Mm-hmm.

So I think you could do like a, a similar thing where you like take the emotion of Grease but do, but put it in the, um, [smacks lip] um, you know, sort of like architecture of Driving Miss Daisy.

It's just a matter of how you get there.

I'm thinking like it's like a John Travolta sort of like, uh, uh character who gets injured in a car accident.

Mm.

And the driving has to do with like either like the rehab he's going through, or like maybe there's like a vol- like he's, uh, uh, get i- instead of like jail time, he, he has volunteer time.

But what was the process and how did that happen? And how did the pieces fall into place in terms of the agent and the manager and finally getting on the blacklist in 2018? Yeah,

you know, I always...

I always felt, you know, over my years as an intern and in film school and then two years as an assistant, I felt like, you know, when I have the script, I have people I can send it to.

And, you know, I have these sort of I don't even know if it was like official enough to be hip pocketed, which is not official.

But I had these sort of like slightly ajar doors at management.

Yeah.

firm.

Yeah.