 Okay, stand by, rolling, action! So this is something really cool that we've never done before. We've started to do sequels to movies. This is actually going to be the Goonies 2 set. We're going to shoot Goonies 2, at least a little bit of it, and see how it goes. What a set of Goonies 2! Crazy. We've got a few Easter eggs in here, and in this shot, we're going to get a little over the top of the map as the young boy wipes off the dust of the map and discovers the new or the old original Goonies map. So we've got the camera set up so that we're just peeking over the top of the frame, and in the background, there's a little few Easter eggs there. You might see some characters from an 80s movie hiding back there. So the cool thing about this one is we've brought back the idea that the kids from the original now grown up, and we have brought new kids in, and we're saying that the new kids are actually the sons and daughters of the old kids. So Mikey from the original one, we have now Will. Will is the kid of Mikey, and Will, his name Will, because of One-Eyed Willy, of course. And then we've also got Ruth, and Ruth is Chunk's kid. And then we've got Spex. Spex, he's not connected to the old movies. He's just the smart kid, but he's also really shy and really scared. He's a really big, scaredy cat. And yeah, so we're shooting three scenes of this movie to kind of give you a taste and a flavour of what the feature film would be like if it was to be made. So, yeah. Okay, so let's get the camera in position. What do you mean? We're behind, like we're behind. Yeah, we've got a cat behind me. Yeah, cool. I might get excited about this one. I even tried to draw you in it, so... Wait, did you try and draw? Well, I knew it was you being in the movie, so I attempted to draw something like you. So essentially, it's what we're doing. We're going to try and move the shot in closer, and then you're going to do a big reveal of the door. And then you're kind of going to go for the torch that's in your pocket. We're going to put it in here. Apparently, it's in the pocket. Yep, yep. But you can also, once you get here, take off your hoodie and like you're kind of entering in. A bit further up here, you can move all the stuff out of the way and get like almost like a wide of him taking off the top of that. But I don't know how, like I feel like... So, if you shot it more over this way, it could be cool to kind of have him rip it off and then say like, ah, shit from the light. From here? Yeah, you have the camera over here and then he's standing this way. So that way we kind of have that reveal and him kind of saying shit a bit more focused. Because I quite like him saying it and I think it adds to the whole feel of the looking movie. So we've got that. I wanted to get a close-up shot of him kind of picking it up. So him kind of walking up here and kind of picking it up with you. So he's sitting over the shoulder. Yeah, exactly, yeah, yeah. So thinking of what we've got and how these cut in, I reckon we get that shot from here, not from square on, just so it keeps the screen language. Sure, sure. And I think too, it'll also... I was thinking more over there because if you don't, that's going to get blasted by light in about two and a half seconds, right? Yeah, but then... You also lose that kind of beam look to it. Always cutting back to one of the master positions, right? When he travels from one end to the other. Definitely. Then we're in here for the pickup. Then we're back on the wide for the put-down or you can come into shot from down there. You don't want to overcomplicate that. I agree, I agree. So I reckon we go this way, that way, this way. Let's do it in order of the scene actually. So that way, that and then that. Yep. Okay. So you're wrapped in your first day. Yay. One down 75 to go. No, just kidding.