 All righty, let's play this in full first here. That's a lovely accent you have. New Jersey? Austria. Austria? Well then. G'day, mate. That's a lovely accent you have. All right, so let's see here. That's a lovely accent you have. New Jersey? Austria. Austria? Well then. G'day, mate. All right, so watching this again, it's been a while. The things that kind of stand out just as a general impression. That's a lovely accent you have. New Jersey? There's something about this here where it just, it doesn't quite feel like there's contact on that table, meaning just how how curled they are and with these here. It just seems something feels just a bit artificial and like it's almost like a mannequin or something where I'm not quite buying this. Where you could potentially flatten these fingers more so it's a bit less even. Same thing with these where, you know, maybe the index is curled but the rest gets a bit more flattened. Just a bit more pressure. You can feel that that's actually on there. New Jersey? New Jersey? I don't know the detail you put in the fingers and some of the hand movements. It's definitely gotten a lot better. There's just something about this part. And it also feels almost a bit. Again, I appreciate all that detail, but I wonder if it could be something a bit less more personal where, if he goes, New Jersey? If he goes like this, like, why is he leaning forward? What could we do with this to make this a bit more of an acting choice than just a move forward? You have. New Jersey? I don't know if it could be where maybe strength to be clever goes forward and maybe it's kind of a maybe he leans on it, but then actually the index is up to almost kind of point at her home over what do we have here? You do have that kind of here. I don't know. I'm not super smitten by the pose in that hand. Well, let me think about it more. The other part was Austria. Austria. This seems a bit stiff and labored and not quite as natural where you have this move back. And especially with such a big head move and chest rotation there. Again, appreciating that if that arm goes back that it does affect the chest and the head, but in terms of a natural move or an acting thing, it just feels very labored. It feels like, oh It's like someone that's really tired. That's everything. Yeah. Austria. And there's something where you have all of that movement, right? Where it's a big thing in his hand, the chest goes down, big head movements, and we're missing the reaction for Austria. Austria. So there's something where I feel like you need to find a way where just thinking out loud. I'm not saying don't do this, but let's pretend it was a slightly bit different and you're doing this actually. He leans forward to actually do this where he has. Ah, kind of leans on his elbow to point where we almost, you know, it's almost like a variation of this. That's a lovely accent you have. New Jersey. Like, you know, I do destroy things. But my thought process here, as I'm thinking here, if we could have potentially that arm on the table, different pose than this offset, and then he leans forward and basically does this, but does it here, where he does that. Now, not saying you should do that, but that's kind of my thought right now where if you already have such a lean forward, it needs to be something with a purpose. This just seems like it doesn't have such a purpose. That being said, I've seen this at the beginning quite some time and I apologize for not, you know, for not seeing it there. It's just something after, after a break, I guess I see different things because I do like what you have here. So maybe the easier thing would be to make this a bit different or maybe all that you need is when he goes forward. It's a bigger change of kind of adjusting his pelvis and kind of adjusting, you know, pushing himself up to then be even more, you know, pushed with that pose where it's actually nice like this. And he's leaning forward. So it's less this, but you actually bring that in and it's more of a pose like that. And then when he goes back, then all you have to do is bring that arm over here. But my thing is to go back to this is that I think I would delay this by a couple frames. Right now he says that when she says Austria, and also in a technical point of view, I'll talk about the details later about just to bring it up here, like you have an immediate blink where it doesn't ease out. Or ease out of that pose, right? You want to ease into that drop down. It feels a bit too harsh. There is no reaction on the lower lids. There's nothing in the brows. There's nothing else, but this feels very, very mechanical and very separate from from the body. The rest of the body doesn't seem quite alive. And that's kind of a thing of overall in the facial stuff where like towards the end, you're stuck in that almost that Joker laugh. It's almost like a plastic mask and you just can't get out of that shape. So you have that one overriding shape all the time. You can see it here. I just never changes. But to go back here is that Austria. To me, it would seem like Austria, you wait a little bit and then blink. And then it would be change in the brows. The rest of the face going, oh, wait a minute. So he he heard Austria. Right. Got into his ears and that goes click, click, click, click, click. And he was, oh, wait a minute. So it happens in here first, then he starts to have a different expression that then drives the body to go back. Austria, Austria. So you have a bigger and especially Austria, Austria was like a second where you can do something with the face. And then he goes, Austria. And then you can say that while moving the body, Austria. And maybe it's pretend that you're you're doing this where where it's a it's more of this. It will be less down and up. It would just go from this to this. So imagine not going so far with that with that arc on the head. It's a bit more direct. Austria. Well, then I like this. I like your. Yeah. With that laugh, it just gets a bit again. We're hitting this pose and then nothing's going on in the face. You wonder a bit more. It feels like this. It's just frozen, frozen, frozen, frozen. There's nothing going on until a little bit here and the parts on the blink here. So it feels like you want to do a bit more because he has he has that high reaction and then well, then and that could be, you know, could be smart mirror with potentially one eyebrow up. Not that you have to do that, but it's one of the things where that's a different emotion to me. Different headspace and then here on that. It's almost like he's thinking ahead of, huh, it's I'm going to say that last joke and it's going to be great. That's a different state of mind. And then good day, man. And a good day. May is is that's the final joke delivery. So that's a different line. So to me, every time you have a break like this, it would be a different facial pose and facial acting. Yeah. Well, then here when I'm looking at this, I see good stuff on his arm and how it influences the shoulder and all of that. But as I scrub, you can see how this line here in the pelvis section feels very stiff and locked. You can see through all of this. There's nothing going on here. I don't quite feel like he is changing weights as he rotates and it's going to lean on one of the butt cheeks. And it's going to rotate over on his pelvis. So this feels a bit to actually, you can see how this line goes this way as opposed to him leaning over there where this line actually will be lower because the pelvis will lean back and roll over. Good day, mate. So, yeah, so these are my thoughts there. Just let me know. Can you email me? Let me know what you think, how far you want to take this? Or potentially again, we don't do this. And I apologize that I steered in that direction. You can also totally disagree and say, no, maybe you have another idea of of giving this and a more original touch of making this. We just seems like a rake. It seems something where it's he doesn't want to be flat on there. It just feels like a very artificial stance. Like why are we leaning forward? Why is he doing this? Why is he bringing his hand forward? And could it be solved by just having by just having? Oh, I miss I'm interested and I want to lean forward to to pretend that I'm interested, but is that because he wants to now grab something or would it be better to then, like I said, to do something like that where it's kind of like, well, you know, tell me more. But leave that up to you. Let me know the email we can discuss this as I don't want to just throw out super destructive notes. So let's have a little bit of a dialogue there. All right, thank you. All right. There's an email you can sign up. You can start whenever you want. You can submit whatever you want. You get 16 submissions. Either way, a like and subscribe would be awesome. All right, thank you.