 All right, let's check this out. I watch both. They're great. Great ideas. I think this one, let's watch this one here. So if he comes in, this is a... The only thing here is that... I know this is just rough blocking here, but you know, it feels like he's sliding here and you want to have a bigger moment of... You know, maybe at this point that like we extend a bit more and then he gets into this hop. Now I almost feel like you want to do... Hop, hop. It's like one... One big one, one little one, and then take a step with the left foot to jump... Into that. You know, it's a bit messier than just... Plop, plop, you know. Into that. And then as you said, expressions... You know, like I said, it's not quite there, but you know, you will have eye darting, eye darting, looking around, looking around. I think you could start with eye dart and, you know, the nose would be here and here and here. Like he's really looking, really looking, and then so there would be like left, right, left, right, small, small, small, small, small, stop. Then it's just eyes. So you kind of amp up the intensity of there's so much going on and then the head focuses and we focus to suddenly more and more and more on him. And then eyes are doing the dart and the eyes just kind of stay frozen and we beat and there's a beat and then you have that. And I think at that point the head would kind of lower. You know, it would be awesome. This is two bananas, I'm just saying, and don't do that. I'm just saying it would be really awesome if he came in here, right, and we're a bit more tilted over so he would be here. So you have maybe two or three more steps to him and we are here with the framing and we tilt, we pan with him more. And as we get to this, again, you're going to hate me, but... And don't do it. I'm just saying this adds a ton of more work, but it would be really cool if you had kids, kids, kids, you know, they're all here. They're all kind of trying to look, they're all excited, all excited. And he stops and then he does this thing where, you know, he looks over, he looks over, he's trying to get what's going on, what's going on. And they're all kind of frenzied and happy and everything. And then cut to this where we have, you know, face, face, face, face. Again, you're going to like, don't do it. I'm just saying this would be really cool. Like this in the movie, I hope you really need to have that. And you see his head jump up, jump up like maybe once and then he kind of sneaks through and pushes through. And those faces go like, hey, hey, what's going on? Or they're all excited for him too. Like maybe they all made it, right? And they're like, hey, like he pushes through and then they go up, go away and they let him in. Like, come on, come on, they tap on his back. No, actually they don't. Sorry, sorry. They wouldn't, like they go like, hey, hey, hey. And then they see it's him and they all kind of calm down and they kind of take a few steps back. So you only have like a head here, head here, head here. And you wonder, like, why are they, why are they so calm? And then he comes closer and that's his whole thing that I said before. Look, look, look, look, look. And we know that he didn't make it because these guys suddenly calmed down and went, uh-oh. And then he has his whole thing. He goes, ah, it's all disappointed. And then, you know, it's a great acting thing where he looks down and it looks kind of embarrassed to his teammates or whatever. And it looks down again and starts to turn. And then we're here. And then, you know, and then the framing will actually be, sorry, I got to move this guy over. So your framing will be here. So you still have all that. And he'll be here, all the kids will be here and he turns around and walks out this way. Actually, no, I take it back, sorry, sorry, I take it back. I think it will be better if it's still here and he walks this way. So he doesn't walk into a new direction, which is his new fate and his new life. He goes back to where he came from, which means back to the start. And then as he does that, he has this walk. And then when he walks, he kind of lets go of the ball and the ball goes boom, boom, boom, as he walks with his head down. Isn't that awesome? Come on, it would be awesome. It would be so much more work. But that's just something, you know, and you can distill that into maybe one of the guy or not at all. I'm just saying this kind of the first thought, how cool we make this awesome and more movie like and something that's impressive. And you can incorporate other characters and you see more back and forth. And it's not just the problem of, oh, he didn't make it, but also he didn't make it in front of his friends or competitors. And how does he react to that? All that stuff in his cupia, cute visual or sad visual, right? Where you have all those guys looking at him and they'll be all kind of taller than him, right? That's why he was jumping at the beginning and then he's here, small on his whole looming thing and then the ball rolls over. Copini composition to end with big mass here, small mass here. Anyway, that's it for this guy and then this guy, I really like that. I don't really have anything to say. You know what I see? I see a man without a country, not hard enough for this right here. And maybe, just maybe. I kind of like this, but sometimes I'm kind of like, too arm gesture, I'm not sure. But I would definitely add a push to offset more and at the very end, it might be in sync. It's not too bad. Not smart enough for them out there. So all I do, you know what I see? I see a man without a country, not hard enough for this right here. And maybe, just maybe, not smart enough for them out there. The only thing I would say I would love for him, it goes either through here or after that. Turn a bit more towards that guy and take one step towards him. I'm only saying this because, not to again add more work and screw you over. But a lot of people have, when someone is standing, they're standing. And it's like, IK legs bolted to the ground and they're, you know, too afraid of taking steps because it adds weight shifts and problems, right? But it makes it always very, very static and I think even if it's just one, you know, if I'm scrubbing through this, I don't see any steps, any real life. You know, he might be taking an adjustment step or a step forward because he wants to engage him. You know, I feel like he wants to confront him or challenge him with all this and maybe with that step towards the character, it's also a symbolic step towards him as a challenge. Like, I'm coming towards you. Like, I'm telling you or towards you to help you. But not, if you would take a step away from him, it would be like, oh, I have given up on you. That's kind of, that's my only thought. And then if I would be picky, I would probably go a bit higher with your framing. Um, where's my pen? I'm just looking at thirds and you're pretty okay. I would just kind of bring, you know, top of the hat will be here. I'm just being a bit higher. It's not too shabby, but you can just do a little tilt up or cheat him a bit higher. But then we get too much of the knee. I would just kind of tilt up a bit like to here. Even that would help. You don't want to cut off fingers. But I think this is a comfortable area. So you can go that much higher. Where's my pen? There you go. All right. That's about it. So 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.