 Now, that's not entirely absolutely 100% factual. Yes, and I have confessed to more educated audiences, and I will do so again. I was intrigued by Dieter's house that when you enter the house, there are seven or eight oil paintings of open doors. And I asked him, Dieter, why do we have that sort of images? And he couldn't really answer it. And he said, I kind of like that and open doors and I like to have an open view. And I realized that it was a very, very deep metaphor for him in this unbelievable drama of his captivity and the ordeal he's gone through, liberty meant to be able to open and close a door. And I invented, and I asked him, Dieter, you bang your car door two or three times and open and close the door a couple of times for us, for the camera. And you kind of see that he is a little bit shy about it and he becomes very sympathetic through that. Even though you have no idea of the film, you started to laugh and you laugh in appreciation. You immediately have a warm feeling about him. And it's totally invented, totally staged, and yet with the background of the pictures that he has right inside the door, open doors, looks into an open free space, is an essence of what constitutes Dieter. And that's exactly what I mean by factually, even the accountants would even tell me, yes, this is fake, this is a lie. Yes, it is a lie, it is a fabrication, but it is forgery, but for the sake of a much deeper truth. So it is false, it's fake, and it's fabrication, and yet it is a deep poetic truth about him. And that's what I try to defend and that's why I am against cinema verity and that's why I'm against the superficial sort of stuff that you see day after day after day on television. I just get sick and tired of it and we have to find means to find the deeper truth that is possible on film. There is something that we should work on and that's why the gauntlet is thrown down and that's why I go into such wild rambling statements like we ought to be grateful that the universe out there knows no smile. And it has nothing to do with truth, in fact, in cinema and yet it is connected because that is a poetic truth and that's against all the political correctness of those who are the lovers, these phony lovers of Mother Nature and eat the vitamin pills, pound after pound and do, yes, I'm against them and you may whistle as much as you want, I like to have you as my enemy out there and we can meet later in the men's room and sort things out. But I think we have to voice somehow, I need it to voice my concern and I need it to state certain things that have been in turmoil inside of me and the manifesto I think is something that should stay in your hands as a souvenir of this evening and I gladly hand it over to you and bite on these nuts as much as you want and disagree with it as much as you want, that's fine. I'm not a biblical prophet out there, I'm just struggling to do something for the sake of cinema and for the sake of audiences and for the sake of illumination that is possible when you sit in front of a screen. And you do? Hopefully, I don't know, sometimes I surely have some doubts, but whatever. I had some more questions, but what you have just said seems like a summation, a dramatic kind of apologia or justification because it's true, if you had a shot of him opening the door, going inside and closing it, you would have a shot of him opening the door, going inside and closing it. What we have here is a shot of Dieter's soul and we know him. He used to mean to dislike him, Dieter thought, my friends will dislike me and I said, no, no, no, no, no, they will like you even better, they will love you. They will love you for this, they will love you for your hesitation, they will love you for your clumsiness, they will love you for all this. It is true, people like him for that.