So share with us a recent wow moment with a customer, some extraordinary win that even impressed you in the exec team.

Yeah.

So the period that we're in right now is just, it is so much fun.

I'll start by saying that.

Because we really are, we are reinventing the way software is being built all around us.

The software development lifecycle is being reborn with the addition of these AI tools.

And the tools and processes that have served us up to now are no longer going to be sufficient.

How are you seeing that evolution and the role that LaunchDarkly plays in helping them get through that?

Yeah.

So that idea of mass surveillance being sort of organized into and filtered into something that could help people was something I've been fascinated with, and that as an origin point for AI felt like a, like a natural one.

But I wrote a letter we, when we were trying to put together Westworld.

Anthony Hopkins was interested, and then as, you know, as always happens, the studio and the agents sort of, kind of battle back and forth for a little bit too long and, and he started to, you know, we started to get a sense like, "Okay, we're losing Tony on this one," so I wrote him a letter.

And the letter that I wrote, um, had a line, and it was a thought that occurred to me walking home one night, and it, it went like this.

It said, "We live before.

Before what is a little harder to define, but you can feel it.

Mm-hmm.

Nolan's younger brother, Jonathan, is a Hollywood director who told us that Chris was handed the family eight-millimeter camera to keep him busy.

Our take on Star Wars, uh, of course, uh, in the basement, blowing up some of my toys with firecrackers.

Uh, probably, probably eight or nine years old at that point.

I would've been three or four.

What was it that fascinated him about the camera?

I think he's just always been captivated by the idea that you could take this device and use it as a portal into another universe.

It was like a door.

Strange southern, southern guy.

[laughs] Um, but the look, we talked a little bit about the look.

We're getting to it here.

Although, let's watch some, let's pause and watch some acting here.

This is some, some acting that's happening here.

And this is part of it for me with Aaron's character.

He represents more, more, I think, you know, than, than, than anyone else, the player.

It's-

Nolan's younger brother, Jonathan, is a Hollywood director who told us that Chris was handed the family eight-millimeter camera to keep him busy.

Our take on Star Wars, uh, of course, uh, in the basement, blowing up some of my toys with firecrackers.

Uh, probably, probably eight or nine years old at that point.

I would've been three or four.

What was it that fascinated him about the camera?

I think he's just always been captivated by the idea that you could take this device and use it as a portal into another universe.

It was like a door.

Yeah.

So the idea of mass surveillance being sort of organized into and filtered into something that could help people was something I've been fascinated with, and that as an origin point for AI, felt like a, like a natural one.

But I wrote a letter w- when we were trying to put together Westworld.

Anthony Hopkins was interested, and then as, you know, as always happens, the studio and the agents sort of kind of battled back and forth for a little bit too long, and, and he started to...

You know, we started to get a sense like, "Okay, we're losing Tony on this one," so I wrote him a letter.

And the letter that I wrote him, um, had a line, and it was a thought that occurred to me walking home one night, and it, and it went like this.

It said, "We live before.

Mm-hmm.