What was the process of you sort of working on this film in terms of, you know, lighting? Because especially with, especially at night sequences outdoors, even if it's a set, you just gotta be very, very careful because you don't wanna overdo it or underdo it, right? So talk to me about lighting, the process, and what was the, the, the beginning of all this and how you sort of went through it with your directors.

Well, I, I think that we knew that, um- The path that as the characters start, whether it be in and around Bangkok to the bar to then the initial scaling and then getting onto the mountain itself, we definitely understood that there's – and the approach that I have on that is that you've got to allow the characters and the performers to explore the environments and – because in that – that I feel always gives a better sense of naturalism to whatever you're shooting.

So, um, but when we – say for instance when we're on the mountain as we start scaling the rest of it, a lot of that was where we were and where we were photographing, the vantage point of the curvature of where the sun always was, was always, uh, it was literally right to left or left to right.

We were always in the face of the sun.

So that being said, the camera, the sun's behind the camera's back depending on your angle.

So the approach that knowing full well that as they're scaling up and they're going around the mountain, you know, because of the nature of the size of the rock or the mountain to relationship to of where the characters and how small they were, we would, generally speaking, we would utilize, um, massive diffusions.

And so we would use what they call, you know, obviously in North America, fly swatters.

Exactly