What did you do? I had to come about for you. It was actually an idea that I was going to Fad, five, Lemur and Rome Italy in 1979 when I had my first show, International Show. And I was like, yo man, I want to make a film about what I've been doing for the last seven years. And I wanted to write a book that, but I didn't do it in the middle of the summer. But Fad was always in the right place. He's just in the right place at the right time. He knows how to facilitate things. And him and Charlie were hanging out and sitting back there. I was like a whole new mixture of all these comrades. I call it New Yorkers like that. It's a real type. There's nothing way removed from what's happening. But Charlie was just starting out making short films in my neighborhood. So he got a hold of my name to a lot of castles. I was like, check out this guy Lee. So my piece is like, yo, who's this guy Lee? So it was like a little folklore thing happened. So it turned out that when you came up with the Wallstalk Cali, except you at Fad, five, three, and based loosely on my life, they wanted to get me for authenticity. And I was reluctant to do it for a number of reasons. And the script was very much improvised. And I realized at the same time that everything was improvised. Nobody was acting because everything was happening. That's it. So it was cool. I gave in to it later on. But for a while, I was casting real actors, people that had done it for a few years or maybe more. And I was like, I don't want to do it. I don't want to showcase the way I do my training. It's a very sacred to me. Still live. Still in top cast, like the way I did shit. But I was like, yo, I don't want to exploit it the way I think it is. And then I gave in. I was like, yo, I'm going to work with this. And I think I remember telling Charlie loosely, yo, I'm going to work with this. I want to be in some kind of creative, I want to have some input on how this whole thing develops around the train yards. Of course, the train yards, you know, not even in that scene at all. I was like, I'm going to set. But you're in the scene. I'm like, no, I'm not going. Get an extra. I'm not going. I don't even know how I pulled that one. I was like, I ain't filming in front of an old band camera in the train yards. Charlie, man, bless him. My man was like, he helped ground him, man. And then, bless, I was real sick to my, you know, sick as a dog. You know, like we'll get an ambulance, we'll send you to the yard. And I'm like, no, I don't want to go. Get to my extra. So that's where it finally comes. So it was pulling teeth with me for a while, you know. But, you know, the film is a classic, you know, it just turned into a cult classic. It just grabs so many. Maybe I would say unfocused energies around the world. And many people really like finding it, you know, the DJs, actors, playwrights, and all that. Pollence, answers, opinions. So it's a real general thing, kind of like, it opened doors and it kind of like confirmed the door was there in the first place for many young cats. So I like the way I felt when I saw the trains and were traveling around. Everything happens for a reason. The father never drove a car. Never had a car in the family. So my mom's, me always had to like, cuss the one in the subway. So yeah. There it is, 1972, watching pieces saying what the fuck is that about. You know, why is that happening? Why is it there? So, you know, me being so curious, George, as they call me, you know, I just, you know, I made it my, I made it my goal to like, yeah, I want to find out how this is being done and I'm really excited about it, you know. So I can identify with kids, young people, I would say, you know, seeing the emotional outcry that it has. And, you know, it's cool. I'm just hoping that new generation will get something worthwhile. That not only they will like kind of lavish and marinated, but that other people will, above, you know, way, way out there in the horizon will, will get something. So about like what you leave behind. Yeah. That's hot, man.