 is the business which is very dependent on creative agencies, the recommendations that they give to the brands because you don't directly deal with the brands. And we've seen this trend of creative agencies coming up with their in-house production houses. So how does that really change the equation in a way with brands, agencies, overall field? I think fundamentally it's a little tricky on ethics because if an agency is asking for a pitch from various production houses and one of the teams pitching is their own internal creator production house, it becomes a little tricky because they have access to our treatment modes, our ideas and our budgets. So at the last minute if they're able to manipulate their budgets and treatments accordingly and get the project I think that's on a fundamental level ethically wrong. And I don't know if I can confidently say that people follow very objective blue diligence on making sure that the agency is not maybe the production house or the agency is not maybe the world we all sent. So I think I do feel very uncomfortable about that firstly. Secondly, production houses are organized in a very efficient way. You know because when you make a film our existence depends on how we deliver the film to the client. It is not a business worth it for us. It's not a subset of what we otherwise do and it's not a cash car or ATM which kind of finds other things. This is what we do for a living. If you make a bad film we don't get repeat clients and we lose out. So we can pick odds for every film we make because that's how we exist and we survive and we grow. So I think there is a ownership which independent production houses and directors get on a job. It's a very difficult way to get people on hire because I feel very agencies since they don't have an in-house production teams or in-house, sorry they have a production team but they don't have in-house directors. They're always getting people from the market. So there are few answers coming in. Not that they are not good or they can't win awards. But I feel that there's on a deeper level there is no cost for them or there's no survival or the cost of survival for them because they can do their job and then they can go out and they can do another job and they charge their per day rates and stuff like that. But I think that's based on a commercial interaction. When we make a film like I said everything depends on the film. Plus when we work with our partners like whether it's a DOP or there is a stylist or there is a production designer or an editor, we have years of friendship and equations with them. And somehow sometimes we are able to get the best talent to give their best to us because it's again not a day-wise interaction. It's not an interaction based on a day shoot or what we did there. It's more on friendship. It's on equations we share outside the shoot or what we built over the years. So actually we as production houses are organized in the most efficient way to deliver the best possible output of the client.