 So we do have a couple of minutes for questions, we have two microphones in the room. I do have a question of my own, if I may start. So this all involves putting yourself out there, putting a persona online. So how would an introverted artist or creative benefit from the strategies you're talking about? Right, we had this conversation before because something I hear a lot from filmmakers is, but I'm a filmmaker, I'm not a marketer, why should I have to do this too? Because anybody who's making a living in the creative arts now knows that the era of the auteur is probably over and we're really in the era of the artist entrepreneur. At least those are the people who are most going to thrive. And we would all like to live in a sort of open and democratic meritocracy where the cream rises to the top, but the fact is the cream has to kind of want to rise to the top. And if you're in your bedroom making beautiful things, that's awesome. If your end goal is to get anyone to see them, you have to participate, you have to show up. What's nice about that is you have all of these tools available to you now that were never available to you before. And I do not think, so Julia is a very, very special person in case, and part of the reason that she's so good at it is that she can be an open book in a certain way. And her profession allows that, her persona allows that, her music allows that. There are plenty of filmmakers who make films that are not, look, it's always about you, right? But that sort of hide behind the many layers of filmmaking. And I think what's nice about social media is you can choose how you want to engage. You can absolutely engage on social media only as an intellectual. And that can be the way that you're being a person. You can absolutely engage in social media only as a sort of person interested in creative arts. But I think the option of not engaging is not there anymore if you want to make any money at what you're doing. If you want people to part with their dollars, I don't think you can sit in your bedroom. For musicians, the option is get signed to a record label and have everyone tell you what to do so that you don't have to do anything. Good luck with that. Right, that's the perfect point. In the film business, in the US, 15,000 independent films are made every year. And about 150 of them are screened theatrically. Almost all of those are released by major studios. So if you want to be part of the .001%, I don't know how to tell you to do that. Look, play the lottery, I don't know. All right, thank you. Do you have any questions from the room? I guess we were really clear about our... I have a question. There's one over there. Raise your hand again, please. There's two now. Multiply. Hi, my name is Andreas. I was wondering, Emily, how you work to sort of get over the hump and get sort of forward and get sort of reach some sort of variety. Do you spend money on ads? Yes, although probably not in the way that you would expect. The most money... I mean, we calculate our cost of customer acquisition right now in a weird way because we're a curated platform both in the studio and the cinema, meaning we're selective about which crowdfunding campaigns we take and obviously which films we stream. So the first... And I believe that the first 18 months of our business are absolutely about trust and reputation. So we need to work with people who understand what it is to work with a company in beta. So all of our outlay has been going to film festivals, hosting events, meeting filmmakers face-to-face, talking to them about what they need and bringing that into our business. And we probably have one more person on staff than a startup of our size really should because there is a really human element to the way that we're approaching building trust and reputation right now. That I do believe we can scale and Matt's talk was really, really helpful to me because we are at that inflection point where we're not growth hacking anymore, we're distribution hacking and we will... We're about ready with our technology and our metrics to start pursuing the Google AdWords and things like that. But we haven't up until now because we needed to start with people we could talk to who cared about us also enough to tell us when it wasn't working. Instead of sort of like mouthing off to the social network space, we wanted them to mouth off to us first. And that's worked very well so far. Does that answer your question? Yeah, please. Hi, thanks for speaking. Can you guys talk about your routine a little bit? What do you do on a daily basis or weekly basis to keep up with all the different platforms that you're reaching out to? I think probably the most important platform that I have is Twitter. And I try to post something every day. I try to mix in promotional stuff with personal stuff. And if I don't have anything to promote, I don't neglect it. I make sure that I keep those people in Alaska that have never cared about my tour announcements happy with jokes and photos where I look stupid. And I think I try and make people laugh every day on all of my networks. And then email is the other big one. Email is the one that keeps my job going, where I get offers and how I got invited to this conference. Keeping up with email was something I had a lot of trouble deciding to do because that one's boring. Silly pictures are my jam. So we use a host of tools, right? Our chief marketing officer coordinates with everyone on the things that we're trying to promote. And we have an intern who does research about sort of the biggest survey of industry articles that we think are thinking that's really important. And then of course we mine our own social media for those useful pieces of information and we program them on a daily basis. And I respond to everything that comes through our feedback personally right now. Eventually we probably won't be able to do that. So if you click the feedback button on our site, you're just emailing me. And I maintain our Twitter throughout the day because it comes to my phone. And then we... Yeah, pretty much that's our weekly routine. What else do we do? Yeah, it's hard to stay on top of all the things. There's no question about that. I think it is always worth putting real smart people on that problem because it is your brand. Whether it's you as a person or your company. And I will say this is really important to me to convey. I do not think crowdfunding is a stop-gap funding method for the arts, particularly in the states where we don't have a lot of funding, public funding for the arts, or for anything. I believe crowdfunding is one tool in a style of brand-building and sustainable business practice that is part of this larger conversation of audience engagement. So Julia said something that I think is one of the most important things is you just can't go dark. Social capital that you earn online depreciates instantaneously pretty much. So if you go dark for a day or two, they've forgotten about you. Their feed is full of other people's stuff. It is about, as you point out, a daily practice of adding value. And that's good, actually, to keep your focus every single day on who are we, what are we doing here, and why should anybody care? That's a really good end note, actually. So give it up for Julia and Emily. Thank you very much. Thank you.