 So again, thank you, everyone. So we're going to spend a few minutes just talking about this with you guys, questions, comments, and they'll set up the chairs, we'll also get a few questions from the folks who've been watching online. So for those of you who came in late, you started with Kirkland and the Root Mechanicals. Come on up here first. Mechanicals for you and these guys. Talked like a kind of simplicity and honesty and optimism, which you guys were really rounding out. That's interesting, but that was the scene like that was the goal. I just appreciated the peek into your process. I was most thrilled by just seeing the three of you work and how you work, just fascinating. I wish, like, there were so many great companies in this room that just felt like we really just wanted to do this for a few days and just take a little sneak peek in that the way people work, because it's just fascinating to me. I love theater, I love theater, theater is great. It happened that we get to spend more time with each other's work another time, thinking at each other's work. Questions, comments from anybody here in the room? Yeah, back. So I'm very struck watching the process, how much freedom there is to play around, especially with movement and with non-verbal, non-textual elements. Can you give us some examples of the moment when language does enter back in? OK, interesting, great question. So the question of those people who couldn't hear him, he's struck by the freedom to work without the text. And then one is wondering what happens, but where's the moment or a describing moment when the text comes in? I guess for us, it's funny you say it comes back in, because I don't feel like we remove it. OK, what enters into it? Or enters in it, if it enters in it. I think of text gesturally. So someone says something, it's a gesture that comes from a character the same way they might exit a room or close a door or throw something. And so it's less about carrying information than it is a way of revealing character. And so the story for us of the event isn't really moved along through the text. It's a verbal text, any more than it would be from the mouse falling off of a ladder or something. So where it's appropriate, I think, is where it comes in. I think there's a certain moment in that little trio that you saw where they could have easily said something to the creature. And that was just a seed of something. And if we were to keep continuing that, who knows maybe it becomes one of them really wants to always park at one another or growl or say something. But maybe one's very verbal. So I don't think it's a rule to take it out. It's just who wants to come in one eventually. I would say that text enters the picture when we need the text to support the things that are going on on stage. So if we're fooling with lights or we've got a great moment going, and it needs some words to complement it or to enhance it, then that's it. I haven't seen the most part in our shows. Text is there right from the intro. But we use it, by the way, depends on the day. But it's there. The mic, I can tear it in the mic. Next question. Go ahead and keep it. You have one question. This is going to make me hard to get. Yes, here, second one. My question is curiosity about the length of time that you spend before you say, OK, this is it. Like the editing process and whether you gave yourselves a deadline to make the work final or how do you know it's done? You know, speaking specifically about city company, we grew up as a young company, actually within the regional theater system. And you get three weeks, maybe four or max, you make something, and then you try to figure out. That ain't a lot of time. So in our early life, we just started getting up fast, getting up fast, getting up fast, getting up fast. So the editing is happening on its beat. And it's sort of, I think actually, we're actually trying to slow it down now and see if we can find it one time and give ourselves a little bit more room not to nail it down the right way. That's obviously a very difficult question because it's so specific to each individual shot. But of course, the agency happened over a period of three or four years. Better project over a couple of years. Our project ended in labor over a couple of years. But the variations was four or five years of dipping in and coming out, dipping back in. The little bit we saw, the way we even approached the experimentation phase, it's just all those individual moments that we saw just six or seven months back there, in a matter of two minutes. And you're in there for a month, and you've got a wealth of information there that brings more material and it's just, yeah. And so the process of exploration and then going back and editing is months and years. So I was just curious, like, you gave yourselves or did you have a luxury of letting it go and then the extension of the question, of course, is do you feel like one or other if the other serves the more of them? I think sometimes too much time can kill it, in a way. But we kind of worked on the money and it goes out a little bit. Like, I feel like each project we've made has been a little bit more complex and it's theatrics and it's technicalities. And therefore, requires a little more money. And in general, I feel like the rule of thumb is that we work for at least a month, sort of for like a workshop, and then we will leave it, come back and do eight to 10 weeks leading up to a production, something like that. And then we know that that production is kind of a rough draft and we'll come back to it again, do another draft of something like that. But it's really rough, but that's something like that. I guess I'd say, I think over the next week, these days it seems like we'd like to set ourselves arbitrary deadlines and share a part of the work with other audience in some way. A little work-trucks production series. And then I'd also say it takes us about two years probably for like a short, it's kind of a trip. And then I'd also say I think that, I don't know how interesting we are being done. Like, every time we work on something, we do it again, I think it must be good. I just had a question, because earlier in the ninth Rant speak came up and you mentioned funding, I guess across the board, what have been some of the biggest challenges with getting people on board when you don't have a final piece and you have to release a process. And I guess some of the furniture and the terms are just biggest obstacles to getting them to be like, whether that's a good or a bad idea. We talked about that some of this week, a lot of the convening. I remember feeling like nobody knew who the rooming chemicals were in the sense that nobody will ever give us money because they don't trust us. And like, how do we get somebody to listen to us? And now I think it's more a question of just sort of saying what we're passionate about at the time of what we're doing. I think the hardest thing is getting people, I don't know if we want this, but once we can say it to somebody, we've already spent a lot of time working. And so like, what is that time when you're just like, how do we, I mean, I don't know if we want funding for this, but like the idea that like you wanna pay artists to go and conceive something together or the intention of a devise work with a company is a weird thing and it's an interesting thing. We usually get money, I get individual artist grants in Philadelphia, it's generally been what we do, Independence Combination in the Philadelphia Theater Initiative, really vital, huge supporters of Grant Handsworth. And then there's some individual contributions that we get more into towards production, but the grant writing process so far has been actually a really important part of the whole process because when you have to articulate the thought, for me that's like one of the most important parts is writing a grant. And oftentimes when you get in the dark about a project, what are we making? I'll go back to the grant, oh yeah, that's what we're gonna say. I don't even know that, it's so weird. And for Trey, oftentimes it's making the postcard and he's very visual and he'll conceive of a postcard, or images way early and it's crazy, we'll do like a photo shoot before we know anything and he's crazy about it, loves it and it really helps him, that's the way it becomes, so it really helps him. I think the most important thing is to communicate the best you can, the questions you're asking with your work, and it's not so much, I think the nuts and bolts of it that people wanna hear, it's not necessarily these exercises that people are gonna be motivated to get money to, do you know what I mean? And I can see this, whoa, you put thousands of dollars to be doing that. It's, what do you wanna say with your work? What, you know, with, for instance, when we were doing the Laren project, we felt like we were really asking like how can theater, and you're doing national dialogue, what's going on, and how do we deal with current events in the theater, what role did theater have in the current events and discussions, and you know, I think those are the kinds of questions that people kind of are excited about. I would say, the same thing as Jeff, I know that when Anne Bogart writes narrative, it's all about trying to articulate the vision of a piece that's incredibly useful for her. From my point of view, I've made one show in my company that I was in charge of, it was a dance theater piece with no text, and it was with the band, with the name of the local Rachel's, and I wrote a lot of grants, and I got no money for it, and I suspect it's not being a wordless, I think the name of the city was, but that's where friends came really on board, people who have past relationships with, sure I'll do the show, and I'll help you put it out. I'm very conscious of the fact that we've had all these people so long, including these gentlemen, but not alone these gentlemen, and what I'm gonna suggest is a reception in the lobby, and let's go ahead to the lobby, we'll collect any of the Twitter questions, and we'll ask them individually of you guys, whoever they were for, and we'll get those answers back, but let's, this group, go ahead and adjourn to the lobby, get a glass of wine, and enjoy each other's company, okay? Okay?