It's either Joel Gray or me. And they're like, we're taking Joel Gray then. He was like,

what? It's

a it's under duress. I think that he was in there, which is such a bummer that he got so stuck in his own mindset of how he needed the film to be that he couldn't embrace what he had. I think he kept trying to get Joel Gray to do jazz hands. And Joel Gray was like, no, I'm not doing your little jazz hands. It's like throwing the baby out with the bath water, right? Because it's sort of like, I'm going to do everything my way. And I think for better or for worse, because I think there are things about that character in particular that you need to take. Because if you get rid of everything, then you have nothing. And then if you have nothing, then why are you doing it in the first place? It's sort of the way I feel about adaptations. Like, well, you can adapt so far. But if you lose the thrust of what you're adapting, then just create something completely original. It's like, you know, you can't just erase all the lines and say, this is still that. It's not. You're just taking the name and hoping that people will come to it because of that. But, you know, I think what Joel Gray wanted and what Bob Fosse wanted may have been at odds to a certain extent. And I think Bob Fosse definitely was playing into this idea of like sexuality, right? There's a lot. I mean, there's so much in this movie that that is, like I said earlier, like there's so many queer things in this movie that I love, like, and that are not shocking, but it's a mainstream movie. And they're doing a lot of interesting things. Or at least to me, I was kind of surprised.