CSN | The Directors Cut

develop and to change and to grow stress is necessary. A seed has to be planted. A seed got to have dirt put on top of it. Dirt is necessary for growth and development. Dirt deals character. Dirt makes you come with it when you don't feel like coming with it no more. And you get dirt in a lot of different ways. It's somebody talking about your down on your job. It's somebody accusing you of something that you didn't do. Everybody get dirt put on it. But see when you get put under that stress, stress really ain't just dirt. See, they don't call it dirt when they plant it. They call it soil. Because see, soil has nutrients in it. So when people are talking about you dog and you stealing from you dog, they're actually putting nutrients in you. They're building things. You see, it takes pain, it takes endurance, and it takes grief, takes trouble, and it takes turmoil, and it takes destruction and demolition. God works in the dirt. And when you pray to stay out of the dirt, you pray to stay away from God, because he stoops down to the dirt. And he makes you in the dirt, and he shapes you in the dirt, and he forms you in the dirt. The opportunity to grow happens in your life, in your home, in your heart, in your spirit. And you are being planted, but you feel like you're being buried. When you plan to seed, it feels buried. But it was planted to rise again. And most of us think we are being buried, when in fact we are only being planted. You are planted, that means you're going to get up again. And when you are planted, that means you're going to come forth again. And when you are planted, that means that this is not how the story ends. This is not the end. Don't run from it. Don't hide from it. Don't duck from it. Don't dog from it. Don't run, try to get away from it, because you are not being buried. You are being planted. You got to get disappointed. You got to get toned, no. You're going to ask somebody for some money. You're going to tell you, no. That's just dirt. See, you get mad when haters come your way. You get mad, because you get a set back. You get mad, because you lost your mama. That's dirt. But show me something that has grown into something beautiful, that didn't have no dirt on it. You got to have dirt on you to grow into what God got for you. Some of you were soft, but you were born in the dark, and now you're soft. Every time you come up to a child, you wake. These are the women you give up. You get in. Every single time I'm going through pain, I remember that I've gone through pains since I was a physician. And I draw from a recycling routine. Get something from it. You already in pain. Use it. Do something with this. Allow it to take you to the next level. Allow your pain to push you to greatness. Good. And welcome to CSN, the director's cut. Today is Friday, August 21st, 2026. We are exactly 11 days, 14 hours, 40 minutes, and 44 seconds away from DDNYC. It's basically next week at this point. How's everyone doing today? Good morning. Good morning. I'm out loud, Adam. I just can't believe that we made it through another week. It's pretty insane. It's fucking another week. You're surviving. You're surviving. Three days in a row, ladies and gentlemen. I know I'm ready to quit my job. After set. First of all. Yeah, I just put in my retirement slip to myself. I'm just going to retire from it. No, I'm kidding. No, I'm kidding. I still have to get a full bit coin, so I can't quit yet. But it is exciting. It's a nice reminder. I forgot what this feels like. I know the timelines completely changed. I think I saw yesterday that the Bitcoin, not the entire crypto, fear and greed index, but the Bitcoin fear and greed index was at 72. I didn't fact check it, but that's crazy. Because I think we got down to like 13 on the fear and greed chart. So sentiment changes overnight. It's files. Let me see. That's a 73 right now. Oh, macro. To shoe swing. Well, people to catch their emotions just are very changeable. Gotta love it. Do you do gotta love it? I'm moving, had snow pace this morning. It's snow pace. I've been, you know, I've hardly got to experience the excitement of these pumps. We're just so focused on getting this done. And, you know, it's one thing to have the deadline of the due date, but then also having the deadline of where about to leave to New York is like, it's a little overwhelming. I don't know. The stack notes happen to each other. It's like mother trucker. And I'm not even aware of life. We out of the ye, hold on. I had it. I had to change some things. Out of the nine pages of actual written dialogue, we have 16 seconds. So, you know, it's a process. It's a process. So I don't understand these tools sometimes because it's like, how are you getting it? 99% there. And then just dropping the ball on one thing every single time. And, you know, you can only change the problem so much to fix like one second. So now, I don't know. I ended up, we have more than 60 seconds now. We have 30 seconds. When I woke up this morning. Because I ended up having to cut something in half. And just generating it as two separate things. Hopefully that's the solution to the problem. Because I tried 29 generations on just the second shot of the film. Incredibly impressed with everything that's all the outputs. But, you know, I'm just perfectionist. So I'm like, no, he's walking weird. Or, I'll just say, like when he, the scene that I'm trying to do. He's trying to, he goes to his car and he's throwing in like this pitch book into like the passenger seat from outside. And in the first couple of generations, it got like he was doing that action correctly. But his walk-up looked weird. And now towards the end of trying to get it, he just straight throws the pitch book off of the parking deck. And I'm like, wait, it's not an actor. So I can't yell at it. But I'm like, wait, no. You have it in the next scene. You can't just chuck it off of the top of this parking garage. That doesn't make sense. It's not something that I can fix in post. I mean, I probably can, but because of the rules and stipulations of this contest, you're not supposed to. So I'm like, wow, this is a little aggravating. So as I'm sitting here, and I was worried yesterday towards the end of the day, I'm like, how the hell are we going to finish this up? Because basically it's 11 days till DDNYC. 10 days until I leave. I was like, how am I going to do this? And then I realized, well, they did a 95 minute film in 14 days. So I can't really complain about doing a 10 minute film in 10 days. So we'll figure it out. We're checking a lot. But you know, I didn't realize the end of the competition was so close. I thought we had time after DDNYC before the comp was over. I didn't realize it was ending so quickly. No, it's it's it's it ends on the third. The Luma one, I think the moon paid one. We have a longer. Well, there's a lot of them, but there's not really, they don't have those in rules. You know that the movie that they generated using Higgs fields, the people that created it on the team, are there interviews with them speaking about their experience and like how they dealt with these types of things? Oh, yeah, absolutely. How do you get around? Well, it's off the like self, these just like error loops keep happening with the AI. You keep iterating the prompt and so the so the prompt isn't like a paragraph that you write. I had to I created a skill using what Higgs field recommended for for that software in particular. And the problem that I'm getting is that you're not our four pages like one prop does four pages on a Google doc. That's how sensitive it is because it has to break down all the like elements and what each element represents of what is supposed to look like. The action of the scene, which is the part that actually is like the actual direction is the action where it's like from this second to this second, they're walking this way and all this other stuff. And then you have performance like what they emotionally look like and then you have lighting and optics and camera and a breakdown of like positive locks so things that cannot drift. And I don't know, I think I don't really know what was causing it because it was really weird. The first half it never did it once. We could have I tried to like quick in the time periods so that could have been part of it. I had to you had to note, take how fast characters are walking. So that could also be part of it. But like the thing that we ran into other than him chucking the binder off of the parking garage that he literally needs in the next scene is he would start teleporting. It would look like I did a jump cut. I really don't know. I don't know. I like started scrutinizing every single prompt and just spent a lot of time on one thing. I don't know. I don't know if anyone's ever been working on a project and they get hyper focused on like one little thing and then you spent all of a sudden you look up and it's been four hours and you've essentially accomplished nothing because you've hyper fixated on this one little thing where there are probably other solutions. Like in my instance, the only solution is not to change the prompt. I could change the shot. I could break up the sequence and do these as two different generations. And it's like, I don't know what happened. I just got like hyper fixated on it. It was like tunnel vision. And then all of a sudden I looked up, I grabbed some air. Had been like four and a half hours. That's me every day, especially me yesterday when I was working on this budget. Like just like focusing on like the tiniest little details to try to get these numbers lower and then all of a sudden I looked up and it was like six hours gone by. Yeah, I find I get stuck in those ruts too and I'm like typing a difficult appraisal and I just can't get the numbers to come together. I mean, just sitting there just never helps. Sometimes you have to get up, walk away for 30 minutes, go do something else and that almost always solves the issue. I have to remember that switch. I really do. I get sucked in. Yeah. Yeah. Can you just send us a little reminder a couple times today? It's really it's true though. I'll just walk away from it sometimes even longer and take a bike ride or something. And then when you get back it just kind of all comes together. You know, I'll either figure it out while I'm doing that other thing or when I sit back in front of the project, it's you know, it always comes together. It's just sometimes when you're just sitting there staring at it, trying to figure it out in that moment, you're just not going to get it done. You know, your brain's just not finding the solution. Yeah, the time warps can be trippy when you're super hyper tunnel visioned into a project that you're really passionate about or that is just, you know, takes up time. So Devon, now I see why you were, you know, why you don't like how time is speeding up because you have a lot to get done and it seems like it takes quite a long time to do. I was literally, I wish I was in, I wish I was up on a year's space last night because that's around the time it started the hyper fixation. I could have used that advice. Last night, I, you know, I really wanted to get the first scene or two scenes done, which would put me almost through the first two pages of the script, which would have been a huge accomplishment to have had done before waking up today. Instead, I sat there until like 3 a.m. doing it and I woke up this, I tried one more before I went to bed and like sometimes it's even more frustrating because I have to figure out.