What was the first film that made you want to become a cinematographer? I don't know that I remember an exact moment getting into film school and learning what it's in a photographer does that I realized like that's the job for me. It's a perfect pairing of creative and technical. I will say that Todd Haines's film, Bill the Gold Mine made a big impression on me in high school because it was one of the first films I saw that throughout the window that you know you need to make the audience believe. A world that cinema is a realistic medium. It's not. He fully embraces that it's a fantastical medium. You can do a very slice of life thing that feels very real or you could do Bill the Gold Mine which is a treatise on glam rock that just does whatever it wants. You know that movie really opened my mind up to the breadth of styles that cinema can explore. Whether it's experimental or established or indie for that matter, it's just amazing seeing different viewpoints in different cultures in terms of how they shoot things as well too. I think that's incredible. Absolutely. I agree. And I think a lot of the cinema that I found most inspiring lately is been coming out of Europe and East Asia, you know obviously Paris site. The list of Korean films goes on and recently corsage from Austria and happening from France. I think what I'm connecting with is something that the American cinema world hasn't really been putting money into lately because superhero movies have taken over theaters and budgets. It's cinema that honing in on one or two characters and really digging into what's going on with them and how they're feeling. So it's really character driven. Well there are no new stories from what people say. It's just a different viewpoint and how they change it. Color theory and lighting that needs to be re-addressed in this stage because we're so used to computerized graphics, taking a step back and looking at the color scheme in SMA in my love, I mean beautiful blues and earthy tone. I don't think you could have gone wrong with your setting. The only thing that I think could have changed was if it was wintertime. Sure. Yeah, shooting in the winter would have made it so much harder than it already was. Just access to the woods. Like I said, Corey wanted the woods to be a third character. So we're very much leaning into the tones under their browns, greens and that desky blue. We spent a long time in the color grade getting things just right. The locations were what they were. We didn't have a ton of control of certainly over the exterior. I mean, it is what it is. Kyra Bustelia production designer did a lot of work in the house interior where we had some more control over the mise en scène over what we were actually filming. But for the most part, it was like a battle of the green. And I actually loved green. I kind of reversed to magenta. But then that came up in the color grade, trying to sort of play down the greens to some extent so they weren't nuclear neon, not pulling our attention and also not letting skin tones go magenta. So yes, color theory is very important. Yeah, I'd love to, I mean, I always love to highlight the, I spent eight years as a lighting technician and gaffer. And I think that, you know, for me, I'm actually for a lot of folks, you know, that that time working your way up the ladder and seeing how things are done by different people and on larger projects, you know, is huge in informing how you work once you become the boss and are directing crews. You know, it's important to know not only what those roles are, what, you know, what your keys, what your gaffer, your key grip, whatever one does. But how to merely say to them, I would like to achieve blank and know that, you know, they're going to figure out the details better than you can imagine it because, you know, because you spent that time being in that position. You know, I think those years as a technician, hugely informed my work and how I work with others and how I collaborate.