 It was fascinating actually. You know, he came to me from from left the field. I had a casting director who, you know, made me look outside the regular reservoir of actors and said, what about Troy? And I was like, wow, another, another Australian. He did an audition. He was such an angel. Like, I mean, I felt like he had to be part of the group. He was so magnetic and mysterious. It just his presence that I knew he could carry the screen without very many words. Troy is such a contradiction. He's such a world figure now. He's such a identifiable hero to so many people. And yet he's supremely, some would say, you know, awkward. And what I loved is that as an actor, he really kind of, it was like a black belt. If he was a black belt in music, he was like he'd arrived on the movie set and put his white belt on. And he just sat there and he observed. And he was a sponge. And he was very quiet. He was very curious. And he was very collaborative. And he asked me a lot of questions, but he just felt like he was part of the process. But he also was quietly observing. And when I said to him at the end, is he going to do some acting again? He said, oh, wait and see if I'm any good in the movie. And then I'll decide. I was like, I think you're all right. I wasn't going to put any modern music in the film. You know, one of the rules of love and action was no secular music or no, no, no modern music. And I thought I'll stick to that as a sort of a modus operandi for how I would choose music and just have score. And then I used one of Troy's songs later when I when I chosen you beginning to the film, which was childhood footage of Lucas, but it was a previous song of Troy's that he'd already released called The Good Side. But that meant that I'd opened up the door to modern music. And then there was a song I wanted to play on a record in the most tender scene in the movie. And I thought, well, maybe we could compose something new and pretend it's an old song. And I got Jonesy from Sega Rostov to write some chords on a piano. And he said, I love Troy Savant. Would he write the lyrics to it? And Troy literally wrote the lyrics in a few hours. And it's it's truly just such a divine song. Well, one of the first things we did actually was, you know, first of all, whenever I wrote a significant draft to the script, the first draft, and then when I did a significant, you know, restructure a pass on it, I would always send it to Garrett. He was my main partner, you know, the author of the memoir. But we sent the those drafts also to GLAAD. You know, GLAAD are just such a great watchdog of representation of LGBTQ individuals in TV and cinema. And we wanted to make sure for our own sake, now, like promoting the movie that we had the support of GLAAD. We had the Trevor Project. We invited many LGBTQ kind of advocates and bloggers to the set. It was very important that, you know, especially as as a straight cis man making a movie about something that at first I didn't feel I was qualified to make, I felt like I needed support. I needed my own education of sorts. I needed as much representation in front of and behind the camera so that as a team, we are moving forward, feeling like we're doing the right thing. So yeah, it was very important.