 And I am just helping them hold that space to make that awareness, that experience, more helpful. If I can do that, that helps. I think just having an audience know that it's an ensemble, you know, but for us having the audience know that they're a collective, you know, this, and they, you know, if they have questions, they'll say, ah, it's correct to be collectively, right? No. You know, if it's a collective project, no. But the fact that they know it's collective, that they know it's an ensemble, tweaks their vision of what's possible. You know, in society, it's increasingly it's about the individual, individual. Same thing, this is an ensemble. I think sometimes that's just, right. And what I think the way you're putting it is sort of that's, it's sort of, it's life and it's death. That's not, and I've been saying that's just a sort of part of what we're giving up, as opposed to the big thing, which, and emotionally I get what you were saying before, the word was like, we sweated an excellent process with each other for a long time, but you can't really share that other than through what the performance is and by saying, hey, it's a collective and maybe sometimes inviting people in at certain points to perhaps offer feedback. But there's a whole thing that happens privately within the company that just doesn't get shared and it's sort of, has to tend to be wonderful on its own or awful on its own or whatever. I actually disagree. It is that unseen process of breath that holds an ensemble together but that actually is what the audience is going to see. That's what their company is going to see. That's what they're going to think. They want to be in a space with it. I think it's wonderful that, you know, I don't want to, you know, I want to figure out what they mean because it's the future. You know, I want to be in the same space with it. Yeah, because that's the change here. You know, whatever. But it's about... She's going to share this with us. Ooh! And that experience of ensemble, that there's something admirable about that audience sense of... Question. If the language starts to get to be a problem here, but if we're talking about a product, or the product is even getting to be, but if I didn't know it was an ensemble, would I sense it? And does that contribute to the excellence of the experience? And are there sort of two parts of it? Is there something about it that feels ensembly and also it's a really good show? I love to come up in every single session. Do we have to mention that when we go to the theater, we see love for the part of that process that we just died on. Something we need to know is an ensemble. People will see it. Well, you know, it's tough that, like, with the truth that we've been for lots of years, we've always been bringing you back to us, which has been, you know, having this tight ensemble and then going, okay, and somebody says, I'm not doing this something, okay, new person, you know, and trying to get them to be a seamless part of the ensemble through rehearsal so that the audience does not notice so that they still have that sense. You've got to get these people, not just cast them and get them in the middle of the line, but they kind of have to follow them more, the process of following up with what you're doing so that by the time it opens, they're just as passionate about it. It's not just a gig, you know, because they are now part of something and not just in something. I don't struggle. But what? We were at a time when I said one more question. It's so fast. And it goes into this notion of if the product is in the process, is it disingenuous to open a show? I mean, like, is that... I don't assume that we're going to get it right in the rehearsal. You know, I would say that's right in the rehearsal many times. But this is an assumption that we're going to get it right real quick. And it's, you know... The process should be an internal barometer that says whether a show is meant to go on or to show it all the way to public. I mean, one of the issues I do have with some months on the work is I don't feel that the text material gets worked in sometimes is... It's almost always the last thing that gets worked on. It's sort of like it's shoved into the picture at the last few weeks or months of development. We've got a two-year process, but the script's being finalized in the last couple of weeks. To me, that's backwards, you know. Even though... And I know that's really hard for an ensemble because you're developing stuff along the way. And then finally, so you're going to do a epiphany and you know what the text will be through. But then, to me, it needs another round of workshopping before it goes up in front of the public. So I think there needs to be this internal barometer that says, do we really need to be sure we're ready that you can't just have the insurgencies in your reducing schedule determined because I've just seen too many really, really great projects leave that key piece to too late. And that's why we have the Work for Progress series and we're the theory factory. We have 20 out of 30 of our companies because in the dance world, you get two minutes, five minutes. It's very common that in the dance world, they're putting up projects all the time that are these little, little bits. And there's not enough venues for, like, people who buy work, as a matter of course, to be able to do that. So that you can, what I call, it's like, ablutions or go through the ablutions stuff. This process that happens, this all-chemical thing that happens with the audience, which is you can't get to that point until you put it in front of the audience and reach as your other ensemble member and you get it out there. So for us, it's a huge piece of importance and obviously for the other people that are applying and coming into the process, it's for them too. And of course, then talk, which we've talked about before, but how do you use that? I don't know. Well, I would say that just also, like for the monitoring, we just say, let's do that because if we're doing something that happened because a nuclear power plant exploded, you know, a two-year process and you hear our most, the vast majority of our time is researchers. That's been so much in research and then style and genre to figure out how to tell the story. And then I go, ah, and then I can start writing. It is, but where we do benefit from, is the ensemble part. And being a really honest ensemble, that's a big thing. And then because we have a particular style, we will go, you know, this just isn't, the scene doesn't work, Michael, because of, you know, you're not dealing with this or this character and you're like, okay, I'll rewrite it, but you're going through process and stuff. But I think that, you know, the question of is it okay to basically open up the process as a product? You know, I think with that, you know, there is that overlap. Yes, if you're not doing topical stuff, then your process, unfortunately, could go on forever. Back in the 80s, ACT was doing some shows, Lear, I think it was, and a company from Moscow came to see what they were doing. And they were like, how long have you been working on this? And they were so happy that they did this in the days where you had an eight-week rehearsal period. Remember that? That eight-week rehearsal period. Yeah, and the company, the Soviet company said, you can work on this for eight years. They had just done handling. They hadn't opened yet, and they've been working on it for two years on a show that was done. They were like, how can you possibly do Shakespeare and work on it for less than two years? You know, they're going, that's funding. They ended up having a list. Yes. We do have, didn't we? Do you have to go to this next section? So I hope we're beginning to take it here and keep the conversation going. Please, do I have to? Do I have to divide the group? Great. I'm going to ask you over here to repeat that, like this half here, sitting in this room, and this half there. You can go to the... next door. Thank you all so much.