[laughs]

That must be someone's at the door.

But yeah, then I've always, you know, been a huge fan of a lot more aggressive, crazier stuff.

And of course, that stuff's really fun to me because so much in film composing, especially once you get to a certain scale, it's like, it's not as much of a question about like, what's the instrumentation gonna be? Because it's like, well, they're paying you money.

You-- They're expecting an orchestra.

You know, so it's like, okay, well, how do I get inventive with an orchestra? And I also think that that's why so many composers sort of have the, the thing of like, "I'll pick this instrument that somehow relates to the thing, and we'll make like a mini documentary about how we sampled this in..." You know? And it's because like you kind of hit this ceiling of like, okay, now I'm in that world where like, with things like Chair Company or Friendship or, you know, anything else, like, that's fun 'cause then suddenly you're like running [censored] through the tape machines and through the tape echoes, and you’re like, you know, putting Sans Amp on everything.

You know what I mean? Just making everything crazy, you know, and like destroying sounds.

Yeah