Welcome everybody. Is we have already talked in the room, but for the folks online, I'm glad that you please join us. And it's my great pleasure to introduce vector of this wonderful film. And j del wealth and California studied film and neuroscience at Stanford University. In 2015, he moved to Cambodia to teach film-making to children through filmmaker. Our borders, which I was not aware of. I actually great for like they'll know Doctors Without Borders. At Georgia Tech we have engineers without barriers that certain, yet a new filmmakers without Twitter's API to learn about that is short the four. And I'm here from here that the Cambodian International Film Festival and his documentary works have prepared intellectual places. Evident feature three, the New York Times.com, Liar at NPR and MSNBC. Incarnate link is his debut feature. And they have watched it together. And of course, you have audience online. You have watched it on time. So I started out with a brief introduction talking about Southeast Asia in general, try to create, actualize what we're dealing with. We talked briefly about the weakness of inputs and know what other stuff on my own and so on. And some of the things that are really important to people in South East Asia and enslave the family. The role of women in society. To juxtapose the traditions and of course, religion, buddhism, prominently in this, this film, tradition. Foods, idol of life versus now at the very one of the Trojans, the high rises. Big discrepancy between yeast. Also the discrepancies between enriched to going out of this very modern SUV. And beside them, so many contrasts there that make this an absolutely fascinating place. And I have to say that I have been to Cambodia several times myself because I take students from Georgia Tech, a PIE programs in 2013 and perfect the last two that I'm hoping to go back in 2002. Also a treasure that part of the world. My background's in international politics, so I have nothing to do with the film world at all. Really appreciated. See these different levels of complexity that you. I think I'm going to give you an opportunity to talk to us because it makes a lot more sense here in our audience here. And we'll obviously before it questions. And maybe we'll try to move between you guys in the room. Also, take questions from the folks online. I'm not sure. We'll just unmute themselves and he didn't pay them. Or if they add Hi there. I'm not sure if you can if you want to check that traps the fact that okay, so let's take a question from the audience in the room first. And then we'll go to you guys online and we'll move back and forth. But Germany, which is still a little bit about *******, yes, I think we should cover some questions there. Very, very excited to get all of your your questions and thoughts. Yes, I, I I moved to Cambodia to spend a year teaching film-making in this community trial it back that we see in the film. Really special community in Phnom Penh, which is this like big, bustling metropolis. But this community has more of a village field because it's built along these railroad tracks. You don't have so much traffic going through. It's more like it's played around outside. And I really love that. In that year that I spent in that community getting to know, get in tune with students and really like falling in love with this place and also seen a lot how the culture was changing. I'm back in 2015. You'd like there is that was a year that there was really a pretty big proliferation of like smart phones going out into the community and like, well or that like, I think we all feel how that kind of stuff and having, being constantly connected has changed our brains. But I have the feeling that in a place like Cambodia where there's a different emphasis on community, on the family unit, on it, thinking of yourself, it really is a part of the whole is the sort of like the form of like We can an individual profile on Facebook where you can link exist really is this atomized individual and go, go off and tell things behind your parents, back to your friends. And it's opening up at a totally like a seem like a big rupture and in kind of in changing the engine, the soul of a place. And I grew up in Silicon Valley and you don't have a lot of friends and tack and thinking about how sometimes in that, in the year 2015, I was like reflecting a lot on how this technology that is very pervasive. Maybe the people who were designing it haven't always been thinking about like what's going to get used out in the world. And for sure the, I'd say the kind of like a global attitude towards feel like Facebook has, has changed a lot since 2015. But back then there is though. I mean, it was, it was mostly a lot of optimism and, and, but then I'm in Cambodian. And really it, it, there's stuff about it that was really cool and seeing how people were getting online. But also stuff that was like seemed really troubling to me. And and even like talking to my Cambodian friends around is there like I've been seeing this in real sense of like what does it feel to be, right? We're all rushing. So I've asked in the future with accelerating technological change, but at a place like Cambodia that that isn't less technologically developed, that versus more, I feel like more of a feeling of whip lashes. So I think that was something that I was really interested in exploring it. I studied neuroscience, I love sci-fi. I've been a student of Buddhism as well for about a decade. I'm really into meditation. And so this was like between the neuroscience and in Buddhism. And then this is like a community that I have where I wanted to tell a story, really gather in the story. I was curious. I ever, yeah. The question is like, what are the reasons? I felt like Cambodia was the perfect setting for this story. And I mean, I, I wasn't like, like sitting in California and then I was like, Oh, and I think that I'm going to go tell a story in Cambodia was, it was like I was explaining, was sort of this organic are rising up. I was there teaching, living, getting to know it. And when I was there I was starting to dream up or he's naturally that that took place there. I think I got really excited about this idea because you don't really see sci-fi that you place. You don't see sci-fi movies. At least how much taking place him in a setting like Cambodia. I think there's more on the literature side. But yeah, I think that there's, there's something somewhat elitist built into the idea of sci-fi, but needing to be high-tech and the places that are high-tech or the places like yeah, like Silicon Valley or something like that. When really there's like, I mean, a lot of crazy stuff happening at the, at the edges of how technology's being used out in the world. In places like Cambodia. And, and so I think I was very excited to send a sci-fi story in Cambodia or that reason. And another, like at another C to where the story came from. I was at, when I was finishing up my year of teaching. Brad Pitt, a great sci-fi novel by the other cars. Oh, you should go to 0. Never let me go to a highly, highly recommend. It's one of my favorite. And I was reading it and I was just thinking like what would the story feel like we took place in Cambodia, in the community, where am I? And so it was sort of yeah, like, like Envision needed it as a, as a Cambodian story was like very much. Hello. Let's see whether we have any questions from people on design. If you could unmute yourself. And we'll see whether we can hear you. Okay. Well, then we'll wait and tack another question. Yes, sir. And people online, if you're feeling a bit shy, feel fader, write your question in the chat as well. That is totally fine. So we have the chat open. Feel free to write your question. Thank you for coming to bandwidth and perfect, and everybody got lucky with this algorithm. It's awesome. I'm sure this was written down. Regulate already. Quite there yet. But I have is for anybody have a film or the primitive thinking about our economy. And they vary with the rationale. Here. Yeah, the question about how technology mediates language. Yeah, I mean, I think that I really wanted the worlds of like bots Anakin, Sophia to feel quite separate. Rest of the world and, and you know, and bottleneck is, is Cambodia and he's born in Cambodia, but he had to hit his backstory. So it goes is after the bombs were dropped on his village, he like fled as a refugee who grew up in America. Right? And so he has these memories of his past lives. He found this gold statue in the tree owing to these memories of his past lives. And so he has this like really strong connection to who this is like past his ancestry. But growing up in America, you know, I, I, I reckon like he just feels much more comfortable speaking English and, and he grows up and need. He feels more comfortable like using the trappings of science to try to understand slash. So there's something about how the bottleneck has as 0s like Cambodian roots, but he's kinda become American. Do this, do this process of horse to leave his country one, when the Americans dropped bombs on his country. I have have friends who this we've got a musician friend in his fifties in bodyA who is missing his nose because it was sheared off by like American, like shrapnel from an American violently killed his mom. But he's a music mission and he's gone on tour and played in America. And those have been like some of his greatest moments. And there's something like really weird about this. Like interweave enough. History. So drastically changed him. And, and, yeah, that's it. This gene interesting really eat these various forms of colonialism. Colonialism, neo-colonialism like outside forces and, and getting an inch or so. But that was, yeah, that's probably where that's coming from. Checking a hierarchy. The they crew is like 85% Cambodian, I would say really awesome. I had gotten to know the Cambodian filmmaking community and will always around. We brought in some of the department heads from New York, our production designer in ZP, fashion designer Olga administer Coba and DP red blood cell. Are based in New York and they're actually married. We were originally we had a tides EPI who's really amusing and now she's like living in LA and blowing up and she did drop off the projects super last minute because her she was able to get a green card in this period of time, so I don't know. But I had I was like really, really wanting to work as much as possible with Cambodians, if not billions of people from, from the region. And that the vagaries of production creep in. And then you just have to like make the movie the best way that you can. So really lucked out there. Rob was able to learn. And, and, and, and these two like really elevated out of my ideas. This whole the, the like the red carpet shooting and the occupation chamber in Olympic basketball stadium of Phnom Penh was their idea. They were out for a walk one day after, right after they arrived to Cambodia. There in the script, it is just written to be in a normal lab. You know, we pretty cool. There's this, that, that building is designed by a famous Cambodian architect, the process as this Partial History. And so part B and part of it was that the conversations we got to have around brooch, there's a big conversation around our clashing of having different, I'm patterns juxtaposed all over the place, which is something that I like love personally, aesthetically, it's lovely to see and Cambodian. And you have mixed media and materials, different light coming from different kinds of light sources. Fluorescent S ends it ends. And then also on the, I mean, just on the, on the script writing phase, I been living in Cambodia for a while. So I, I like, kind of knew a lot of locations that we could shoot in. That would be really cool. And that was one of the amazing things doing independent productions in America, which I haven't really done, but I surmised from a friend, they often take place in very limited locations. It's hard to get permission to shoot pensive, but in Cambodia we're super lucky that we all over the place. I know someone had asked about the the altar with the spinning lights and how striking that location is. And I have a lot of people come up to me and they're like, How did you convince the monks to let you put up all those crazy blinking lights like No, no, we didn't. I think convinced robotics, that's, that's just how they like to decorate their altars. That's how, that's how it looks when we walk. Which is like already this crazy psychedelic effects and half my chat as well. Yeah. I mean this, yeah, this is kind of Like what else? I feel like it's a *****. Its changes the soul of the place. That was, that was kind of the impetus behind this, this, this movie is what happens to Lang hang is kind of allegorical exploration of how his soul is being changed by technology. The same way that like everyone getting online in this way is really yeah, It's ultimately like this all over the place. I think that there's, there's, it's, it's a double-edged sword. Always I think that there's a lot of like sort of disintegration of family structures. That is, that is a little bit more accelerated in a place like Cambodia that so family-oriented. Um, you know, there's, there's a there's a history of like have severe mental health stuff in with the recent genocide in Cambodia that happened in the 1970s and intergenerational trauma. And there's not a lot of great mental health resources in the country. And I, and I think that in the same way that their psych, mental health crises in America, because people are like addicted to their devices. These yeah. You know, but at the same time there, there's like, there's, there's certainly a lot of people who are like autodidacts online, like going on to these and courses and teach himself stuff. And and I have seen I was just, I, I am starting to get granted an idea for another movie in Cambodia. I have been there the last several months that I was in. I was in a rural village. But on the big lake in the north of it, who is like an engineer? He was going going to the city nearby to study engineering community and he's like I got into it because he has a computer gives these. We take a look at this line here. I'm curious how you perceive the message of the ending and what considerations she took into account in telling a story from a culture other than your own? Yeah, this is a great question. I think this is really, this is really important question of what, what considerations to take into account telling a story from a culture other than Europe? You know, it's, it's something that I like grappled with a lot in the from the beginning. Maybe you, even from before the film happened, you've been going to teach film-making Cambodia. I found myself grappling with this question of how even just like showing up to these students and being their teacher, I'm a sort of cultural ambassador, is I guess like a single white guy. And his that time I was 27 when I moved over there. Like that's it. I'm representing something to these kids that is like very different from their culture. And I felt that strongly be there. And then she gene and you know, and, and and I don't want there with the, with the desired gel-like empower these kids to tell the stories that were important to them. But also like realizing that I don't know, there's, there's like aspects of this this process that are, that are that are tricky, that or sometimes I feel like they're in inherently problematic. And I think that was something that I wanted to explore in the film. Which is one of the reasons why I wanted to tell the story, the character of Dr. Sophia. I like really originated from wanting to explore a lot of these feelings in a unionized center, convenient Podia. But then beyond that, yeah, I was just like talking with my Cambodian friends a live scripts in the story. You know, just trying to like, I lived in the community, trial it back for like a year when I was developing the film. So just like hanging out and trying to like be B in the community. I did a long rehearsal period with my two lead actors playing hanging Australia for a couple of months, where we really went through every scene and work to bring the scene into the language that they would use. Though really felt comfortable. And, you know, and how being the 85% of the crew B come I, I had heard stories like Angelina Jolie made a big movie in Cambodia. First they killed my father. Biggest movie in Cambodian language has been made in Cambodia. And NADH, I had a filmmaker friend who told me that like the dialogue, I've felt very strange and stilted there because people were afraid to tell her that it wasn't turning. Now Ray and I was like, Wow, that's crazy. Like there's so much resources going in to this. And so I really tried to create an atmosphere of just empowering anyone and everyone to like site, Tell him, speak up that anything was reinforced in the film we talk about it and to share ideas and things like that. Here's another part of the question about what is the significance of the end B? And I want to ask what is the significance of the unbeaten for you? Because that's what's cool about r. I have my own theories about what the means. Like tests. Hey, team in this totally agree with that work and they said, well, yes, So they were partnering with local organizations in the countries where they're working. That there was a community organization called children for change Cambodia that operated as a sort of, say like after school program for about a 100 kids from these two neighborhoods from Charlotte back and another one called trip I took one of the neighborhoods was like really struggling with a lot of drug use and other music district. There's some really likes, kind of severe social issues. And so this organization had been around for a few years. Do they mostly were a place where the kids could kind of get extra help on the subjects in school. They were going to public school, but then they were coming here. But then occasionally. But I had my filmmaking versus the first time that they had like a full year long class in the arts. They had had I guess they had had volunteers pass through to do like a month. I'm painting. There's cool. We got to go really in depth. Pendulous type, isolated. So I have three classes. A love in angel, like a pose, I go Well, 13, 14, and 15 through 17. Am I too old or classes? I could teach in English? They're they're assertive enough English skill there. My youngest class, the English capacity was not there. And I, I had my friend Hong, who's, who's probably my best Cambodian friend, who is also the director of that organization. At age 24. That time you would come into their classes and hence the youngest class and use very excited about that because you get to learn about we can do. And I would ask a question about that female characters. Because really it, I'll just draw any end of our back. I thought about this film a lot up and I went everywhere. They actually like it to me. It's not right hand. Yesterday, lately. Yeah. So our 5-year always fair. And her grandmother? Yeah. I mean, he's in a family of women. All right. It's like a grandma, mom, older sister, three younger sisters, for sure. Know those those very, very intentional. It starts with CALEA. The characters today Lake was played by girls today Liang, who is like my favorite, that the two leads where my film students and they were like my favorite students. Daily EKG or characters. Based on her personality. She was like when I was first teaching her, she did was she was like a head sure. That everyone super super tiny but tough as nails, you did not know, sir? Yeah. And so yeah, that that started from that, but then there's there's definitely, there is a kind of a tradition of these female archetypes in Cambodia. The mom was based off of him, his activists to, there's a passing mentioned in the film to the Bangkok lake, which was this big beautiful lake in the middle of the city that was filled in with sand. Doesn't 10 I'm in now they're starting to build like kind of the tough. But there are 4000 families living on the lake and they got forcibly evicted. The relocation center that we shot it at the end is actually one of the relocation centers for those families. The guy with the lakes, the lucky ones got put into, into these sort of like replaying communities, other ones related to fend for themselves. And that there is a woman who in type any who really led the charge to protest these these evictions and like helps get some concessions from the government. And I was kind of the first modern protest movement in Cambodia, a country that has been wracked by civil war and chilling. In the nine through the nineties, people really weren't not trying to rock the boat. You know, there's not a bot there that sort of touched off a period of more of a tribute to her. There's really, if you're interested to learn more about that story, there's a really amazing and kind of terrifying movie called what Cambodian spring documentary about, about pig at stellen problem. I'm Chief of palm oil plantation projects that Yeah, to the outcome that we see are Eigen to an area laid on one. Or the city has changed now. But in companion now, high-rises. As Mary Mix feelings and LH, what happens to the people who live in these clean at all losers, but it's Allende's interval. Bray. Yeah. Like it's, you know, I think it's easy to come from the outside and shake a finger at these development projects. But like the same thing happened all over our country just a lot longer ago before we were born or we could remember. But it but it is true. It's like, yeah, I think it's really nice now that the, that the middle-class Cambodians have a good, Nice where the Bangkok League was now the Avila, Good, cool place to go hang out, you know? And, and I, I think that it's important to remember to not like begrudge them that but it is, Yeah, it's like at what cost and how are they Are these people were being displaced? Like what's what's going on there and I'll repeat it. I was yeah, it was a very long process of writing the scripts. Here are the first draft very quickly in less than a month. But then it was like for the next year while I was kind of doing other stuff out. Always work in IT and green making new drafts. And I don't really know about that whole a naming system. But I think I wrote like five successive drafts over the course of that year. In, in sort of felt like it was my first feature screenplay. And it felt like I had like it was, it was a cool idea but it didn't didn't feel like it was there and like and I was starting to like, you were heading ball and and kinda maxed out where I could take it and was really remember like thinking very distinctly, wow, I'd be so cool if I work with a co-writer to develop this further. However, like, where am I going to find a co-writer who bike to the sci-fi stuff, but also it really gets that Cambodia stuff. And I was at a film festival and in Northern Lao. And there's this amazing Lao filmmaker named Maddie DO, who does like horror movies. He did for movies. And for I met her husband at the festival who is an American screenwriter who has rights her movies, who's been living in the lab and ears press Larson. And I was really excited to share my script with him to get his feedback. And he came back with a proposal for like what he would change. A few were to come on as a co-writer, has a quote, Phoenician mentioned that I've been sort of secretly pray, find a co-writer like you. So kind of felt like Destiny when we work together and to, to kind of like rethink the story and bringing it. And so I can say like what? Some of the big things that changed from like my drafts too. So when Chris came on board and did a did a really thorough rewrite from from the ground up was yeah, my first scripts. The memory that leg hanging as his past life is this moment when bots and dyes, like bots and aka on his deathbed and linking. Whole thing is like this. There wasn't a gold statue. It wasn't that he had this great treasure. There wasn't like successive past lives. It was just from watching next pass that. And that for me came from like in Cambodia, it's much more common people can remember how they died in their past life, rather than remembering tons of ascites or the Buddha pin, remember all of his past lives, There's lots of these stories. The second part of the culture. But in them kind of modern day and age, it's much more like the kinda stuck on that idea. And press really hopes to it. Yeah, yeah. So a question that, and to see how the story could become much more interested in talking about memory from generation to generation. Through expanding that. I think one of the things that has that changed your most frequently throughout the course of this was like, what is thoughts? Nox, what is actual like science experiment. What is his goal in the movie is sort of on this quest to find enlightenment. Shortcut enlightenment originally. The opposite he wanted to like live wherever you wanted to live again. And so he was just like putting his brain into a new body in. And I remember like I've written that draft and then get out, came out and I was like, oh, that's the kind of the same thing there. And then realizing that actually there's like a number of sci-fi movies where it's like a rich guy wants to put his his brain until I can do body. Though. Yeah, Again, we pivoted to like, let me The ultimately I think fits much better. Historian. And even this like a quick character of the connectome came kind of late in the script writing process to have this like Poppy about genetics brain become character. The biggest, the biggest rewrite we did though, was during the, at it. There is a whole another character that, that we shot, bottlenecks brother, very AC, is a real estate Vogel, a billionaire who funds bottlenecks research. And there's this whole like subplot of seeing the research grow and expand. By that stuff. We wrote the script that way shot it. And the light just wasn't working. We would do test screenings and people like really loved the kids. Then we cut to the scientists. You know, it's like every 15 minutes we go to that, to the grown-ups for a little bit. But it's just the movie. The whole movie was a little too long. It wasn't because people were getting a little bit like Boston that and it was heartbreaking because we really like invested a whole lot of energy thought in live into shooting that stuff. But yeah, I think There's so much in there. Look at this from so many different levels and not from the film world at all. Maybe I'm level MO by thinking it, but maybe also because you're spending amount of time in Cambodia now, that shrine for the staff to the gold statue, I mean, there's so much just back to that particular, either the role of Buddhism, MPO, history right there, It's a French, it steadies end up in French museums. When you go That, by the way, is from the, there's the guy who ultimately became the Minister of Culture in France in the 1950s, spent his youth going around raiding temples in Cambodia and bringing that back to France. And he's like as the celebrated figure who like as Ashland Bolger. But he wrote a novel or your novel you wrote, if you wrote like a memoir of his experience of doing that, crazy, crazy. But that also fits in with the poverty and again, looting estuaries. And when he got to the templates, that guides will tell you that my phone right guards me into going into these templates. And still to this day, I could see the numerous center of paint on the wet and several other templates there, ESP and destruction over the last few years. Some of these really before after this have been decapitated. Yeah, others take me out of the temple. It's entirely. And some issue that would give us by the toy leaders is that people steal them because the money, and I said there's, that's still going on and you sell it at the earlier period where they end up. But then they have some extent successfully being introduced into Cambodia precedes him up. And I mean, there's so much rich. There's no reason that, you know, for sure. That's like, I think that dreams were sort of designed is another way to explore all of these differently. Maybe a routine and outside forces corrupted or chain trying to come in and change. There's a, there's a there's a scene in the, another thing that got cut. The second dream and the farmer, he takes the statue out. What Phnom, there's this scene that we have where he's like driving has it's like OK, strong card at night and then the tie that ties were like sort of in charge for a while. These tie soldiers convert the daily, try to find the statue and his wife hates it. Again, cut for easy for flow. But there is very much this idea. Like every, everything, all the little like subplots or details. Just to add to this cumulative effect they're feeling how like, how does it do? Outside influences are like thinking about the soul. Yeah, for sure. Yeah. Like UMP day, let me go to my yeah. Yeah, that's a good question about like what what was it like to filming Cambodia? The Cambodian crew and been having some of the firm and hence coming from aids. What equipment did you use? We yes. So we shot on an Alexa many. That was at the at the time. It just arrived in Phnom Penh and we rented it from a production house that had like just bought it. They made they made an action movie called Jailbreak, which you can see on Netflix. And with the money that they sold to Netflix, they like bought the first Alexa, maybe in the country. And so we were able through the first production to use use that that camera. He can stay, you can knob we got we get our lenses came from bank. How I can I think are leaving a lot of our lighting equipment came from Bangkok, but now actually all of this stuff that we're maybe the lenses you'd still wanna lookout. But there's a there's a good lighting has seen Cambodia they fit in Europe. We yeah. I mean, I think that there is like the industry Isn't, it is in a really interesting place of growth. And every year there's sort of like more, it's happening, bigger stuff happening. When at the time that we were shooting, there was a, there's a pretty big French production of a really cool movie that is called 1000 nights in the jungle. Directed by a French guy about Japanese in the Philippines during World War two. They shot it in Cambodia at ends and said they had a lot of the more I like to experience through in terms of that, some of the departments. So we had like pretty young green people are DIT our script supervisor is their first time doing these jobs. And so we were kind of like just trading them a job. But then like our, our our ASCs came from our Cambodian and like super, super experienced, they've done a lot of like national commercials, a lot of Cambodia features. So it was kind of a, it's kind of a mix. It also the actors we had nonprofessional actors. We had the mom in this movie was the moment and enjoy the shutter movie Monday you to please the thief and the connectome and all the people or the dream is like one of my favorite Cambodian actors. Um, and so yeah, it was, there was this mix of things where I'd say, like, it's hard to say on the balance, what was it like, easier or more challenging than that? And they're making a movie and the states that things like all those locations and incredible. But, but with the the red the red carpet location, we got that location because we had to like our location manager was like smoothing with the head honchos, big, shy guy who controlled that space. Here is very fickle. And in fact, we were supposed to fill up that space. We bought. Like tons of little astroturf pellets in the original vision was to spread those all over the Florida as me, this listening black thing like two days before filming. He's like, Nope, sorry, I don't want you to do that. You can't. People will think that my its DBM is dirty. You do that. So then we had to scramble to find another solution. We landed on this red carpet, which I think is probably better in the end. But there is, yes, some capriciousness of the shooting. But it was, but it's overall like extremely rewarding Cambodia. In the 1970s when the Khmer Rouge was empowered, they all right To that. They killed like 90 percent of the artist's right to really eliminate arts. And so the countries aren't seen as like really in the decade sense and the only been in the last decade or so, there's been new growth yet to be admits that are hybrid vehicle or font. Yeah. We're doing well or not. Oh, yeah. That was yeah, it was yeah. I don't remember ultimately with that was there. I remember that our production designer had this like big land to build this thing by hands. In our props master had trouble pulling off like gluing pieces together. Though the isu orders unit of ordering. It's very difficult to source in Cambodia, I think that it was like she ordered it to be a over b. I know that was just the the the the design of like the the system of the computer screen, the iPad screen. Sit back a little bit about my working with my visual effects artist, glaze Hussein was really cool. We feel we're looking at a lot of different like brain. Brain interface is the adult Carmel and gives a bit of a play on Elon Musk's company neural link, which is trying to design brain machine interfaces. And there's also, I'm blanking on the name. Beautiful artwork by a neuroscientist who like edges neurons into old pleated surface when, when analyte across it, I think it's called them a couple years ago that we are. But there's something, some, some one in some something that they didn't feel totally digital film. Oh, organic. It's sort of like an analog representation of neuron. Or the hard work. Yeah, in terms like working with non actors, the, the approach was so but writing the characters based on their personalities and just try and get them to feel comfortable to act like themselves. And but yeah, I mean, I think they did. I think that that was the main thing was like was just getting was was was helping them to feel comfortable. And that came from this long rehearsal process, I think in this relationship that I developed with them over a long time. You know, like the the mom for example, who is this experienced actor and has worked in a lot of Cambodia and dramas. And it was also encourage you to much more kind of like Actually thing going on and that was Mora. Better to dial, dial it down into the more naturalists. For that. Yeah, and then let's see In terms of reference is visually. But there was definitely, We were talking a little bit about the late eighties kids adventures in the, starting, in the beginning. The goo knees, I mean, the Indiana Jones was a reference for the dreams. And you know, and like the costume to, costume designer was like trying to find a walk this line between plane in this kind of familiar genres space. I wanted, I wanted it to feel really familiar from the good news and stained by mu, this kind of stuff. Yeah, to help bring me that much faster the audience and to closeness with by putting kids. Know that like my my GP was heard by the color palette and maturation. Yeah. Newsweek. It sources. Yeah. And there were lots of other little references here in their opinion, reference that we talked about a lot. It's kind of like an E and T reference was Slumdog Millionaire. Where the point of that is just to feel like how horrible is the life of it and everything. So like we were talking about, like how do we make the laying eggs home? What does it look like? Because extensively as family is like, yeah, they don't they're not people. That means they don't have very much, but they're still finding a way to like of plants and like, I mean, are they out of time I can also after so that's really empty. I was wondering whether that any government restrictions, range filming that SUV give our recent politics. How did that change? Okay. But the way you a mission, yeah, I know you have to submit the scripts to like the censorship board and get it approved. Or you can shoot. And then, and now waves. Right now the film is again with this finished pelvis censorship for to see if we can that way. And so yeah, we're like a little nervous about the protests stuff. They're going to be okay with that. The main the main feedback they came back to me than two points of feedback. One of them was just to make sure that if you're showing like monks, that they're, they're respected and they're like they're wearing the proper robes and they don't want to see like a month or a robe or something like that. And they were concerned that this sci-fi stuff was going to be too complicated for the Cambodian audience. This is what the censorship guy said. He was like, Maybe you should think about simplifying it a little bay. And so that when I was like, I'm just going to ignore that, I think that was more on the lines of his personal suggestion rather than but hopefully we're going to get to know it in Cambodia the summer we'll do a release with yeah, So we've, we've premiered at the Venice, a big festival tour since then. To puke Iowa, tomorrow. Paradigm to Maryland after that. Yeah, so it's been also exciting premiering in Australia right now, but I chose to be here. And yeah, so it's it's getting out there. I'm definitely the thing that I'm the most better for us. But Cambodia festival, that's the next festival screening that jazz for my friends, for my texts. Over two years ago. I see at them AS things. But our faculty, our itself there last year worked through that. I need to play. Well, thank you so very much. Flat heel, all the best guys were going.