It's such a strange process that I'm not even sure how much change from the, you know, the rough cut or the sort of that first thing that I saw that made me panic to the end. I think that scene is relatively the same. It's just how, you know, you approach it and the perspective of all. I think I panicked because I didn't know anything about post. As an actor, I say goodbye at rap parties, you know? And we had a rap party in Idaho and I was crying. I thought I had like accomplished, you know, I climbed Mount Everest and you've done nothing, you know? Like, nothing. And it's just so funny. So I think getting in and seeing all the dailies and not being able to see the bigger picture yet made me freak out. I mean, those were some of the moments I think some of my biggest mistakes, meaning where I probably created crisis crises out of that weren't necessary just in my own sort of panic attacks. That a lot of that stuff happened in post. Was were there any films like this that you looked at before you started making this? Just to kind of even just get a sense of the blocking and how it should look. I loved we talked a lot about Ken loach, we liked his realism. I Daniel Blake. It's not like there's it's not as if it's not a movie in a room. It's just a kind of he has a way of not you don't feel him as a director. You know, he sort of disappears. And it's just reality presented to you. And I love that. That was really important to me. And Robbie Ryan, the cinematographer for I Daniel Blake. He also shoots some Andrea Arnold movies. And which are very different in the sense. We talked a lot about American honey, which is obviously not a comp to mass, but we talked about about the handheld photography and things like that that we talked a lot about Robbie Ryan Ryan Jackson healing my cinematographer. That's his favorite cinematographer. And this just kind of happened. It was a total coincidence that I brought up Robbie Ryan. And he was like, he's my favorite. So we really, we always were referencing him in terms of we want to start the movie as Ken loach, and we want to deteriorate into a Robbie Ryan Ken loach into a Robbie Ryan entry Arnold. We wanted to. We wanted to have this sort of more formal, stable perspective and slowly deteriorate into a sort of handheld more emotional photography. We also talked about yasujiro ozu. I'm a big Japanese cinema fan. Asian cinema in general, but he had for the opening of the film, I didn't want any close ups. You know, I wanted the first close up to be a Martha Clinton. And the mother..