just got used to, you know, if I have a week at home, I don't want to go somewhere else for three days. I just want to stay home, you know. And I think when I got to Italy and was kind of out in this quiet place, I felt like, okay, if I'm going to spend all this time out here and I'm going to keep saying no to everything, I'm just going to like shut myself off from the world. And while parts of that sound appealing, I also like, I love people and I love like being in the world, you know, so it was kind of, I think for me, like there's been both the thing of like learning to set boundaries and stuff is a large part of that has also been learning when not to set boundaries and when to open up. Being intentional with the things that you don't do and being intentional with the things that you do do. So, you know, as a message in the album sleeve, where I said like thanks to all the people who helped me know when to say no and when to say yes. I think both of those have like greatly enriched my life.” - Harry about feeling isolated during his last tour and opening himself up to the world again on Q

HSNews

90,121 views • 7 months ago

🐰 i worked a lot with El Guincho. I got to listen to a lot of tracks and i was really wowed by just how fresh and new this was. One of the first thoughts i had was ‘wow, you can approach a song like this?’ and i felt a lot of pressure about how to make the best use of it. so that must be why i wanted to stay close, it was a totally a different vibe, a whole new vibe. i hope to work again and have another session with the producers and songwriters that we worked with
0:52

🐰 i worked a lot with El Guincho. I got to listen to a lot of tracks and i was really wowed by just how fresh and new this was. One of the first thoughts i had was ‘wow, you can approach a song like this?’ and i felt a lot of pressure about how to make the best use of it. so that must be why i wanted to stay close, it was a totally a different vibe, a whole new vibe. i hope to work again and have another session with the producers and songwriters that we worked with

jk.97

26,798 views • 7 months ago

Joe Mazulla says he uses AI everyday to help coach his team “I use Claude everyday for coaching thoughts. I love Claude. I’m all in on Claude. It was beneficial in the offseason for my personal development and where I wanted to take things psychologically for our team.” “I’ll throw in last year’s practice plan and be like, was this efficient? Because you don’t know in the present moment if it was an efficient practice plan or if it was an efficient use of your time. If you throw in, here’s our halftime process, how can our halftime process become more efficient? We watch film sometimes and it’s a reactive film session because we’re watching film of plays that already happened, not of plays that may happen.” Radio Host: “But it is going to kill all of us, you do know that? It’s coming for all of us.” “Something is coming for all of us. I just went to confession Monday so I’m in good shape.” “I think it’s more just helping organize, helping become more efficient, helping understanding. I use it a lot just for conversation and riffs on, ‘Okay, here’s what I’m wrestling with. What does this look like from a psychological perspective? What is the research and the data?’ You can quickly get so much research and data on things. Are you verbalizing things? Can they be verbalized in a much more efficient way?” “Like I talked about with practice planning, it really helps you test your processes that you think are efficient. Is our halftime process really the most efficient way to watch film getting ready for the second half? Is our pregame process the most efficient way to make sure our guys have retention of the game plan, understand what we need to do, and are in the right space mentally and psychologically?” “As a coach, you develop these processes and rituals that you think give you the best chance to win. I think a platform like that tests your efficiency. Is this really the best way? How we watch film on a practice day, is the way we watch film, the template of each clip, the best opportunity to build retention and understanding? What does it look like to have the most efficient film session you can? What type of questions are you asking when you’re going through film? Do I ask the right questions to check for understanding and build retention?” “I think it just really tests your processes. You may think you’re doing something the right way, but there’s definitely a more scientific or more efficient way of going about how to do things, and I think that gives us a platform that allows you to do it. Really, it was over the last year or so. Every offseason, and really this offseason, it was like, ‘Okay, let’s test all of our processes. Is our pregame film process the right way? Is our halftime film process the right way? Is our film room set up for learning the right way? How should our film room look?’” “You’re constantly testing. You always ask, ‘Where are we getting better?’ I think the best way for coaches to get better is in the processes of how they go about doing stuff. Are they the most efficient way? It also helped with combining sports. I’ve always talked about soccer being a passion of mine to watch, and I got into a little bit of handball this year. So I was able to say, ‘Tell me the similarities between soccer, handball and basketball. What elements of play are involved in all three of those things, and how can that work in a five-on-five setting?’” “To me, it tests your process. It tests your efficiency. It tests what you think you may know and how you can do it better.”
3:21

Joe Mazulla says he uses AI everyday to help coach his team “I use Claude everyday for coaching thoughts. I love Claude. I’m all in on Claude. It was beneficial in the offseason for my personal development and where I wanted to take things psychologically for our team.” “I’ll throw in last year’s practice plan and be like, was this efficient? Because you don’t know in the present moment if it was an efficient practice plan or if it was an efficient use of your time. If you throw in, here’s our halftime process, how can our halftime process become more efficient? We watch film sometimes and it’s a reactive film session because we’re watching film of plays that already happened, not of plays that may happen.” Radio Host: “But it is going to kill all of us, you do know that? It’s coming for all of us.” “Something is coming for all of us. I just went to confession Monday so I’m in good shape.” “I think it’s more just helping organize, helping become more efficient, helping understanding. I use it a lot just for conversation and riffs on, ‘Okay, here’s what I’m wrestling with. What does this look like from a psychological perspective? What is the research and the data?’ You can quickly get so much research and data on things. Are you verbalizing things? Can they be verbalized in a much more efficient way?” “Like I talked about with practice planning, it really helps you test your processes that you think are efficient. Is our halftime process really the most efficient way to watch film getting ready for the second half? Is our pregame process the most efficient way to make sure our guys have retention of the game plan, understand what we need to do, and are in the right space mentally and psychologically?” “As a coach, you develop these processes and rituals that you think give you the best chance to win. I think a platform like that tests your efficiency. Is this really the best way? How we watch film on a practice day, is the way we watch film, the template of each clip, the best opportunity to build retention and understanding? What does it look like to have the most efficient film session you can? What type of questions are you asking when you’re going through film? Do I ask the right questions to check for understanding and build retention?” “I think it just really tests your processes. You may think you’re doing something the right way, but there’s definitely a more scientific or more efficient way of going about how to do things, and I think that gives us a platform that allows you to do it. Really, it was over the last year or so. Every offseason, and really this offseason, it was like, ‘Okay, let’s test all of our processes. Is our pregame film process the right way? Is our halftime film process the right way? Is our film room set up for learning the right way? How should our film room look?’” “You’re constantly testing. You always ask, ‘Where are we getting better?’ I think the best way for coaches to get better is in the processes of how they go about doing stuff. Are they the most efficient way? It also helped with combining sports. I’ve always talked about soccer being a passion of mine to watch, and I got into a little bit of handball this year. So I was able to say, ‘Tell me the similarities between soccer, handball and basketball. What elements of play are involved in all three of those things, and how can that work in a five-on-five setting?’” “To me, it tests your process. It tests your efficiency. It tests what you think you may know and how you can do it better.”

Josh Chambers

241,877 views • 4 days ago

Hirokazu Koreeda on how he directs Children: "Interviewer: I think 'Shoplifters' (2018) is very remarkable in showing different sides of a city and like you said, people who are pretty much invisible, but I do want to also commend you on another thing, is you often work with young actors, and they always tend to have a significant role in many of your films. How do you go about finding such dynamic young actors, and why do you often put these young people at the center of each one of your stories? Koreeda: First of all, I would say that I tend to make what I would call family dramas, and of course, you have to have children if you’re creating a family, but that’s how it started, but I found that as I did it, I became really interested. It became very interesting and fun to work with these children, and for example, the two children in this film, neither of them had any acting experience at all before this film. I brought them in, and what I find when you bring these children in, and you work with them is that the adult actors change. They become much more lively and natural in the way that they act, and I guess, at some point, I realized this, and I guess, became really attracted to the idea of having children and the impact that it had. Interviewer: Do you find that there is any struggle in terms of working with young actors, or in this case, young children who have not actually acted before? Koreeda: Just to clarify, I have worked with children in many of my films, and all of them have never had experienced before. I always go out and pick non-acting children to work in my films, so just, I wanted to put that out there. In terms of the struggle, it does take time. You have to give extra time to work with these children. When I choose these children, I have an audition, and I pick out who I want to the audition, and then when we get to set, I never give them the script. No child that I’ve worked with has been given a script beforehand, and when I get to the actual part where they’re going to be acting, I give them the lines myself, and work with them and coach them. What I find is that it’s actually really enjoyable, both for them and for myself that way. I also, because I’ve been doing this now for several years, I tend to have a fairly high success rate in choosing children that are able to work with me in that way. Interviewer: That’s fascinating, and it also shows how you are able to create such authentic performances from these child actors over and over again in so many of your films. I think it’s a unique gift that you have, and it’s something that very few directors, I think, here in the United States do. Koreeda: It’s true, I guess by working with these children, I learned. I discovered that the best way to do it was just to communicate verbally their lines, rather than giving them in a written format, and over time, this really worked, and so I just kept doing it. But, interestingly, I loved the movie 'Kramer vs Kramer' (1979), directed by Robert Benton, and one time I bought the movie with all the extra, the making of and everything, and I went over it, and I found through that, that in fact, the child in that movie was also given his lines every day by the assistant director each morning when they came in to set, so I discovered that it wasn’t just me that was doing this." (Koreeda's interview with Scott Menzel, We Live Entertainment, 2018)
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Hirokazu Koreeda on how he directs Children: "Interviewer: I think 'Shoplifters' (2018) is very remarkable in showing different sides of a city and like you said, people who are pretty much invisible, but I do want to also commend you on another thing, is you often work with young actors, and they always tend to have a significant role in many of your films. How do you go about finding such dynamic young actors, and why do you often put these young people at the center of each one of your stories? Koreeda: First of all, I would say that I tend to make what I would call family dramas, and of course, you have to have children if you’re creating a family, but that’s how it started, but I found that as I did it, I became really interested. It became very interesting and fun to work with these children, and for example, the two children in this film, neither of them had any acting experience at all before this film. I brought them in, and what I find when you bring these children in, and you work with them is that the adult actors change. They become much more lively and natural in the way that they act, and I guess, at some point, I realized this, and I guess, became really attracted to the idea of having children and the impact that it had. Interviewer: Do you find that there is any struggle in terms of working with young actors, or in this case, young children who have not actually acted before? Koreeda: Just to clarify, I have worked with children in many of my films, and all of them have never had experienced before. I always go out and pick non-acting children to work in my films, so just, I wanted to put that out there. In terms of the struggle, it does take time. You have to give extra time to work with these children. When I choose these children, I have an audition, and I pick out who I want to the audition, and then when we get to set, I never give them the script. No child that I’ve worked with has been given a script beforehand, and when I get to the actual part where they’re going to be acting, I give them the lines myself, and work with them and coach them. What I find is that it’s actually really enjoyable, both for them and for myself that way. I also, because I’ve been doing this now for several years, I tend to have a fairly high success rate in choosing children that are able to work with me in that way. Interviewer: That’s fascinating, and it also shows how you are able to create such authentic performances from these child actors over and over again in so many of your films. I think it’s a unique gift that you have, and it’s something that very few directors, I think, here in the United States do. Koreeda: It’s true, I guess by working with these children, I learned. I discovered that the best way to do it was just to communicate verbally their lines, rather than giving them in a written format, and over time, this really worked, and so I just kept doing it. But, interestingly, I loved the movie 'Kramer vs Kramer' (1979), directed by Robert Benton, and one time I bought the movie with all the extra, the making of and everything, and I went over it, and I found through that, that in fact, the child in that movie was also given his lines every day by the assistant director each morning when they came in to set, so I discovered that it wasn’t just me that was doing this." (Koreeda's interview with Scott Menzel, We Live Entertainment, 2018)

DepressedBergman

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