So let me now do something very embarrassing. Let me do this just quick speech and you talk about it because it's French, it's an English and it's got everything we've been talking about. Tell me, do you really believe this burial business? Do you? Is your brothers ghosts really condemned to wander forever if a handful of earth is enthroned on the corpse to the accompany of the summer ecclesiastical buffoonery? Have you ever listened to the priest of the Phoebes mumble their formulas? Have you ever watched those dreary functionaries preparing the dead for burial? Skipping half the gestures, swallowing half the words, hustling the dead into the graves out of here, they'll be late for lunch? Not well acted, but... But okay, so that's the speech and that's me and... That's the quality of the Robert. But that's the speech as it were from a Canadian through an English language which is from a French route. Okay, shall I do it again? No. No, I'll tell you what I hear, can I do it again? Yeah. I hear this... And I was a little anxious because I'm sitting in front of a revala pagine and their cameras are rolling and I get screwed up or whatever. Okay, no, but I'm saying, Robert, is that there's something about... And I hear that in Stratford a lot when I go to see, I think there's some amazing actors who do some amazing things. But there's a school of thought, I think, Canada, maybe more than this idea that if you want to sound real, you have to make it sound like you would say for real as if you're inventing the words, right? Which is one conception of acting. So what I hear and what you're doing is that you give the impression that you're inventing what it is that you're saying. Right, okay. Cut me. But that's fair and that's so a school of thought. But there's also exactly the opposite that I think is that this has been written by somebody else who is not me, who did it another time, who's... And processing this text has been adapted by a French guy during his century who has his own agenda, though, so all these things can also be conducted. Right. But of course it would sound like what you just did, which is you're inventing them. And I think that that's in Europe, there's a lot of this kind of a distensation of how people act. People... They act, they remove themselves from the character and they point at the character. They point at what... You know what I mean? It's more of... It's about something else. Is that more true in French theatre and Quebec theatre in Spanish? In French theatre more, I think in French theatre, that's for sure. I think in Quebec, I think that's interesting. I won't say paradox because I think some people do it very, very well, but don't have any problems with this. But I think it's the French language used with a lot of English rules because we've been on the English rule or under the American rule for that matter. So we're very, very influenced by that rhythm, that energy, that way of life, that way of thinking. So the way we use the French language when we act is not the same way as the French do. So anyways, just to say that it comes to this idea of what is emotion. Is this too far-fetched? No, no, no, no, because it's a voice. Speech, emotion, and the mother, the father, the child. Where should the emotion be? In the soul, in the chest, in the heart of the actor. Where should it be in the room, the audience? I vote for the room. Yeah, well then you don't act the same way. You know what I mean? So I had an impression in North America, and I include myself as we've been trained to act in a certain way, to make it sound realistic. Our cells with our regional accent, we don't sing it, we don't, we don't put makeup on it, we do it as close to how we would personally do it to make it sound true and really know that. That's one thing. But often the emotion stays within the actor, and the spectator, the audience is a spectator of somebody else's emotion and goes, I can't see any of the actors. Look at him, he's so moved. They are so moved, they're star-mazing actors. They're not necessarily moving. But this is a Stennis Lovsky, this is through Strasbourg, this is through actor studio, this is through the whole train, which me, I think it's all dying out now, but unless you feel it for real on stage, you shouldn't be there. Exactly, but it is how you use it. And that's what I think that, because I've been to Russia now a few times, and you look at how, and in this great school of Stennis Lovsky acting, and how that's still very much alive and present, and how it's very, very strong, and you feel people are starting to break out of it, because there's this will to want to convey the emotion to the room. Okay, so let's take the speech I just did. Okay, now, what would you say to me in the rehearsal hall, or after the run, you would say, Robert? Okay, I'd say that there are some ideas in what you, in the speech you delivered, there are some ideas that are muffled, because you stress on the ideas that help you sound real, natural, and truthful, and your character is probably moving. Your character will probably move the audience, but your ideas might not. So if you revise the text, and you look, there are some pockets of ideas that are not stressed out, that may not sound as natural when you will say them if you stress on these things, but these ideas might reach the audience, and the audience make his own idea, and then be moved by them. So, okay, tell me, do you really believe the burial business? Do you? Is your brother's ghost really condemned to wander forever, if a handful of others are thrown on the courts? To the company of some ecclesiastical people, I mean, I can't hear wander, I can't hear forever. Right, it's not that I can't hear the words, I can't hear what you mean. So I was TV-izing it, I was driving it down to TV there, right? Let's make it like TV, tell me, I'm already really good. Okay, I'm the worst actor in the world. You're asking, no, I hate doing this. No, but it's good. So, so- Because the actor's responsibility- No, but you said, I missed wander, I missed, tell me, do you read- What is wandering? What is a soul wandering? It's a huge thing. Right, okay. So it just went by, and I got it the second time around and said it. Yeah. The word forever, so you say this- Forever. Forever. What is the word forever? So I'm gonna say you have to stop at each word, but I'm just saying that you can choose not to stress those ideas, and that also has a value. Is your brothers ghosts really condemned to wander forever? Well, that's a very different thing. If a handful of others are thrown on the courts, I mean- Get the beginning of that subject. Sorry. Well, no, no, okay. If you haven't paused the other shoe- No, no, no, no, perfect. Again, because my instincts are driven over 30 years to be real. Robert, be real. And if you're not real, you won't get the job- The director won't hire me, the audience won't believe me. So every instinct has been honed to say it real. Say it real, say it real, Robert. And here you're saying it actually isn't serving. My instinct to be real as a North American actor isn't actually serving. Maybe not all of the person, but I'm telling you what, it's fine. Because that's your good act as something real, but maybe that's the thing you have to go at the end, maybe at the beginning. You have to start by just getting the meaning of those and these words of the intelligence of the text out, and then write the words to do what you do best. But it's just because a lot of people start that they start at this has to feel real, this has to feel like myself. This is not me, is it? I mean, just because it opens a huge discussion about two white Hollywood now hires people who have the casting of the part. When Tom Cruise is Tom Cruise and whatever it does, I mean, we'll be Tom Cruise and we'll never act apart. Right. Whether there is no acting art anymore in Hollywood. And who gets the Oscars? The people who are doing, I mean, if you really look down the past 20-some years, a few remaining actors who had to put themselves in the in the skin of Truman Capote and put it as skies on, find the voice, find the rhythm, find the inner energy, that's acting. It's not just character acting, it's acting. It's something about that that's operatic and lyrical. And some, even if it's very real, right? It is some to you, it is.