 Alrighty, let's play this in full. What is it you want, Barry? What do you want? You want the moon? Just say the word and I'll throw a lasso around and pull it down. What is- Cool, alright, let's watch this again here. What is it you want, Barry? What is- Is it possible for you to cut out that beginning? What is- That's because there's nothing going on. And just to make it cleaner, I guess. This might be too picky, but just with thought. What is it you want, Barry? Also, don't forget that. I mean, I know this is still in step mode, but as- You want, Barry. As you get into this, like this is a pretty big reaction, facially. Don't forget that you can get into this at the very beginning when there's nothing here. What is- You know, this could be through whatever means, however you want, anticipate this through facially or tensing in the body, maybe a little bit or whatever you want to do. But I'd be careful to- What is it you want? I'd be careful to just do something where it's a bit too neutral, getting into a bigger, bigger expression. It's good for contrast, but I'm just curious. Think about the thought process. Like what leads this character to get into this face? And is there anything interesting that we can do at the very beginning? Unless, you know, once you spline it and it just works well, because it's not at the very beginning. We don't want to do too much at the very beginning, because you might miss it. But just the thought. I don't want just the thought. What is it you want, Barry? What do you want? You- You want the moon? Just say the word and I'll throw a lasso around and pull it down. What is it you want, Barry? What do you want? You- You want the moon? Just say the word and I'll throw a lasso around and pull it down. The only thing I would do is- I like it. What is it you want, Barry? What do you want? It's such a cool rig. I've got one of these days. I'm gonna have time again. I need to animate it again at home. This is such a cool looking rig. You- You want the moon? That's very appealing. My thing is that once you hit this, like he is invested in this conversation, right? Because he is- he's not looking here. He's not looking here. It's kind of thought processing. What is it you want? In here. What do you want? It goes down and it's still in the stock. You- You want the moon? And I wonder if once you're in this, right? So you have- he's clearly talking to this. But then he's being distracted by this here. And, you know, you probably have to have some strobe lights with a TV and then suddenly a bigger light, a light flash, or something that catches his attention. But to me, it seems like that breaks the attention to this. And I'm not sure if you want to go back to this in terms of looking. Not that you- you can't do that. Just I'm throwing this idea out there for you to think about. What if he's now distracted and he might have a reaction that's somewhat similar but it's more a reaction to what's going on here with quick darts back but mostly staying here. He knows he has to kind of put this down. That's why he kind of goes back to this a little bit. But instead of being here, that's already a head turn over. And then it's, you know, imagine the head turn and the attention here gets interrupted by this because that is invested in this. And maybe that could be a quick look over there but for that long, it would just be this and then on this, the head is already back down ready to look forward into this. If that makes sense, let's play this with- I'm gonna imagine that this is what you're doing with sound. What do you want, Barry? What do you want? You want the moon? Just say the word and I'll throw a lasso around and pull it down. What is it you want, Barry? Because the only thing is, like this works as well, you can absolutely do all of this. The only thing I would not do is this. So either you could explore what I mentioned before. Once you do this, then you stop paying attention so much to this and it's mostly here, which I think could be an interesting contrast of first I'm here, now I'm here, or you don't do this and imagine he doesn't look here. Then the focus is really on the phone, on the phone, don't do this. He's on the phone, on the phone, on the phone, on the phone, and on the phone, on the phone, and then this, which could also work because he's less invested. Even if you take out this, he's less invested because, A, he puts it down. That's clearly of I'm not really invested anymore. I'm looking at this and taking this. I'm not invested. I'm just casually looking back and at the end I'm here. So both work. But if you do this and then you stay mostly here and every now and then you have quick answers to the phone, like I said before, then it's a bigger aspect and it just depends what you want to do. Obviously, taking this out would be the smaller fix. So it's totally up to you. But the actions are cool. I like that there's a bigger contrast between this and this. You might even push it where as you grab this, he already leans over to then kind of have maybe one leg out here where he has elbow on and casually grabs the the popcorn. Not that you have to be kind of like over the head, remote thing, but this could be something to potentially to explore that this is his one pose. Then he's in the middle to kind of decide where he wants to pay attention to and he settles at the end away. It's almost visually you further away from the phone and he disengaged even more. Just to push the pose. Once you're here, you can scrub and you're always within that block and just for contrast and again to kind of push the idea of I'm disengaging from this conversation Han Solo style. It was never interesting to begin with anyway. That's my awesome pose. You can do that. All right. Yeah, I mean that's kind of it. Other than that, you're obviously an awesome animator. It's not like they're going to give you technical notes. I think this is all cool. Color silhouettes. I think the poses are clear. It's already looking like the character's thinking already in this step mode phase. I mean, I'm not worried about your animation skills. I just want to throw out some ideas so that you're 100% happy with what we explored and I just want to help you as much as possible. But that's kind of it. It's very cool already. Yeah, I don't know. That's kind of it for me. So email me. Let me know what you want to do. If you want to keep it taking this out or pushing this or if you really strongly feel like no, no, I want just that quick little that's the thing that kind of tells me oh, I'm not invested anymore and that was enough to then start this this investment if that's a word into this. That's fine too. I'm just looking at ideas to push it more. But if you keep it the way it is, I will probably still push that pose over. So we're not always stuck in this straight up vertical pose and that's the only thing that I would really push. I already like the details on the popcorn. Yeah, that's kind of it. Alright, thank you.