 Alrighty there's sound here. Let's watch this. Have you ever had a Krispy Kreme? Have you ever gone to Krispy Kreme? Was it Krispy? No. Right, right. Okay, okay. So there are a few things. I think there's some good stuff, especially when he gets... This is really closed in. He got the shoulders up. He just really feels awkward and nervous and, you know, he deflates even more, beginning to where he starts, where he ends. I think that's pretty cool. You're asking in terms of line of action, stuff like that. I think it's fine. I would probably take those lamps out. I need to have a lamp here and lamp here just because it's just it kind of obstructs the silhouette here and even through there. I just keep it clean. No lamps. Or just put the lamps here and I mean, if they're gray and this is so dark here, that could be an interesting little silhouette in there. This is extremely picky and don't worry about it, but that sleeve is right there with that line. So to me, that's a bit of a tension. That just drives me nuts. But I would not worry about this. The main thing... So for me, when you have two characters, it's always important to know where to look and for the most part, it's okay. And at the end, there's something I just want you to be conscious of, not that it's a shot killer, but you just have to know where the importance is. So basically... He starts moving. I'm gonna look here, right? So if nothing's going on, there's no audio yet. We're taking in everything. There's nothing crazy happening at the very beginning of the shot, which means that I get to look here, here, everywhere to understand where we are. So that's okay. And I like that he leans in, right? He starts there when he wants to talk and he's kind of not sure what to do, goes, okay, let's do this and try to get closer. I like that a lot. And it's very clear that we're supposed to look here. And here's the first thing. So I'm really looking at him because she doesn't do anything, right? And I think that's okay because he is talking and he moves a lot. So my eye is always going to be on here. So it's okay that she doesn't do much, if anything. But then... Because she kind of interrupts him or just talks over him. I'm still looking at this and I'm slightly... I'm missing this. So I'm here and suddenly I went, oh, okay. Wait, she said something. She's moving. And then we're right back at this. So my first thought would be, could it be... Have you ever had a Krispy Kreme? He says all this. Goes back, but maybe not as much. And he says all of this actually. So imagine he's like this. Says the first line, goes back maybe this far to mumble the rest of his line. And then he goes back to this and says the line while holding. He wants to see if she is reacting and looking at him. So imagine... Can I? Hold on. Okay. So I took a screenshot. So hold on. So I imagine this is going to be a bit messy, but I want you to think in terms of guys holding this pose while she says this, right? So... I had a Krispy Kreme. Have you ever gone to Krispy Kreme? Was it Krispy? There you go. So why am I saying this? Is that he holds this pose while she does this. And then I would propose this change. That she doesn't actually look over. She says that line. Have you ever gone to Krispy Kreme? Which I think sounds... Yeah, I can't remember. But the line was it sounds kind of she says yeah. But she just kind of says it, yeah, while still looking at this. So she's not engaging him. And then he realizes, oh, she's not really paying attention to me. And that's why he goes back into what you have here. And then you can keep all of this. Then... Krispy Kreme. Was it Krispy? Krispy? No. Right. So you to me, I would stay within this. Was it Krispy? And then she goes... Krispy? No. No. And then he goes... Right. Right. More and more defeated. So not only did she now look at him when he was hoping she would, but then she doesn't really engage her conversation. She just kind of stops it with no. And that's why he goes into his little shell. That to me would be cleaner and it would give us as an audience. He says all this, says all this. And by holding this pose, you're guiding the audience to her. To wait for her reaction. Because he's not gonna... I would hold this and he was kind of, he would just kind of say stuff. Right? But not do big movements so that we can really go over there and wait for her so that we're ready for this. Now you could also say that she could do this, look at him and then look back. And then he could realize, oh, she's really not interested in me. And then continue with this. So I don't want to dictate too much about the shot. You have options there. The second thing that I'm not super sure about is that once she does this... Big move here. No. She does that. He does that. And now they're conflicting. I'm supposed to look at him going back into his shell. And suddenly this is a really important suddenly where she's concentrating on this and smiling. Is that smiling because she figured something out here? Is she kind of smiling at what he's saying? Maybe she finds that amusing. So I don't know. That to me is the bigger conflict there. So what I would potentially suggest is what if... So she is very straight on. Right? Except here. And then back to straight on, which is... it just feels very flat. So here's my suggestion. First, don't do this. You can. You absolutely can. Again, I don't want to dictate things. The way I would approach this would be that she is kind in his pose where she might be leaning on the shoulder. But the body and chest, like, you know, the chest area we see here is is turned over so it's facing him. And it's... she's more three-quarters. So when she does her thing, it's a bit more... I don't have a pose in that three-quarter. Not really. It's kind in between, you know, here and here. And maybe that laptop too is a bit angled like this. And because it looks like she is somewhat open to him, this is why it feels like, okay, okay, okay. She's not, you know, looking this way. I don't have to go even further and try to get her attention. She's somewhat open to me. I can now initiate a conversation. Then when she goes... When she says that, the laptop stays, but she gets a bit more into a straighter position. Kind of, yeah, don't really want to talk to you. And then at the end, when she goes, no, she would either get into this, which would still be a bit flat, or actually maybe move even her laptop to a straighter position like this, and then a super position that's now away from him. So it's really clear that I'm not interested in you. My body language says, I'm going to look this way. And that's why he goes, okay, okay, okay. If that makes sense. And in that way, she has... It's not just that flat pose, but it's also a bit more of an interplay between the two. And in terms of body language, you know, he just sees certain signals. It's open. I'm going to go and talk to her. And she's gradually going from open to this to flat to going this way, so that she disengages that. That's kind of what I would do. Yeah, I don't know. That's my thought. I know these are always potentially disruptive, disruptive notes in terms of changes and things. But let me know what you think there. In terms of animation, I would just be careful. There are a lot of keys. There are a lot of poppy bits and post changes. If you would spline this, it would be really messy to clean up. So, I mean, it helps towards the end, giving this a really kind of like a tense feel. Just from a workflow point of view, be careful that if you would spline this now, it would be really messy. And you might have to go back and kind of simplify some of those keys. But I do like the idea of the business. And I like that he holds on to this. This is almost like his lifeline. He doesn't want to just stand and be open to her. It's like, I'm holding on to this. I need something to ground myself to get back to as an escape and all that stuff. So, I do like that. So, if you do already have that prop, then I would have something like this. Also, to get away from that flatness, like the laptop is flat. She's flat. So, maybe play with that body language, like I said before. Okay. That's kind of that. Thanks. you