that someone is talking to his phone and the funny thing is all broke my heart when people started holding their phones this way instead of this way like just oh i know you

are 90 just turn your hand and you've got a better shot and It's so easy.

But no, and there's, I mean, let's go down this rabbit hole for a second, because I... never liked the idea of that format, that vertical format.

I had the same reaction you did.

Over time, though, a couple things happened.

First off, I don't know if it was Vim Vendors or someone of a similar artistic ilk released something, I want to say at LACMA, but it was somewhere where they literally did have a gigantic screen and they had this vertical playing.

It was like the first vertical on a big screen thing.

Yeah.

Like one of the

one of the zombies is very upfront about like, I don't really want to be doing this.

I just feel like I have to.

So I'm already kind of calling on that thing that is really at the very beginning of the documentary, which is like the documentary hooked me seconds in because one of the first things you see is this idea of a zombie.

This kind of zombie is is is being being made a slave all over again.

Right.

And that was very much the propaganda at the time.

But how has all of this impacted you looking at other cultures that are so kind of far, Eastern cultures, we'll say, that may be so far removed from the Western trades of the genre?

So then y- so then the whole

whole... process of doing the film comes up- Yes ...

but had you always thought or already had the thought of being a filmmaker? Oh, no, I'd been making movies, like, you know, all those things I was saying, I was talking about, like, my professional career, the things that actually made money.

I've been making movies since I was in high school.

They just never made any money.

[laughs] Okay.

All right.

Yes