CATCHING DUST Q&A WITH ERIN MORIARTY AND STUART GATT MODERATED BY JACK QUAID on 8/23/2024.

[Applause] I do no I hello hello [Music] hello hello hello there we go is it working no it's not that now it is and I'm way too close to the mic hi everybody hi how [ __ ] good was that movie paycheck is coming in the mail that was unbelievable no this is pro bono this um this was fantastic guys by the way writer director steuart Gat and my unbelievably talented friend Aaron Mor arti well done guys thank you um Stuart I just really want to quickly start with you you wrote this you directed this where did this idea come from how did this get ter for you um so I'm from the UK I've got nothing to do with Texas but for some reason for some reason I was having a lot of images that were poping into my head with like a trailer in the middle of the desert sometimes you know I'm a bit of a Daydreamer and some ideas stick and that image just kept replaying in my head and um I you become curious about who might live there why there's a trailer in the desert and then it the better what it is now oh my God incredible and then Aaron uh I I I watch you act a lot obviously this is some of the best work I've ever seen you do that's very very very very kind congratulations no that was incredible um how did you get involved in this project um honestly um through well my manager Jeremy who's here he knows John cat one of our executive producers who can't be here today but we adore and um they were talking about something else and John mentioned this film I think and then that scripture sent to me and I would just remember it was such it's funny you get sent a lot of scripts and um when you get sent a good independent feater and I say independent because there's licens for the director and the writer and whomever the like the creative leads on the project are for them to really have control over it and so you get sent an independent feature that just is such an obvious guess and it just was even just reading the script alone and reading scripts alone that love and independent features specifically in that realm just like gives this sounds really sacr and dejected at the same time it gives me hope that like they still are out there so then when we met it was just like this it was like I think I forget what happened way you said something in the meeting but like I was I was waiting it was one of those rare meetings where I was like well this cannot happen this cannot and then it did because I read Gina and it just was like every it's like you know these characters that you put in a box especially the female characters and then break out of the box they surprise you and you assume they're one thing and they turn into another my favorite so this suude basically and the script he wrote and the quality of it you guys had the you guys had the actor director meeting we did this is this is this is a real move this is like did you guys meet for was it like a meet for lunch was it zoom zoom yeah he lives in London full time he's like a London boy he was in London we met by a zoom and this was was like still pandemic e time like like shortly like before the time when like we stopped all wearing Mouse on set but yeah we did it on zoom and I just remember it was one of those meetings where we just could St talking right yeah that was great was this was this one of those I don't know cuz you shot this when did you guys shoot this gosh what we we shot oh yeah sorry yeah sorry we show 2022 okay yeah so was that that was still was that for this was that still like mask up it was still a lot of the SAG rules were still there you yeah you were yeah that's right you I got Co like right before we started shooting that's right oh [ __ ] that's right cuz you were yeah yeah that's right oh I'm so sorry about that but congratulations on the film not the co um you guys uh this was like the ultimate like one location movie and you guys shot this I just found out cuz I I was like that's too pretty to be America but um where where was the shop we show the Canary Islands in Spain it's gorgeous it's unbelievably gorgeous it is the thing is is my producer and I we spent a lot of time scouting the big band in Texas where the film's set and that's so beautiful incredibly beautiful but the thing with which is a good thing about America is that the most beautiful spots are usually the most protected it's not easy to go out there and shoot um and the ones that are less protected there's a lot of infrastructure around you couldn't shoot 360 we wanted something that allowed us to build the set on location and have completely unhindered shooting ability so the our producers were like why don't we look at the Canary Islands and I was like that's never going to work it's Spain as soon as I went there I was blown away and actually this spot we found was the most it gave us the most Freedom whilst not being completely in the middle of nowhere I mean like we're 15 I can't remember 15 20 minutes away from our hotels and stuff so it was pretty good yeah it's unbelievable and so did that was it always intended to be a one location film I mean you go to town you go to town for that that was rare though that was a crazy day was that a crazy day yeah it was like yeah it was just crazy to leave that set cuz that was the only I mean literally the whole concept of the film is that I'm kind of suffocating in this one environment and I'm stuck there so leaving that day cuz like it was weird it was crazy I was like oh my God she is out on the town but not a very glorified way I thought we were freaks out that day we're just so used to doing so used to it it was like a play I keep saying that it felt like a play because has such a like few amount of characters and but yeah it it was I mean it was always intended I think you know at first you start writing something like this and you go oh this could work for it because it's my debut feature this is this is cheap this could work for a thing and but then I started to realize actually that the device of not leaving was increasing was it creates like a a pressure chamber so it became more than just me thinking about being pragmatic it was more about going actually well this in the same way a play can create that kind of feeling it was about doing that and intensifying and cre this is I thought that there was there was something unique about the idea of the isolation and um intensifying the pressure that she's on to understand who she is and who she can be in the world yeah no but uh sorry what's no no that it's incredible how much that just traps everyone in like no one can leave you know even the couple from the city's like we're we're trapped here for 20 22 days was that it 20 20 okay I'm sorry I wasn't paying attention um Ain I want to talk to you about I want I want to talk to you about this character I know that you have incredible ways of getting into character um what did you do to prepare for this role did you was there I'm going to guess there was some art classes I actually did take art classes and also that painting it's weird I forgot about so many things because I forgot about um very few things but a few really important things which is that painting on the thing was totally me yeah that was you yeah completely we that was all me and then we I'm not saying that to say like it just was a very visceral like process and I just like listen it was thoring paint and it was emotional so yeah no and and you very intentionally wanted that to be me um so but outside of that I took painting lessons and I have I have photographs of the first paintings and um I did I take I took painting lessons honestly the drawings themselves at the beginning it was like I those drawings were really good they were not that my drawing drawings and it became more so about me finding out what the drawings and the painting meant for her and um the just these things became this or this her Art became a catharsis for her and I don't think she was even fully aware of that or she was but my way into it was Finding what what is the emotional significance of these drawings and of this art to her because I am not a great like draw that's the primary thing I to take lessons on and I think it became pretty Apparent from the get-go that like someone else is going to draw it I'm just going to emulate it but it was about like what it meant to her obviously and that's kind of um what I tapped into but the painting was fun there's nothing about throwing paint it's like it's truly cathartic yeah yeah yeah I'm sure do do you because I know you also do playlists for characters I do and I have one yeah yeah I'm like do you have any you have my phone I do have your phone you have a phone yes I I have a playlist for every character in every prep yeah all my PR process yeah for every character it's a little bit different but obviously um but what you got what's on the playlist let's look guys um it's going to be like Tina Fe I'm kidding um Spotify it's gonna be Tina Fe I'm kidding okay let's see I was like Tina Fe has a band of course she does okay so it's Gina Dre because we called our group um um Dr because um Gina Ryan Aaron J um oh it's um a lot of joser a lot of jir Alabama Shakes my favorite um there's this one song by the Alabama Shakes called This Feeling which I think you know well best the best feeling the best song you actually know these songs I know I do we have like we we have like a like but it's a beautiful song actually the lyrics like are very melancholic and it's a beautiful song because it's not it's not a happy song it's a sad song and she's like but I just have this feeling that I'm going to be all right like it's like a very like she's like I just keep going and it's been [ __ ] tough but I have a feeling that like I I'm going to be okay but but that's like reductive soorry Su summation of it excuse me yeah Alabama Shakes where what else to Build a Home by the Cinematic Orchestra which if you know I should I don't know okay okay and then let's see what else yeah I say those were like those are the ones that are worth mentioning by the way all of them are downloaded just a just a thing they all have a green arrow they're all just in case the reception goes out posted playlist before and people have called out on the fact that my songs aren't downloaded I didn't just I I create playlist for every character people call you out because songs aren't downloaded yeah they're like you going to make this for real they're not downloaded I was like bro test me anyway so I made one for um and then it was accent it was accent I did I worked with a brilliant accent coach named Jerome Butler who again I got through my manager Jeremy he was just so good I did so many hours of that work because honestly for me prep is really just just so that I don't feel anxious when I step on a set and I'm pretty tight Bay minus um um I would say tight Bay in recovery but like I need to prep anything to even like an unreasonable degree just to feel like I'm okay on set and so I I I didn't want to do the rooll unless I knew the accent was going to be so well prepared and perfect so I did hours and hours with drum and he was amazing and that was a huge part um and if you heard the woman that I listen to every day who was the template like for learning this accent it was just I played her every morning before set just such a random news clip of this woman talking about this guy doing the Lord's work and it was just hilarious yeah did you have a thing that you said um I feel like sometimes you know every time you do an accent sometimes people have kind of an in sentence like to get into the voice my God I did but it was this woman it was like oh God it was this woman's whole speech on the news she was like what God I know she's like um she was like I swear oh that's I swear to God I I swear you're just stop it she was just saying she's talking to this guy who she who she like really admired and it was something like I swear it was like okay so I'm trying to I don't remember it because my memory is actually ironically really bad um but um my Like You Ed the tip of your tongue in a different placement when you're speaking in Western Tex and accents and so it was a lot of like s and like any type of word that would bring that like to my like that would make my mouth basically be put in the right position but it was funny since we were filming in Spain I rotated between American accent Spanish speaking and and Western West Texon accent throughout the whole day all kind of Blends together yeah it makes sense right no of course no you are your environment very much and so steuart really quickly I wanted to ask you um obviously this this movie kind of reminds us of like old Hollywood westerns uh but I'm just curious like beyond that Beyond like you know we say it feels like a play and I that mean that the best way what were some of your influences um and uh was it just westers or was it I'm I'm sure it's a multitude of things so I definitely leaned on I wouldn't say there was really a specific film I could mention I would say but I was very aware of the the vernacular that been created cinematically by the Western genre MH and and um so that for sure is present in many forms I wouldn't be able to tell you it's probably something that's infected me subconsciously that's there like we done a Q&A earlier at codc and someone went oh you done the searches shop oh I went oh yeah I don't know what the hell he was talking about oh yeah sech me I assume he means through like through the dooring out on the big V is there's probably so much there I couldn't tell you exactly where it comes from but I was very aware of the genre I was operating in and trying to operate within the premises that audiences know and understand and then finding where I could try and put my own stamp so yeah I think you definitely did that I love the sequence um sorry just CU I really love this sequence I wonder if you could talk about it a little bit um it's both couples you're cutting between both couples arguing as you kind of push in on Windows and then we're in with both of them I just found that so fascinating to watch can you talk a little bit about that I think um that came from because I knew this was really four characters in one location there was a lot more pressure on me I think as a director to try and create more interesting visual language and find ways that you could explore these couples cuz the thing is like you if you go in convention and just do everything in a one or two shot everyone will be bored within 30 seconds so it was about how can we find interesting ways to tell their story and explore them and reimagine what we're seeing and they felt something vois about that idea in that moment you know I don't know work it's funny because I remember J came on set that day and he's like why we set it up like this if we got we got no time to Sho prop know this is by Design you know so um yeah so it's just one of those things it felt like the right idea the in the moment and a lot of people compliment that and I do like that moment actually it feels like a sort of window into the world of them in some way it's so cool it's unbelievable um so Erin I also wanted to ask you obviously chemistry is very important between uh cast members I think this is more of a this a question for both of you for Stuart how did you what was your experience like casting this wonderful group of actors and finding like the the perfect flavor for each character and then Aaron I mean if you're in Instagram is an indication you guys had a very good time on this like you guys bonded um what what what was that like and what was it like like hanging out with the cast um off camera as well like was that just a blast or it was it was great I I would say that like the thing is when you're when you're playing characters like this like especially when like you know all of them are in a state of crisis right and you're playing a character I'm just thinking from my micro perspective Gina it's such a I'm going through a lot clearly like state of Crisis and like this accumulative like stress and suppression and um what we built for her back story just like preloaded her into being this in this state of like being a frog in a boiling water and then this couple turns up making her abundantly aware of the temperature of that water right so it's a lot going on and the gravity the emotional gravity I just felt like these are those those kinds of roles where if you let a second drop like I feel like I betray them and I just wanted to do your justice so the fact that like we all got along offset was amazing because that's like a mandatory precursor to feeling like you can be vulnerable you can feel safe with someone and you know you have experiences where maybe that's not the case so J and I went to get lunch prior to doing the movie and within 5 minutes of meeting him I knew that it was going to be good because I knew Stuart by that point I've been talking to him and I just J said something that was so generous and so clearly and not even implying but explicitly saying that he was there to support me and Gina's story and I think that it's our story 100% but for him to be able to say that and it it just I think that if your objective is to first and foremost do your Ro justice but secondly to make your co-workers feel safe around you those are the things that will like that are within your control to make sure that you you make the best possible movie especially when you need to be that vulnerable you know what it's like like you can't be vulnerable or in that raw of a state when you don't feel safer around people so we felt so safe it was very familial and it led us to make this movie and then also you need levity when like you're you're doing these scenes and like it's just it's so um it's either that or you need therapy to be put into your contract like like so it was just it was so it was it was lovely it was like it was just kind of um it's what that ephemeral magical moment in time and and the Rarity of that chemistry is what made it so amazing and also the fact that it was creatively fulfilling is like yeah and they those guys really done that on their own I felt like you guys just bonded so quickly and easily and made that effort to do that regards to Casting um you just get a lot of names pitched to you and like D's name came up and I was like oh really we can get dry and then ain's name come up and I was like you can get Erin I was like okay so but it all comes down to the meeting you know and like it's it's really like when I met with Erin within like every kind of minute that progress of the meeting the more I could see Gina in her and Erin's very intelligent and very talented and very C when she was speaking about the character in the way that I saw saw her and then was bringing and talking about ideas I hadn't thought of that clearly would have made the character more 3D and um you just it's it's difficult to describe it there's a feeling that you get when you speak to an next and you know they're right for the role and you just I felt that with her and no one could have done that better than she did oh my God crushed it um oh my God we're all going to touch these microphones all of you will touch these microphones by the end of this um just quick like addition to that um I I know that whenever I'm in one of those meetings be it on Zoom or whatever and it's almost easier when you don't enjoy the scripts as much you like you're where you're like you're kind of like yeah you're 75% there but I'm I'm assuming you were very nervous for this meeting because you read it and was like yeah yeah it was just like I I just um I was nervous for the meeting but I also I get these like these weird contradictory like paradoxical feelings about roles like this because I read them and I'm like oh my God I'm like I I just and then you experience them and it's all you want to do and then it sets the bar so high and I was like I remember after we did this job I was like God damn it he set the bar so high like our entire the the the the the creative like gratification of playing that character and then the chemistry we all had it was rare for the very reasons that like I also sometimes feel like I like it was very sad to conclude the film so I was nervous leading up to it but I just you know what it was it was like okay he's written a script of a certain level of quality and I just there's a relative calmness around it because I I usually take notes for scripts when I really like them and in general because they're usually things that I will forget to touch on and she was so layered and there were so many things that I wanted to touch on so I just felt like I felt like this this this like protectiveness around this character which is how I often feel about characters that I really love playing this connection to her but also at the same time a protectiveness over my version of her that would happen if he cast me and if he decided not to I would trust him in doing that and I only wanted to do her like play her in a certain way so you know what I mean like so it so weird I had this concept of her from the start and and I thought this is the way in which I want to live in her and and if he takes it great and if he doesn't like it just felt like a meeting that I wanted to take no matter what because I felt like he would you know he had the mind and the writing skills of a director that I would want to form a connection with yeah um I I'm just curious and maybe I'm wrong but often I find when I make a movie or TV show whatever it's a process of killing Your Darlings and usually there's a scene or a moment or something that somehow had to be on The Cutting Room floor for whatever reason and I wonder is there any moment I could be wrong but is there any moment in this movie that you had to cut and you were like ah damn it I really I really wish that didn't have to happen oh my God I keep forgetting I'm sorry no it's fine no it's fine I should have brought my microphone from home this is where I want to consult my producer and think if there was anything there anything I can't think of definitely shots there's there was a lot of really beautiful shots that I was like man which one yeah there's a lot of stuff happen in the script yeah oh yeah I'm sure yeah was there anything adding with that was there anything um that the actors added that you were very surprised by so so so much they're really authors in this work as well like one the best example is is that the kiss at the beginning with um Clyde and Gina and that was Erin because I'd written that scene and it was just she comes in tries to initiate a moment with him and he pulls away without the kiss and she was like no you need to feel that and and I wasn't convinced I I was like I don't know that you need to see that and then she goes let me just go with it and they've done it and as soon as I saw it I was like that's that's exactly what the scene needed and it was this really kind of tragic moment where she's trying to initiate some lust and and desire from a partner and he just can't get there yeah um so that's an example there's so many of those I will give J credit though just really quickly I got I got I can just yell which is I'm giving J credit for something because he did something I'd never done before which I loved which is that he initiated the process of writing letters to each other as the characters falling in love and so we both agreed that one of the biggest things that we wanted like one of our primary goals was to make sure that you felt the love that was was once there and um the love that was still present because that would equate to the loss and the gravity of the loss in the end and the Heartbreak of it all and it was just so important to us to kind of have their love story still somewhat present at the start and so that moment for me seemed like a very obvious or not very obvious but A really lovely moment to show that like I just I thought it would be so much more interesting and we both did and this is where J really deserves the credit to like to really make sure didn't just pick up on a story where you couldn't pick up or you couldn't int it the palpable love that was once very present that was dying out that made it the emotional Stakes so much higher of course you need that you need to you need to see like what they once were you know or at least get into that um steuart I want to ask you about uh you shot this s 35 MIM yeah I want I want to just ask about that choice was that always uh what you wanted to do was that a choice for the specific movie so all of my shorts except for one have always been short and 35 mil I'm definitely a 35 mil um fan um and I think for this film let's just say there was an opportunity for me to to shoot on digital this is the kind of film you have to shoot on 35 mil you know because Weston's have been set in this everyone here understands unconsciously what a Western feels and and looks like um plus as well I mean 35 mil is the most beautiful format it just it doesn't look more beautiful than that and if you care about what your film looks like you're going to shoot 35 mil if you can you know um we didn't have a huge budget but we made it work and our producers were always behind it you know it's the first thing that everyone wants to get rid of in the budget but but they stuck behind it and they understood why and when you see the film you understand why you know like the colors of the the sky and stuff you know the purple that we get we're only getting to Sho 35 mil you know it's like this really unique color Edition that 35 mil gives you plus the texture and the layers and stuff so it absolutely was a format of choice plus the other thing about 35 mil which it which a lot of people don't realize is it creates a discipline on set because you live in a world now where you just hit record on on a relexa and you could do 300 takes can't do a series can't do a series she said that I know what we're the king and queen of Series so that's why I said like that just say that to him because like that's all that's what we thrive on it was a good challenge really quickly when we when we mean series we don't mean television series we mean the worst thing I could no no it's just clarify often that often that you want to explain what a series is no please please so funny it's usually you're like hey for this one I want to do a series and what that means is you just run the scene a bunch of times without cutting yeah like two in a row yeah sorry said that so funny tun I love king and queen of king and queen of so glad you that so sorry I've never heard I've never heard of a series oh yeah yeah but you can't do you can't do that on you're burning when I found that out you know me and I know you when I found that out I was like but it was good it was a challenge it was great no but yeah yes so I didn't know that was a thing actually i' got to be honest cuz I haven't really shot digital so yeah you just you can't you can't do that seriously you got to cut every time after thing and then also you could be in the middle of a scene and the magazine Runs Out film that didn't happen to so you got wait for to reload and stuff you know so it but it creates a discipline cuz people know when when that film is going through the magazine people switch on M you know and that's that's the difference this is a very amateur question but is it one of those things where I've only shot on film a couple times but the thing that really blew my mind every time was that I could hear it in the camera and that was new for meim well yeah that but that was like that's a loud that's an film but I wonder if that's the same like Aaron for you did you ever like I don't know that always trips me I didn't I don't I don't remember hearing it yeah it's it's there but it's very what you had was very loud yeah I think Rel hear anyone yeah yeah it's very subtle very subtle yeah yeah yeah and I think I think in I think in in in sound post they do something just reduce that frequency see that you hear it even less they would have done that with also like you're not like you've said this before but you're very Discerning and not like instead of making it all about coverage about what is what um what will the like what aesthetic for this take will provide the best you know we we'll continue this character driven plot while also maintaining that beautiful aesthetic right so there weren't a lot of like it wasn't your typical formulaic like um plan of coverage and so there are a lot of why there in other words there weren't a lot of like close the where I would have heard it I don't think do you know what I mean like it was also the fans going on like in that trailer there were a lot of things going on like we were it felt like we were in the wild west it did so a little bit of film sound would not have right yeah uh I kind of want to talk about your choices in I love when you would just like hold on one shot and you would you would uh uh you know Focus pull between characters was there obviously you had a plan going in but just walk me through uh like a an average scene do you come in with a plan how often does the plan change uh on the Fly um just I don't know walk me through that yeah so always I have a shot yeah a shot list done before even before the DP came on you know our DP was French and he was like I've never seen a shot list before so you know we went through it and we know we interrogated every idea and stuff but I always I definitely am a visual filmmaker I'm not just like going in and shooting coverage I do think about that but um so you going with with an idea but what can often happen is that you block the scene with the actors and the actors will go doesn't feel right for me to be here it doesn't feel right to to go here and then you have to listen to that you know CU you got your guys' instincts are like always on point you know the characters at that moment better than I do so you have to know how to listen to the actors and what they're feeling and then in the moment be able to find something interesting whilst it can change right sometimes there moments you're like guys like we really want to try and film it this way can we find a way to make it work but that's rare I I've imposing that stuff on the AIS but the challenge is really it's easy to come up with good ideas before you shoot it's a lot harder to come up with good ideas when things are changing and that's the skill that you have to develop I'm still trying to I've got a long way to go to get to that point but like that's what you're trying to do that's the real challenge if you don't box you guys into a corner and how you want to film it it's going to create a contr performance I think you you did such a great job and all the actors felt so incredibly free um I have one more I I have one more question for both of you uh it you know you're you're on this amazing beautiful location I want to know just because I know this is always a thing was weather ever a factor okay I'm handing to him for Ventura um translates to strong wind you guys didn't even know that did you until you like properly arrived the Spanish local thing like how's the we oh it's fine would it be S V literally so like that day that we did the water flight it was I was li My Lips turned blue I knew it I knew it I was you guys needed to give me a break I was like I can't work my lips turned someone comes up to voice don't you put water on me oh I literally was like you like no we had to go inside and the women were like filling um hair hair dryers up my skar I was like don't you make me do that again it was strong ways man there were days were like I was like can you hear us through the takes but I mean listen it's better than a lot of other circumstances that involve snow that we work in or like rain like it was fine and there were beautiful days but that's what for yeah the wind was the one outside of that we we were pretty good it never rained I didn't think it rained once not in a way that affected us any yeah nice um and then thank you um no just I remember I watched the scene where you guys are throwing water on each other I'm like this was either it was either really hot and this was refreshing but that's never the case it it was probably freezing cold one day was I swear to God my lips turned [ __ ] blue do you remember that I was yeah yeah we have to grade them a bit rder yeah that's right I bet you did I bet you did yeah Gina with blue lips doesn't with blue lips talk about Just J blue didn't work so in the great just a little bit rier yeah no it was um not it was like I remember we kept we were like we're so excited to do this one scene with Leon and then we were all at least you know we were all cold it was like a pretty and we were all like and it was the one scene where we got to see the happiness and that was meant to be the point there's often moments in performing on screen where it's like yes clearly like you guys are absolutely crushing it in these like high dramatic moments but I think a separate award should go to you pretended like it was boiling hot when it was in fact freezing cold and you made us all believe it like that's use that's you you of course think about that because you will look at like I look at an actor in a pool in a scene like oh no like overnight like a nighttime pool scene anything like that anytime anyone eats like they that thing oh my God I could eat roast chicken for five years once um sorry this is just a little little question for both of you um what was it like working with that Turtle I didn't get to work with it actually it's actually a tool this D I was going to say how dare you yeah no she was like how dare you I was like that t us was on his back for like 3 seconds and I just rewound it fored it re it fored it and I canone I know me was it was there for 3 seconds and we literally sped it up re it slowly SP it looks like it's there kicking stuff done it for 3 seconds and a vet was there it was all I'm sure I'm sure was a board no but it doesn't look like 3 seconds no it doesn't it look look like Agony but that was the point yeah this camera trickery is not real God yeah um and then I think I just have hello uh I have one last question for you eron uh just in terms of I mean obviously it's all very subjective but for you what do you think Gina Gina's obviously this whole story is about her kind of her own agency do you think it was always her plan to leave or do you think she's kind of doing this uh within the moment like as the movie is taking place I think oh I think um I think that it's like this weird timing when this couple arrives I think that she is at based on like this this thing like Sur and I have a similar approach and it was really cool cuz ja is very different from us but like balances us out because we're both really granular bordering on neurotic I feel like so we came up with like a really extensive backstory and um I'm just laughing because I would we would ask iy one thing and it would be like just wildly inappropriate about something wouldn't have been applicable but meanwhile and I were building up the most like like granular detailed backstory for Gino so the point is is I forget your question question was what do you think um J's plan was okay okay here we go so basically like at the start of the film we meet her when when obviously like she's drawing and I think that first scene where she's drawing he comes in and she hides it says a lot right like he is desperate to keep her and and they the reality is they had a very very genuine love but what happens when you take to people people that come from circumstances that involve childhoods and upbringings and um just past where you don't have the resources or the psychological tools to to like take care of yourself let alone like when you love someone so much and they both only have each other and I think that's what's heartbreaking about it they both love each other so much they're each other's world but she starts to think about she starts to you see the critical thinker in her and you see her sort of starting to look around and wonder what else is there what like you know in terms of like even just going to town with him like something's up so when this couple arrives and that and this second she switches and she realizes that they're not there for any reason that involves like spying on Clyde and she puts the Knife Down is the second she switches and she realizes oh my God and I do think we can have those moments in life that just all of a sudden instinctually and Vis visually we're like oh oh oh oh this is a window that just opened and it's a jar and I'm going to I'm going to I'm going to like burst through it but I think she realizes in that moment what this could be and I think it develops so I think it's very much in the moment the get-go I think she's just suffering from her like suffocating situation and trying to also grasp the reality of the man that she really does love and she doesn't want to hurt him but she's just in so much pain that it becomes about you know getting out yeah absolutely guys this was such a wonderful movie congratulations to both of you thank you all for being here uh thank you vertical thank you all for being here again thank you Jack que yeah whatever of course I asked the question um thanks guys have an amazing night thank you for coming everyone thanks