Well, especially during the shoot as well,

you know, we're on set and I'm operating and I've got focused on what's happening in front of the lens. And then something comes up with a schedule thing or another department thing or a visual effects thing. And it requires a longer conversation. We're so in sync about, you know, what's to come. We've talked things through. We're so in sync. And James can spend the time to explain why we think this is the best option. And then she can say, if she listens to them and there's another idea, maybe this would work. Yeah, okay. But you know, it's like, if you're in the middle of a shoot day, you don't have time to do all that.

And also sometimes you find that something news come up that we didn't know about that's affecting it. So okay, great. Didn't know that be right back to you and something that I can talk with Roger and say, listen, were you aware of this? And then we make a new decision possibly and I go back. One thing that frustrates me, it's a little bit off topic, but it's related, you know, the way that we as a DP deal with finances and budgets for our world, you know, there are some departments that get given a budget and that they manage all the dollars in that budget. So, you know, if they've got a million dollars in their budget, they might decide to spend 900,000 on one thing. And then, you know, that's why be there. That's their directive. We in the camera department and the electricals and grips generally don't get given a lump some money and be told what to do. Like we have somebody else making those decisions about how to allocate those resources. And if those people are not in sync with us, if they have, like you said, they've just come off a different bond and that different bond had 15 cameras every single day and that's the way they did it. So therefore, that's what they expect. If they're not in sync and they can't become in sync, it makes it a lot harder for our jobs. And that's what goes to me, James, like as a major part of your job, it's you getting them in sync with how you guys work. And I think that's an integral part because the amount of energy that goes into that for me as a DP working effectively by myself at that role, that's a massive, massive, massive energy expulsion. And I find too that in working with them and getting to know them and indicating that I understand they have a side too, they're more apt to come to me with a question before they make a decision where they wouldn't have the time or wouldn't be able to get to Roger. But they'll say, do you think it's okay if we cancel the steady cam guy for this day? Because it certainly looks like it's not on the schedule, but it's great that they ask because we may have assumed, well, we hired him for that day. So we'll do this on that day, but they don't know. So that back and forth, to me, a lot of what I do is communication and I love that. If I learn something, I'm going to tell it to eight people right away because what we do affects their departments too. So I just let them know whether they want to know or not. And I think that's really important. And I think that's important on a film in general, really good. And we see that sometimes on films where you don't have good communicators in places that should be good communicators, how hard it becomes and how much easier it is if you're working with people who automatically are a communicator. Yeah.