Uh, so yeah, how much is similar and how much is different to, uh, what you would have done on stage?

Well, you make decisions, uh, shooting a B-close, and, uh, and I would say there's a certain stigma maybe in Hollywood to say, "Well, you're doing, you're doing a one-room movie, and it's a drama, and it's gonna be stale, and it's gonna basically stay." So one of the films that I really study and broke down was, uh, uh, 12 Angry Men by Sidney Lumet, which to me is such a reference as a filmmaker.

And, uh, obviously, that was, you know, he had the ability to push the walls, to basically move the camera, to have little takes, uh, to have done a rehearsal where every single actor, uh, knew the lines perfectly.

So to me, that was important to have a rehearsal process and to ask and request, uh, the actors to try to be as much as possible off book.

Now, all of them have a different process, so some were ready, some were, like, absolutely ready on the spot.

Some others wanted to actually, you know, try and see what would happen during the take, and I think that was fun as well.

You know, so long as you try to still honor the text and, and, and stay on point.

Mm.