 Can you tell me your funniest moment for making the movie? Oh, there's so many. God, we had a lot of fun making this film. Yeah, yeah, yeah. We really did. Yeah, they were mostly at my expense. Yes. But, you know, a moment I do like that is rooted in truth is where Shalto goes to inject me with a microchip. And I have a fear of needles. And so the screaming you hear is probably real. Embarrassing. Embarrassing. And comes from a real place. Did you have to redo the squeal in different ways, different squeals, each time? We actually did, which was awful because Nash kept on saying, no, actually jab it into his. I was like, Nash, no. So yes, we did it more times than I was comfortable with. I will give you that. It's a bit of physical violence to make it a real. I was subjected to so much physical violence between rolling around in cars being injected by, you know, being punched, gun whipped. Oh, it's exhausting just thinking about it. I don't want to give anything away, but I get some interesting mail. We shot a scene where I get some interesting mail that might contain a body part in it. And I was super impressed by, for a second I thought that it was an actual body part. Yeah, and I definitely had a couple of reactions where Nash was like, that's too big. Have you seen this thing? Have you seen it? You need to take a look at this. I'm worried. So I've got to ask, you say some quite sexually explicit stuff. Did you stay in character for that? I had a rough time. Like, I mean, the first three days were hard for me. I found myself just, you know, profusely apologizing consistently to everybody around me and then crying my sleep, myself to sleep at night. I mean, there's some really despicable, this woman has a real bad case of verbal diarrhea and ignorance and narcissism. And then I finally, and then I just went, this is fun. Yeah, there came a point where she was just enjoying herself. Well, I realized that it was really good for the film when we kind of went to that extreme place, especially for your character to kind of see what the stakes, what you were up against. Big time, yeah, there were moments in the film where, again, you know, what I was getting, that sort of look of complete shock, that was based on what you were giving me. It's funny, you still have that look, though. Every time I went with you. It was a hard film to shoot and we did quite a lot of night stuff. And one morning at like 3.30 in the morning, we were chasing, it's kind of a scene with my character and David's character towards the end of the film. It's a critical scene in the film and we're really struggling with it. Like, we were just trying to get it right. We just kept playing with different ideas and found a really fun, kind of changed the whole shape of the scene. And it's probably one of my favorite scenes in the film. It's kind of David gets on his knees and starts a praying and asking God to help him and some crazy stuff that just wasn't planned in the script. And so that's one that really sticks with me. Like, there's nothing better than a feeling to be struggling and then land a beautiful moment like that. There's so many moments with David playing Harold, you know, doing his Nigerian prayer or being afraid of needles. Getting to watch Shaly's and my brother be despicable together was really fun. So you were both involved a bit with shootout scenes. Was there anything that kind of went wrong there? Was everything perfect as it should be? No, those things jam up. It's always, you know, it's amazing we even get those things done. They're long, very long and flipping cars and that's, you know... No, nothing goes as smooth as you think it does. But, you know, we just keep, get through it, you know? I had a couple of days to shoot that. When I'm, you know, doing any kind of action for a film, I usually go in and rehearse it with the stunt team and shoot it on a video camera and plan it out. And I want to know where it's going to go and what moments I want to cover. So, yeah, I have some semblance of planning and then other ideas happen on the day and so I kind of, you know, build it that way. And do the guns always, like, work properly? Like, shooting blanks? No, all kinds of things don't work when you're making a movie. You know, you're, you know, sometimes the guns work, sometimes they don't, sometimes the cars work, sometimes they don't. You know, I think just the nature of filmmaking is always, you know, accidents that happen. You know, sometimes they're happy accidents that turn the story a certain way that you weren't planning. Big carflip. How long did that take for you to, like, how many times did you retake that? We did it a couple of times. You know, we had an idea of how I wanted to do it and we tested it. And then, you know, the first time I think I said it didn't work the first time and then it did the second time.