How to Use Concepts and Storyboards When Planning a Photo Shoot

In Chapter 11 of 16 in her 2012 Capture Your Flag interview, art director Lulu Chen answers "How Do Concepting and Storyboarding Help You Direct a Shoot?"  Chen finds putting town ideas on paper facilitates more effective collaboration.  Writing down concepts and storyboards provide examples that help others understand your thinking.  This creates more effective collaboration that results in presenting photo shoot ideas to the creative director for approval.  She notes how limiting creative brainstorming can result in a game of telephone. 

Lulu Chen is a photo art director working in retail e-commerce in New York City.  Previously, Chen worked as a freelance stylist for leading fashion catalogs and magazines.  She earned a BFA in design and art history from the University of Michigan.

Transcript: 

Erik Michielsen: How do concepting and storyboarding help you direct a shoot?

Lulu Chen: You know, what we do is so visual. And it’s very hard to convey, just something that’s in your head, you have to put down on paper. And whether it be something that you mock up that’s just purely a vision that you have or an idea or, you know, you pull inspiration or swipe and I think it’s easier to collaborate and have talking points, and to show what you’re trying to convey. It’s very hard to be like, “Oh, I want the light to look like this.” You know, you start talking and it’s also what you’re expressing verbally may be totally different in somebody else’s head, or if their perception of, you know, it’s like telephone, except that, you know, you’re there in person and then it could just become a hot mess. Yeah, I think that it’s really important to have specific examples, so that everyone can understand exactly what you’re thinking.

Erik Michielsen: And is that more of an individual task or is it a collective task?

Lulu Chen: So, it can be both. You can work on it by yourself. But ultimately, in my past experiences, you’ve had to present it and there’s checks and balances. So you talk to your creative director about it or other people on the team, just to make sure that everybody’s in sync and on the same page.

Erik Michielsen: And is there a sign off process?

Lulu Chen: Sometimes. Yes. You know, it depends on how elaborate the shoot is.

Erik Michielsen: And how does that work?

Lulu Chen: Well, you present your ideas, and they say, yes or no. Or, you know, they might say that we like this aspect, maybe we should explore this direction a bit more or, you know, this chair looks a little funny, like maybe we should get some more options or I think that’s just, you know… off top with my head but, yeah, it’s definitely a collaboration.

Hattie Elliot on What You Learn Producing a Reality TV Show Pilot

In Chapter 2 of 19 in her 2012 Capture Your Flag interview, female entrepreneur Hattie Grace Elliot answers "What Happened With Your TV Show Pilot and What Were the Takeaways from the Experience?"  Elliot talks about what she learned producing a docusoap reality television series called "The Grace List" based on her life and her business.  The experience gives her a firsthand view of how television is made and how a show concept and characters can change after a network buys the show. 

Hattie Grace Elliot is the founder and CEO of The Grace List, a social networking company that creates destination events and experiences to forge lasting personal and professional connections across its young professional members. Elliot graduated from the University of Cape Town in South Africa, where she studied economics, philosophy, and politics.

Transcript: 

Erik Michielsen: What happened with your TV show pilot and what were the takeaways from the experience?

Hattie Elliot:  Wowsers, that was an incredible whirlwind. So last year, I was producing a pilot for a TV show on my business called The Grace List. And it was really kind of a pseudo—they called it a docu-soap, it profiled my personal life and my search for love along with, you know, “the daters,” you know, members of The Grace List. And it was a great concept. It was an incredible, incredibly unbelievable, unbelievably frustrating, chaotic, ridiculous experience, but at the same time, really extraordinary, and like I wouldn’t change it for anything in the world, but I just now understand why Lindsay Lohan and all these celebrities are so dysfunctional, ‘cause I feel like I’ve got a very good head on my shoulders and I’ve worked very hard for years, but even I was like, wow, to keep—be level-headed in this industry, it’s tough. 

It was a huge undertaking. I was very, very proud of the initial pilot, which the network bought, they then decided to re-tweak it and reshoot it, and change the premise quite a bit, and cast the characters, and I was really devastated, to be honest, about the final product, I was absolutely—I really worked so hard and was very actively involved, but the final edit, I was just didn’t feel—I didn’t wanna put my name on. I wouldn’t. It was very upsetting especially after putting all that time in. Do I have regrets about doing it? Never. It’s like I would rather have loved and lost, you know, I would have rather had that whirlwind experience, I learned so much. I don’t regret it. 

But would I do a show again? I might with caution, but now I understand why reality shows are never around real businesses, you know? Because when you have a real company, it’s your baby, like I take great, great pride in this company that I built, and what I do, and I’m very protective of my friends and family, and so I’ve never just been willing to sell out, you know, for 5 minutes of fame, and, you know, crouch shot on the cover of Us Weekly or something, like, it’s just not my thing. 

So at this point, the project, the second round went actually to an offsite which is basically like where all the network execs meet and see if it’s gonna go to season, made it through the offsite, went to focus group testing, and I think about halfway through focus group testing was dropped, and it was a real blessing, actually. And there’s definitely some other show concepts in the works, but they’re very different. And they are concepts that I really believe in and that I feel like I can really do justice to now that I realize what goes into a show and what—what’s negotiable and what’s not negotiable, and what the actual process is, time-wise, commitment-wise and, you know, what you have authority to have edits on and stuff, so I’m excited. It really has—it was a—it really led to a lot of opportunity for me, a lot of opportunities, so—Yeah, it was a trip. Albeit an entertaining one.

Mark Graham on How to Create Original Content for Established Brands

In Chapter 13 of 17 in his 2012 Capture Your Flag interview, digital media executive Mark Graham answers "How Are You Learning to Create Original Content for an Established Media Brand?"  Graham talks about the roles audience research and advertiser relationships play into original content strategy and development at VH1. 

Mark Graham is currently a managing editor at VH1, an MTV Networks company. Previously Graham worked in editing and writing roles at New York Magazine and Gawker Media.  He graduated from the University of Michigan with a B.A. in English.  

Transcript: 

Erik Michielsen: How are you learning to create original content for an established media brand?

Mark Graham: Well, when you’re creating content, the first thing you want to really sort of understand is, is who your audience is. Over the course of the last year and some change, VH1 has worked really closely with a market research organization, gone all over the country, found out what people like about VH1, what they don’t like about VH1, what they see VH1 as doing and what they see them as not doing. So sort of armed with that deeper level of information about who our customers are, we’ve been able to come up with content that’s not just for television. We have web-specific content that we’re looking to put together and break. Obviously, we like our convergent opportunities where we can deliver a consistent message through web, through social, through linear. But there’s also we realize that people do consume content, our audience does, through different means and different platforms and something that would work, say on the web, might not necessarily work on TV. 

Over the course of the last year, I worked closely with a couple of comedians here in Brooklyn on a web show that was sort of putting together the best viral video moments of the past week. That was a really interesting project and something that we, you know, experimented and tried out with specifically on the web, it did really well for us, we didn’t end up – we ended up doing 8 episodes of that which was a great learning experience for me. And so really I guess what we’re trying to do with original content for an established brand is really understand and be cognizant that, you know, just because we have a television channel that people have tuned into over the years, that’s not always necessarily gonna be the case, people’s taste are changing, and we really wanna make sure that we create content to reflect those changing tastes. And be able to put together packages that are interesting and fun and great for people to consume.

Erik Michielsen: How much exposure do you have on—to the business side and the whole advertising supported element of—

Mark Graham: Yeah. Obviously, without advertisers’ support, and without people tuning into our projects, we wouldn’t have projects to do. There’s our channel and then there’s our digital, and as we’re continuing to grow our digital, you know, one of the great ways to do that is to partner with advertisers who have goals that they wanna put together, and are also able to support digital programs for us, so I work really closely with our advertising sales team to understand which clients are looking to do specific things, if they have new campaigns coming out, if they have new brand messaging they’re interested in, how they’re looking to attach themselves to cool things like music, and celebrity, and interesting and fun ways that helps elevate their status with their customers, and also helps elevate ours, so, you know, working with advertisers is a great way for us to fund and support original content. And so really sort of helping to understand their goals, and what they’re looking to achieve, is a huge part of it. 

Before I landed at VH1, I was on the other side of this equation, I was—I worked in marketing on the client side, where we were working with agencies and media partners to promote our products, so I sort of have a good 360 understanding of the process now, which I think really helps us put together packages and frameworks for things that are going to be interesting for advertisers, and also interesting to our readers and consumers. Because it doesn’t matter if an advertiser loves something, if the audience is isn’t going to love it, you need to create content and create ideas and packages that are gonna work for both places, and that’s something that’s a huge focus of my job and of our organization, in really making sure that we create things that people read, and that advertisers like that continue to support future programs like that.

Mark Graham on Planning Digital Content Strategy Working in TV

In Chapter 14 of 17 in his 2012 Capture Your Flag interview, digital media executive Mark Graham "What Role Does Content Strategy Play in Your Work?"  Graham notes cable television remains the foundation of big media business, including his company VH1, and gets the majority of its audience and its advertising income from on-air programming.  He talks about working in strategic content planning and how the work is becoming progressively digital.  Graham offers examples of how media companies are packaging content for consumption across TV, mobile, desktop, laptop, and tablet platforms as consumer behavior trends mature into larger population segments.  From short-form music artist online video interviews to Spotify featured playlists to live streaming events over mobile, Graham paints a picture of the future of how digital media companies will evolve to meet its adapting consumer audience preferences. 

Mark Graham is currently a managing editor at VH1, an MTV Networks company. Previously Graham worked in editing and writing roles at New York Magazine and Gawker Media.  He graduated from the University of Michigan with a B.A. in English.  

Transcript: 

Erik Michielsen: What role does content strategy play in your work?

Mark Graham: It’s of a primary essence in everything that we do. And by that, what I mean by strategy is, VH1 is obviously as of right now a television network, primarily. That’s where advertisers pay us. That’s how we make our money. That’s where we have our largest viewership. But as the cable industry starts to change and evolve, VH1 is probably over the course of the next 5-10 years, will still be a TV station. Hopefully. But we’re also gonna be producing content for other devices in other places. Whether that be mobile, on your iPhone or your iPad, or streaming things on your laptop, people consume content differently based upon the device that they’re using to consume it. 

So when we’re putting together ideas for content, when talent is coming in, we discuss lots of different ways that we can package information for different types of audiences based upon how they’re gonna be consuming it. You know, sometimes it’s a print interview that will run a thousand words, that goes really in depth on certain matters with bands. Sometimes it’ll be little 30-second video clips that are, you know, really get to the point, really gets to the essence, something that’s newsy and timely and makes a good bite and something that’s funny and that people are gonna share. Sometimes it’s, you know, working with an artist catalog, you know, an established artist who’s come out with a new record taking a look back at their career and maybe putting together things like a Spotify playlist that showcases the ebbs and flow of their particular career and how they have sort of arrived at the point they’re at today. 

So we look at content not just in a very—we’re talking to this particular artist and it’s going to be an interview. As we’re developing the strategies for our interviews, we’re really cognizant of the ways we’re putting—we’re actually gonna package that and release that out to consumers at the end of the day.

What Copywriter Enjoys About His Work - Conrad Doucette

In Chapter 8 of 19 in his 2012 Capture Your Flag interview, musician Conrad Doucette answers "What Do You Enjoy About Copywriting?"  Doucette finds his work as a copywriter rewarding in that it taps into both his left and right brain skills.  In terms of right-brain creative thinking, he finds creating something from a blank canvas stimulating and challenging.  In terms of left-brain logical thinking, Doucette enjoys the mathematical or scientific element of copywriting work that uses specific elements to convey a concept, idea or message inside set parameters or boundaries. 

Conrad Doucette is a Brooklyn musician and the drummer for Takka Takka, which released its 3rd studio album, AM Landscapes, in late 2012.  He has performed with Bob Weir of the Grateful Dead, The National, Alina Simone, and many other leading acts.  When not performing music, Doucette is the communications and brand director at music licensing and publishing startup Jingle Punks.  Doucette earned a BA in History from the University of Michigan.

How Band Builds a Team to Record New Album - Conrad Doucette

In Chapter 11 of 19 in his 2012 Capture Your Flag interview, musician Conrad Doucette answers "Where Has Outside Support Been Most Useful in Helping Your Band Improve as a Team?"  Doucette shares the stages and team members involved in recording his band Takka Takka's latest album, AM Landscapes.  From the engineering to the mixing to the producing to the arranging to the mastering, the band partners with top talent that brings the recording together. 

Conrad Doucette is a Brooklyn musician and the drummer for Takka Takka, which released its 3rd studio album, AM Landscapes, in late 2012.  He has performed with Bob Weir of the Grateful Dead, The National, Alina Simone, and many other leading acts.  When not performing music, Doucette is the communications and brand director at music licensing and publishing startup Jingle Punks.  Doucette earned a BA in History from the University of Michigan.

How Band Member Roles Change as Album Gets Made - Conrad Doucette

In Chapter 12 of 19 in his 2012 Capture Your Flag interview, musician Conrad Doucette answers "How Are Your Responsibilities Changing as Your Band Prepares to Release a New Album?"  Doucette notes how band member roles change from the recording process through the record release process and the touring process.  He notes the importance of being adaptable and embracing the different roles required at each stage of the process.  Conrad Doucette is a Brooklyn musician and the drummer for Takka Takka, which released its 3rd studio album, AM Landscapes, in late 2012.  He has performed with Bob Weir of the Grateful Dead, The National, Alina Simone, and many other leading acts.  When not performing music, Doucette is the communications and brand director at music licensing and publishing startup Jingle Punks.  Doucette earned a BA in History from the University of Michigan.

Why Song Order and Set Lists Matter in Music - Conrad Doucette

In Chapter 13 of 19 in his 2012 Capture Your Flag interview, musician Conrad Doucette answers "What Role Does Song Order Play When Producing an Album?"  Conrad Conrad expresses why song order is so important to him and his band, referencing his younger days following the Grateful Dead and being passionate about the different show set lists and the stories that come with them.  He notes the same is true when making an album and how song order is fundamental to the emotions and feelings an album listening experience can create in the narrative or storytelling it delivers.  Doucette is a Brooklyn musician and the drummer for Takka Takka, which released its 3rd studio album, AM Landscapes, in late 2012.  He has performed with Bob Weir of the Grateful Dead, The National, Alina Simone, and many other leading acts.  When not performing music, Doucette is the communications and brand director at music licensing and publishing startup Jingle Punks.  Doucette earned a BA in History from the University of Michigan.

Comparing Live Performance with Studio Recording - Conrad Doucette

In Chapter 14 of 19 in his 2012 Capture Your Flag interview, musician Conrad Doucette answers "How Do You Compare and Contrast Performing Live to Recording in a Studio?"  Doucette notes they are completely different.  For him, recording in a studio is about trying to attain perfection.  It must map to your particular vision and it will be permanent, as it is a recording.  He also notes how recording allows you to bring substantial resources to bear on the work, from additional tracks to technology to additional musicians.  Playing live is more about feeding off the space, the room, and the energy and being in the moment.  Conrad Doucette is a Brooklyn musician and the drummer for Takka Takka, which released its 3rd studio album, AM Landscapes, in late 2012.  He has performed with Bob Weir of the Grateful Dead, The National, Alina Simone, and many other leading acts.  When not performing music, Doucette is the communications and brand director at music licensing and publishing startup Jingle Punks.  Doucette earned a BA in History from the University of Michigan.

The Role Patience Plays Making a New Record - Conrad Doucette

In Chapter 15 of 19 in his 2012 Capture Your Flag interview, musician Conrad Doucette answers "What Have You Found Most Fulfilling About Recording Your Most Recent Takka Takka Album?"  Doucette shares how each member of the Takka Takka band is a musician and also has responsibilities outside the band.  In making the AM Landscapes record, Doucette finds it rewarding the band was able to improve as musicians while living normal lives. He notes how the album recording process was spread out over time, which causes you to live with what you recorded and get to know the songs more intimately before finalizing the recordings.  Conrad Doucette is a Brooklyn musician and the drummer for Takka Takka, which released its 3rd studio album, AM Landscapes, in late 2012.  He has performed with Bob Weir of the Grateful Dead, The National, Alina Simone, and many other leading acts.  When not performing music, Doucette is the communications and brand director at music licensing and publishing startup Jingle Punks.  Doucette earned a BA in History from the University of Michigan.

Conrad Doucette on Getting to Play With Bob Weir of the Grateful Dead

In Chapter 17 of 19 in his 2012 Capture Your Flag interview, musician Conrad Doucette answers "What Did It Mean to You to Get Asked to Play With Bob Weir of the Grateful Dead?"  A longtime fan of the Grateful Dead and Bob Weir's rhythm guitar playing, Conrad sees a dream come true when asked to join The National and play Grateful Dead songs with Bob Weir for the Bridge Sessions in March 2012.  The preparation for the performance gives Doucette a first-hand view of watching a master, Weir, rehearse for a show and direct the band.  Conrad Doucette is a Brooklyn musician and the drummer for Takka Takka, which released its 3rd studio album, AM Landscapes, in late 2012.  He has performed with Bob Weir of the Grateful Dead, The National, Alina Simone, and many other leading acts.  When not performing music, Doucette is the communications and brand director at music licensing and publishing startup Jingle Punks.  Doucette earned a BA in History from the University of Michigan.

What Performing With Bob Weir Teaches Musician Conrad Doucette

In Chapter 18 of 19 in his 2012 Capture Your Flag interview, musician Conrad Doucette answers "What Did Bob Weir Teach You When You Played With Him Earlier This Year?"  Doucette gets to play with Bob Weir of the Grateful Dead in early 2012.  Bob Weir shows Doucette how he directs a band and puts an improvisational structure in place.  Weir gives Doucette and his bandmates lessons on how listening can feed improvisational music moments.  Additionally, learns Bob Weir is as much a master musician as he thought but also that he is as human as anyone else playing in the band. 

Conrad Doucette is a Brooklyn musician and the drummer for Takka Takka, which released its 3rd studio album, AM Landscapes, in late 2012.  He has performed with Bob Weir of the Grateful Dead, The National, Alina Simone, and many other leading acts.  When not performing music, Doucette is the communications and brand director at music licensing and publishing startup Jingle Punks.  Doucette earned a BA in History from the University of Michigan.

Matt Ruby on How Childhood Independent Play Develops Imagination

In Chapter 1 of 19 in his 2012 Capture Your Flag interview, standup comedian Matt Ruby answers "What Childhood Experiences Have Been Most Fundamental in Shaping Who You Are Today?"  Ruby talks about why being left alone to play encouraged his imagination and creative development. 

Matt Ruby is a standup comedian and comedy writer based in New York City.  He produces a video comic strip at Vooza.com, co-produces the weekly show "Hot Soup", co-hosts the monthly show "We're All Friends Here", and writes a comedy blog "Sandpaper Suit".  Ruby graduated from Northwestern University. 

Matt Ruby on Taking Comedy Skills Beyond Just Being Funny

In Chapter 5 of 19 in his 2012 Capture Your Flag interview, standup comedian Matt Ruby talks to Erik Michielsen about honing his comedy voice and improving his skills over time.  Ruby notes that he has more work to do being vulnerable on stage and giving himself greater stakes to make a difference to the audience on stage.  He notes that his work is becoming less about just trying to be funny all the time and instead taking charge of what he wants to talk about and then layer the humor in that work. 

Matt Ruby is a standup comedian and comedy writer based in New York City.  He produces a video comic strip at Vooza.com, co-produces the weekly show "Hot Soup", co-hosts the monthly show "We're All Friends Here", and writes a comedy blog "Sandpaper Suit".  Ruby graduated from Northwestern University. 

Matt Ruby on How Confidence Can Make You More Creative

In Chapter 9 of 19 in his 2012 Capture Your Flag interview, standup comedian Matt Ruby answers "How Is Your Creative Toolbox Changing?"  Ruby speaks to the instinctual skills he uses to twist jokes on stage and take the audience on a journey.  For Ruby, the confidence that comes with having more control on stage allows him to ultimately perform at higher levels for his audience. 

Matt Ruby is a standup comedian and comedy writer based in New York City.  He produces a video comic strip at Vooza.com, co-produces the weekly show "Hot Soup", co-hosts the monthly show "We're All Friends Here", and writes a comedy blog "Sandpaper Suit".  Ruby graduated from Northwestern University. 

Matt Ruby on Adapting Standup Comedy Writing to Screenwriting

In Chapter 14 of 19 in his 2012 Capture Your Flag interview, standup comedian Matt Ruby answers "Which Standup Skills Are Transferable to Comedy Web Series and Which Are Not?"  The transferable comedy skills Ruby sees as most relevant are writing skills.  He shares how character writing is very different between stage and script.  Screenwriting allows for more non-verbal character setup whereas standup comedy character development is personal and mainly verbal. 

Matt Ruby is a standup comedian and comedy writer based in New York City.  He co-produces the weekly show "Hot Soup", co-hosts the monthly show "We're All Friends Here", and manages a comedy blog "Sandpaper Suit".  Ruby graduated from Northwestern University. 

Matt Ruby on How to Improve Comedy Writing Over Time

In Chapter 15 of 19 in his 2012 Capture Your Flag interview, standup comedian Matt Ruby answers "How Are You Improving How You Write Comedy?"  Ruby shares how he is improving how he writes by getting tighter or more precise in his words.  He adds he has developed a better filter for what is appropriate.  Additionally, he notes how he is able to take material in new directions, a development he calls going from "A to C" instead of "A to B." 

Matt Ruby is a standup comedian and comedy writer based in New York City.  He co-produces the weekly show "Hot Soup", co-hosts the monthly show "We're All Friends Here", and manages a comedy blog "Sandpaper Suit".  Ruby graduated from Northwestern University. 

Transcript: 

Erik Michielsen: How are you improving how you write comedy?

Matt Ruby: I think I’m getting tighter, like in the amount of words that I use, which helps, like the shortest distance between 2 points is a good idea in comedy or in any writing. I think also what do I wanna talk about knowing that. Sort of like knowing what to throw out or what’s just not gonna fit in with the other stuff that I do. You know, just sort of this filter of knowing what’s appropriate or not. I don’t know, when I was starting out, I think a lot of times, like, I would go from A to B with a punch line and I’m getting better at going from A to C, like A to B is just like: oh, yeah, yeah, that’s funny-ish and that’s exactly where people would expect it to go. Whereas A to C is like: oh, I thought it was going in that direction, but I didn’t realize it would go that far, or that twist or that thing. And kind of giving that extra spice or, you know, like a little bit more of like—to me that’s the difference between like a good joke and a great joke is like when it’s like: oh, there’s a little twist that you know you didn’t see coming and it was funny all along the way and then there’s something else on top of that that’s even better, and then that’s I think when you get something delightful.

Erik Michielsen: Could you give me an example of a couple of pieces in a routine that you might use, you know, A to B versus A to C?

Matt: Okay, so I have a joke about how girls will drop the boyfriend bomb on me, and how fast it comes, and so I’ll be like, you know, when I’m talking to a girl, I’ll be like, “Hey, how’re you doing?” And she’ll be like, “My boyfriend says I’m fine.” And that’s A to B, you know. Like that’s fine, it’s funny, it gets a laugh. And then, you know, what I’ve added on to that is like, “Okay, can I get a foot-long chicken teriyaki, please? It’s a really judgmental Quizno’s we got here.” That to me is the C, or the taking it and giving it a twist of like that one extra line that’s, okay, it was a perfectly fine joke, but now to me that’s a more interesting or intriguing, or another layer to it that as opposed to just like a quick in and out sort of like meat and potatoes joke.

Matt Ruby on Why to Work With Teams on Comedy Projects

In Chapter 16 of 19 in his 2012 Capture Your Flag interview, standup comedian Matt Ruby answers "What Do You Enjoy Most About Working With Teams?"  Group comedy writing, performance and production not only provides Ruby a collaborative feeling but also creates an optimistic creative energy that can be positively reinforcing as material gets created and shared or performed. 

Matt Ruby is a standup comedian and comedy writer based in New York City.  He co-produces the weekly show "Hot Soup", co-hosts the monthly show "We're All Friends Here", and manages a comedy blog "Sandpaper Suit".  Ruby graduated from Northwestern University. 

Transcript: 

Erik Michielsen: What do you enjoy most about working with teams?

Matt Ruby: I mean I enjoy hanging out with other people so I think that’s just a constructive aspect on it just from a personal or emotional level I think it’s good to hang out with other people and to work on stuff together, I think, you know, comedy can a lot of times be sort of a lone wolf sort of thing so it’s nice to feel like there’s a group working on something. And then also, you know, it’s just nice to have like a group point-of-view to have like, “oh did you think about it this way?” Or like to have one person come up with an idea and you bounce it off them and then they’re like, well, what if we tried it this way or — like, they’ll take things in a direction that you never would’ve thought of and it could be really like cool and surprising and sort of like an interesting twist to an idea that you had but you never would’ve taken it there. 

And I think it’s, you know, you got more juice behind you. I don’t know, it’s more like being a gang than just a vigilante, you know, there’s more of a group effort and you feel like you can accomplish more and do more, you know. At the very least, there’s this group of people who believes in what you’re doing and is excited about it, so that’s to me like more indicative that other people will be excited about it as opposed to like sometimes when you’re just on your own trying to come up with ideas, like you just don’t — you might think it’s good, but you don’t really know until you release it to the world, and you have to wait, you know, until that happens. Whereas like when you’re producing stuff as a group, at least you’re, hopefully, like pleasing each other or entertaining each other along the way and so you’ve got some clue that you’re on to something.