All language subtitles for 02 Catching Ideas

I always say ideas
are everything.

So I go where the ideas lead.

It could be to the
painting studio.

It could be to an office
to work on a computer.

It could be a sound, you
know, room to work on sound.

You go where the
ideas are telling

you to go where you're
fired up to do this or that.

And that leads you
to those places.

We're nothing without an idea.

We don't know what to
do without an idea.

And the idea tells
us everything.

So it's common sense that
ideas are super important.

And I love the idea
of catching ideas.

And they're out there,
millions and millions of ideas.

And we don't know them until
they enter the conscious mind.

And then we know them.

And we see them and
hear them and feel them.

We know the mood of
them, even if it's just

a small fragment of what could
be a whole film or a painting

or whatever.

We fall in love with
it for some reason.

Something inside us says,
this is a great idea for me.

And then you write
that idea down

on a piece of
paper in such a way

that when you read
what you wrote,

the idea comes back in full.

Super important to
write down your ideas

so you don't forget them.

I think I've forgotten three
incredible ideas in my life.

So write down your ideas and
save them because they're--

it's very important.

And then we can talk more
about catching ideas.

But I do equate catching ideas
with the thing of fishing.

You have to have patience.

And I say a desire for an
idea is like a bait on a hook.

And it's like putting a little
piece of bait on the hook

and lowering it into the water.

And then you don't know
when they're going to come

or what will trigger them.

But lo and behold, on
a lucky day, bingo.

You'll catch a fish.

You'll catch an idea.

And like I say, you don't
see the fish down there.

But when you bring it
up out of the water,

that's like the idea coming
into the conscious mind.

You see the fish.

You see the details
of it, you know,

the fish's eyes,
the mouth, the fins,

all the shiny little scales.

You fall in love with
this little fish.

And you write that idea down.

And now you have even more bait.

And you kind of
lower that fish in.

And other fish will swim to it
that are part of that school.

And you'll catch more
and more fragments.

And a script will
start emerging.

And it kind of goes
like that for me.

Another analogy
is there's someone

in the other room with a puzzle
that's completely together.

And they flip little one
piece at a time in to me.

So you can imagine, the
first pieces of puzzle,

they don't relate to anything.

You might love the colors
of them or the shape of them

or something about them.

But you just save those.

And then more come
in, more come in.

And then you start
seeing something emerge.

And finally, the
puzzle is finished.

[MUSIC PLAYING]

When we get an idea that we
love, it feels very, very good.

You see it and feel it
and know it all at once.

But it's all at once.

And it comes with,
like, I always

say, like a spark
of electricity,

a inspiration kind of thing.

But then you kind of calm down
and more leisurely examine it.

And on examining it, it's
like you turned on your TV.

And the first thing
was like a white flash.

And then it kind of comes into--

it pops on a image.

And that's the image.

Then out comes a sound and a
feeling, and you just see it.

And then you write down what
you see and what you hear

and the mood.

And you feel very, very good.

You've got something.

If it's a cinema idea, I
like them for two reasons.

One is the idea of itself.

And the other is the way
cinema could say that idea.

And then you got something.

And all you have to do
then is focus on that.

And that focusing
means lowering it back

into the water on
a hook and waiting.

I say intuition is the
number one tool really

of the human being.

Intuition, the way
I think about it,

is mind and emotion, intellect
and emotion, together.

It's a feel thinking.

It's a knowingness,
a knowingness.

And it is extremely important.

Everybody has this,
but I don't think

everybody has the same amount.

It's like consciousness.

They say every human
being has consciousness.

But not every human being
has the same amount.

The potential, however,
for every human being

is infinite consciousness,
enlightenment,

supreme enlightenment.

And we could talk about
that sometime too.

And intuition is tied
tightly to consciousness.

You can't just wish
for more intuition.

You can't just imagine
you have more intuition.

Same way with consciousness.

You can't just wish for more.

You can't just imagine more.

You got to go where
it is and get more.

It's like fishing.

You can put your
hook on a desert

and lay it on a
desert in the sand.

You wait for a long
time for a fish.

Maybe it's huge,
huge ages of time

before water and fish come.

Anyway, so you've got to
go where the treasure is.

I guess the analogy is the
chef doesn't make the fish.

The chef just cooks the fish.

And the chef can cook it really,
really high end, fantastic.

Or they can cook it very
poorly, maybe not even cook it

all the way through
and people get sick.

But the chef doesn't
make the fish.

Just like these ideas--

the person catching the
idea doesn't make the idea.

It's crazy.

We really rely on these
gifts to do anything.

A lot of ideas come
from our world.

And our world holds
a lot of violence--

violence in the homes,
violence on the streets,

violence in the city,
violence in the country,

violence in all the
countries, a lot of violence,

a lot of corruption, a lot of
suffering, a lot of tension,

anger, hate, fear,
a lot of mistakes.

Prisons are full.

Hospitals are full.

It's a mess.

And it doesn't have to be this
way, but it is the way it is.

And ideas come from our world.

Stories emerge from our world.

And stories involve things
that are in the world.

You know, I always say have
the suffering and the violence

and all the things
of human nature

negative and positive in
this script, in the film,

in this book, but
not in your life,

and that you don't have to
suffer to show suffering

on the screen or in a book.

You can be very happy
showing suffering.

And that's the key to things.

Stories, all through
time, have had conflict

and all these different things.

But the ideas come
from the world.

They come from other
places, it seems, also.

But a lot come from just
our world and the feeling

of being in this world conjures
these stories that come.

Many things from our
childhoods stick with us,

from our world, our friends,
experiences, feelings, dreams.

All these things
go into the hopper.

And they swim around.

And new things come in.

All these new things come in.

And they swim around.

And if you have
time to daydream,

they can conjure some things.

And it's a very beautiful story.

And everybody has these
things swimming about.

And the possibility is there
that they can trigger ideas.

Everyone's hopper
is pretty full.

And they say that the
window to the hopper

is wide open when we're growing
up taking in all these things.

And for safety's
sake, that window

starts closing at
a certain point.

And you start working with
what you've got in there.

There's a story.

When I lived in Boise, Idaho on
Park Circle Drive, one night--

I think it was around 9:30--

you know, in the
'50s, in small towns,

there were street lights.

But they were dimmer
than the lights of today.

And it was near a street
light near a street called

Shoshone Avenue.

And across the way--

I was with my younger brother--

out of the darkness came
a woman completely naked.

And she had skin
the color of milk.

And she wasn't walking
quite properly.

I didn't understand
exactly what was wrong.

And there might have been
some blood on her mouth.

She was pretty much oblivious
to me and my brother

as she came out of the
darkness and walked

and sat down on a curb.

And I never seen an
adult woman naked.

And it was quite a
powerful experience.

And I knew that she
was hurt in trouble.

And I wanted to help her.

But I didn't know what to do.

It's not every day that you see
a battered, nude woman come out

of the bushes.

But these kind of things happen.

And then in this
story, this happened.

Right in front of
your own stupid house.

Get out of here!

Mike!

Mike, please.

Mike, stop it!

Shut up!

Just shut up, all right?

Nobody's talking to you.

Come on, Mike.

Look, I don't wanna
cause any harm.

Who's that, huh?

Is that your mother?

Is that your mother, Jeffrey?

No, come here,
you Ivy League shit.

I gotta take care
of someone who's hurt,

if you didn't notice.

Dorothy Vallens?

Come on.

As far as people
thinking, well,

I don't have anything
to say, maybe you don't.

But on the other hand,
that might be the wrong way

to look at it.

What might be better is
to just daydream and catch

some things that
start a flow of ideas

just to see if a story
comes that you like.

And more ideas can come.

More ideas can come.

And there might be something
that you find inside

that you really love.

And then you say,
oh, wait a minute.

I do have something to say.

I could say this
thing that came to me.

So it goes like that.

Having time, which is so
difficult in today's world,

having time to daydream, to
sit by yourself and daydream.

It's really, really important
for catching ideas and going

over things just daydreaming.

From the outside, it
looks like maybe you

should take this person not
necessarily to a hospital

but to maybe a psychiatrist,
or tell him to get a job.

But it's real important.

You're doing-- looks like
you're doing nothing.

But what you're doing is so
important for catching ideas

to have that time to sink
into daydreaming because it

can go deeper and deeper.

And you can catch
things that you

can't catch in any other way.

As I said, I think, that
in this world today,

people don't have a lot
of time to daydream.

But that's where-- one
place where it can happen.

But it could also happen at
any moment doing anything.

Because in the back of your
mind, you've got that desire.

You just keep that desire
going, you can catch ideas.

These fish can be flying fish.

They don't need water.

They fly right to you.

What scares fish away, or
makes it more difficult,

is stress, depression,
sorrow, anxieties, tension,

traumatic stress,
hate, anger, and fear.

All these things are in
the family of negativity.

And they restrict
a lot of things.

They restrict happiness.

And they restrict,
you know, sleep.

And you get fatigued.

Fatigue is not good
for catching ideas.

And they, like I
say, squeeze the tube

through which the ideas flow.

They cloud the mind,
all these things.

So give yourself a chance
to get those ideas.

And at the same time, bring
all these positive things along

with them, things that you're
going to need like energy

and like awareness,
understanding.

And you know, it's
real important.