 All right, new version here with sound, let's go. Caroline? Eve? Oh, sorry, were you, um, Sit down. I was just, oh. I know. Sit down. Okay. Caroline? So, after seeing your email, here are my thoughts. It's basically, even if you had someone, like you said, someone who's back here, you know, sleeping or you're showing that they're tired of being there and lots of trophies showing how important this is. I'm slightly, the way she says sit down and her getting out, which I do like the animation a lot here. It just doesn't quite, it doesn't sound like that's what she wants, if that makes sense. So, coming in already, watch out, it feels like we're off balance, even though she leans over there, it's a bit of an odd feel. I would bring that foot over just a bit more. Or you start here, almost like you can start here with maybe the leg more bent this way, potentially. Caroline? This is fine, right? Coming in, she's like, oh, can I go in here? Caroline? Not sure you need this in terms of an acting choice. I'm not sure if this is, hey, you know, is this you? Not that I would point towards her, but this is more like, hey, pay attention or here's a point or, I don't know, there's something that it doesn't quite register with me in terms of Caroline, like she's asking the off-screen person, Caroline, hey, are you Caroline? Caroline? Eve. And I think it would be, I like this, like holding this close together and the prop being close to her, she's nervous. Caroline? So for me to do this, where she brings it down and it's, and she opens up to her, is an off thing where it's like a nervousness, but then an openness. So it could be something where it's like that, where she kind of leans forward and has, like she starts a gesture with this and kind of stops it. What? Because she's still nervous and she wouldn't go up straight too much. Unless, unless you're saying, all right, oh, you know, this might be, Caroline, I need to be, I need to be, it needs to be okay, I can need to look, I need to look confident, but then I would keep this, but then keep that arm down here and maybe this even closer, more to the side, like she still wants to hide a little bit. And then you can see maybe some finger movement here where it's basically, she wants to show, right? If you change this here, let's make, let's make this here. This basically is her pretending that she is okay. I want to stand up straight and show that I'm confident, but then holding the prop here, kind of to the side, still slightly covering and protecting herself and bringing this down where the hand is kind of fidgety, that's the subtext, where I am actually still nervous, but I am pretending to be confident. That's kind of how we'll play this instead of that. Eve. And then watch out, she says, Eve. She says Eve. It's almost coming too soon. Eve. Where she reacts right when she hears the word. Eve. Oh, sorry, where you at? And then the thing is, Eve. This seems like she is disappointed to hear Eve, but we don't know why. Not that that's wrong, that can be revealed later, but it shouldn't this be a, where a position she has, and she says Eve, and it will be kind of like a nervous quick nod. Like, yes, yes, yes, yes, I'm looking for you. So this seems, this seems a bit odd, because she's asking Caroline, she's saying Eve, so she's Eve. She goes, oh yeah, that's me. I am, you know who I am, so it should be good. And that's why she's nodding. Caroline, Eve. So I don't know why she would be disappointed that she knows her, if that makes sense. Oh, sorry, where you at? I don't mind this. Oh, sorry, where you at? So it could be something where she is, oh yeah, yeah, it's me versus going down. So she's still upright. And then she goes down for contrast of, oh, oh, and she still has, you know, like that expression almost from being happy. Like, oh yeah, yeah, it's me. Oh, but. Sorry, where you at? I do like this because she's now leaning over towards the exit where, oh, maybe you were busy. Let me leave. I don't want to disturb you. Where you at? But then this is just a bit broad. It's, it's clean in its animation, but to go, oh, were you, it's, I would stay within this again because she's leaning towards the exit. And it's where you, and it's almost like a sub pose where like, where she says like that and she might do something with her arm and have a bit more like a apologetic facial reaction versus this, this is, this is too freaked out. This is to me, you know, if she goes Eve should be, yes, yes, yes, that's me. She's nervous. But now she wants to apologize. You sit down. And then where you is, I mean, I think you have it because of the sit down, but yeah, I will keep the where you in that kind of expression. Sit down. But then here's the problem. The sit down to me is it's so, like, yeah, here, come on, sit down. Where Caroline is basically saying, stop standing there. Don't be so awkward. Come and sit down. And it doesn't sound like go away. That the way she says, and that's my main issue with the shot, which I know is very subjective, but. I was just, oh. And even this here. I was just, oh. That is so broad. The end to me from here on is all very over, overanimated to me. I was just, where? I was just, oh. Oh, sorry. Where you, where you? I was just, oh, I was just. Because she just says, I was just, and I think instead of having a movement right when she talks, it would be her maybe blinking a lot because she's listening and processing and she's just getting even more nervous. So it's not movement on when she talks. I was just, oh. And this is, this is just really broad. And then she looks away. It's a bit of an awkward pose where this is towards us and this is away from us. But you have to think in terms of she is now almost freaking out even more that she did something wrong. So imagine she would still be in thisish position instead of a broad move like that. To me, it would be like this. And she takes like couple tiny little frantic steps backwards because she wants to retreat. Like this is so awkward. Like I want to go away from this and not I want to make myself taller and look in this direction. I don't know, unless you would fully exit this way. So to me instead of this one too broad step thing I would have like little steps where you go and that for contrast would be great where you have feet are apart and then you take little step and then she puts her feet together. Like she wants to make herself small and retreat and go back to where she came from. You know, I know. And then especially here, this is so big. This is someone who's like, come on. What's going on here? You know, why am I waiting so long? This is someone that's upset and it's just not someone that's nervous and wanting to leave. No. Then this works better. I would just have it this way. But it works even less after this because it's such a big row. So much energy and it's almost confident. Like come on. And then suddenly going back into I'm shy. So to me it's more like, like I said she takes a couple of steps back and then it would just be the, I know would be somewhere in that realm. Sit down. But then again, it doesn't work for me just to sit down is almost softer now but it really is. It's almost like you're expecting a hand in here that goes softly. Come on, sit down. And then I mean, you could have that. She's also looking this way. Watch out for eye line and it stays consistent. It's just looking this way and then she's looking that way. But imagine what if this is the POV and you would end up having a hand because there's so much room. It could just be, she's nervous and she keeps telling her, it's okay. Come in, come in, come in. And then after that hands comes in you could have like a tiny bit of a head shake of, oh no, no, no, no, I'm not coming in. Like, oh no, no, no, no, I'm not coming in. And then she goes and out. It was a duel of this. Like this is great. Timing's great. I love the exit. And that's that. I know these are crazy destructive notes. It's just, me personally, the audio and her acting to that audio doesn't quite work. And I will look at in terms of she came in here and then she exits here. So in her mind, out here, it's her safe zone. So anything that she would do leaning wise would be leaning towards the exit. She's nervous, but she really wants to leave and she's inching back where at the end she goes, oh, I'm out of here. And that's that. Now I know that's a massive departure. So feel free to just ignore whatever you need to. But since we emailed someone to let you know that is, that's kind of how I took the line. And the biggest thing to me is it's just not a sit down of go back and sit where you came from. This is a standing only audition or whatever it is. That's kind of the issue that I have with it. But yeah, it might just be me. I would show it to other people to see kind of like, you know, 10 people who thinks the audio works and then go from there. All right, thanks. 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.