Rush

And then I was thinking, "Well, I should put Cocoon in there." There are so many.

Rush.

I mean, there's so many.

Yeah, so.

... and then in, in our, in our finale, then it was more cinematic, and, and cameras were moving, and it was more, more poetic and beautiful.

Mm.

But that was a really exciting example, and I, I've, I, you know, I took that lesson, but I've, I've tried to do that, whether it's the fires in Backdraft, you know, races in, in Rush, which I did with Anthony Dod Mantle, or Cinderella Man with s- Salvatore Totino, to, to sort of use, let the camera work express something thematic, uh, wi- within it and, and, and let- Mm-hmm ... and, and, or certain characters in certain situations.

And so, you know, again, that's why I, I thrill to these, uh, collaborations and what I learned from them.