Ep78 - Brad Bird / "Incredibles 2"

and Mexico. The world lays, the world awaits, the world awaits. I tend to get a lot of people like at the end of a big international tour and it's like, well you're getting me right at the beginning and yet still fry, which is the way you like us right exactly. It's like at the end of a long junket day, it's like, yeah, well yesterday and it was an unbelievably long day. Uh. I look at Haitian and she goes, Okay, now it's time for this magazine. And I like the magazine.

But it's like they had all these elaborate, complicated ideas that have demanded you know me, like thinking deeply, and it's like I'm at the I'm barely able to form sentences now, I'm like, where dog do you? And scene? Okay? Um, it was like dimeric god, but you know, and they're like neither one doing if you can pontifically under the very elaborate formulation the thing. And I'm like, I looked at haja right there, that's not gonna happen. Yeah, you

have some fun ideas for you. I'm like, please, not fun ideas. No fun ideas at this point. All right, all right, it's gonna sounds awesome. I'm good. All right, let's just get some levels from you real fast. This is what we're gonna be doing here. So as much as you can not do this basically otherwise, you're good. Cool, all right, thank you? Dan? Is that the actual recording Dad is the recording device? How badasses? That podcast in

a bread basket? I love that I can take this thing with me on the plane recording film festivals and and the quality is like hig bet rate and all that good stuff. Yeah, I mean, you know, I'm a novice, but it's it's uh so far. I mean, yeah, she might be lying, what's your favorite one well, I really like because he gave me a head duff about what's to listen for. There you go. He was fun. Alright. So yeah, we're recording thirty minute conversation talk about Incredibles too.

I'm here today with director Brad Bird, writer director Brad Byrne. We're gonna talk about Incredibles two, which is uh coming soon and so awesome. I just saw it the other day. It's fantastic. I want to start by talking about just the aesthetic of these movies. I mean, I'm sure you've talked about this a lot, actually, certainly with the last movie as well, but just the the overall aesthetic, this

idea of the future has seen from the sixties. You know, just talk about why that was the aesthetic you were interested in for these movies, and you know how that developed further in the second Yeah, I think it was just kind of um you know, that was kind of part of the first really convincing adventures for me as a child were the Bond films and the spy films

of that era and Johnny Quest. You know, I think my favorite show as as a child was Johnny Quest, and there was this kind of um futurism that uh still involved kind of nutty fantasy, but it had hydrofoils and jet packs and all kinds of that stuff like that in it, and um there's something about it that that always seemed I think that the best sort of villains, the superheroes that were most convincing to me as a kid were um, spy movies. They weren't superhero movies. Um Uh.

There was the Superman. It was the George Reeves one that was kind of you know in in reruns and you know, he's I like him, And for me, he kind of was Superman from my from from my youth because I saw those reruns and but he was kind of a little bit overweight and he's doing his little weird trampoline out the window and and you know, it's not the most convincing stuff. Why yeah. And you know

the Batman was kind of the same way. It was very very campy and and and um, I the Bond films that were my parents were cool enough to let me, um see. I didn't see them on their first release. Some of them, like From Russia with Love and and Dr No and stuff like that. I saw it on re release, but my parents let me see them. And those films seemed to be kind of like superheroes ask in in that Uh they had the best devices, they

had the best villains, they had the best henchman you know. Um, they had these theme songs that you just couldn't forget after one listen, um Oceans of Brass, you know, and uh, it seemed to have u an impact on me. So when I was thinking of this superhero idea, that's kind of it had a spy vibe to me. Um, and that felt like it felt like when I was first getting adventures as a kid. Yeah. Absolutely, Were you a fan of I'm just curious anything inspired by Darwin Cook

at all. I'm a big fan of Darwin Cooks and his art working has ever come into play for you know. But I'm sure it's great, you know. You know, I wasn't sure if you were aware, But yeah, he did like DC's New Frontier and stuff. But no, I'm not really up. People think that I'm knowledgeable about comic books, and I'm really not. I mean, that's the sad truth. The only one that I know well where I can hang in there with you is the Spirit now, which is not that well known, but I consider it's really

kind of genius. And uh Will Eisner to me is, you know, the Spirit and is sort of the cisten Kine of of uh comic books to me, And so I can I can have a detailed discussion with you about the Spirit. But but all the other ones are you know, I have the most embarrassing novicey sort of understanding. I got my superhero sort of second hand through movies and TV and and a little bit the comic books,

but not too much cool. I want to talk about advances and animation, you know, like, is there anything that you weren't able to do fifteen years ago that you were able to do now? For instance? Or maybe it's the easier way to what I was gonna say, Maybe it's all about speed. How more, how quickly you can do something now is compared to kind of the best way to put it, I think, I mean more accurately, I think it's that we barely were able to do

it on the first film. Um everything that computer animation was bad at you know, humans, hair, fabric, water fire, that's all we had in The Incredibles. And um so when we first showed our story reels to the company UM people were on one level very excited by it, but on another level, everyone came out of the screening white because they were just feeling like, oh, holy crap, how are we going to be able to do this. It's everything that we are not too hot at. And

that's all it is. There is nothing else. There's no furry animals, and there's no um, you know, uh, hard surfaced characters. It's all squishy humans which were not very good at and uh fabric and hair and fire and all that. So um uh. They felt like, we'll figure it out, and they did, but we were on the edge of failure the entire time we were making the

first movie. We barely got the hair in time for Violet, and and you know, we had some very promising tests early on UM, but they were kind of like strips of rubber and they kind of generally moved like hair should move. And they said, we were very encouraged by this, and I was encouraged by it too, and uh, yet uh, it didn't improve. And finally they came to me and they said, it's not getting better and we don't know how to do it, and nobody else knows how to

do it. Either all the other CG films had hair helmets, you know, and and uh uh they said, um, does Violet have to have long hair? And I said, yes, it's part of her character. She hides behind it, you know, when things get intense and she has to step up, she kind of starts pulling her hair back. It is her character. Yes, that's the only kind of hair she

can have. And they're like, well, it's not working. And then some uh genius decision was I mean, some genius insight has had over a weekend and somebody like, if I put a decimal point here, look what happens. And we had hair, but we had it at the last possible second that we could have it. And um, so that's kind of like what the making the first movie was like. And now, um, all the rigs are are much better. They're more responsive to what you want to do.

The lighting tools are better, the fabric is we can do well. And uh, it's more like do you know what you want? And if you know what you want, we can do it. Um. And that was a much nicer place to be. But they're the hardest part is always the story and and there's nothing that makes that

easy here. Yeah, absolutely, I have a question about that coming up, but before I do, Uh, regarding all of that, the texture is everything, it just looked amazing, you know, it's it's considerable step up from the other movie, and for all those reasons. But I just you know, I was really taken by just how some of these environments

looked and all of that. So probably, well, I think the quickest way, the quickest I think feeling people will have is that it's um bigger that it's it feels more filled out, and and that's definitely the effect of it is is that the scale is is larger. Yeah. Regarding story, you know, you hear a lot about like the Pixar brain trust and everything in that whole process of story was that employed on this, It's employed on

all of the films. Um. It just basically means that you have fellow filmmakers looking over your shoulder and saying, you know, maybe here, we're a little I was a little confused about this, and it seems like this is not clear, and we it's It's it's cool because everybody who's giving um uh notes or or uh suggestions has been in the trenches before. It's not coming from executives

or anything. And and uh so it's very helpful when I am uh, you know, I'm friends with Giermo del Toro and and he has that kind of relationship going with uh Quarron and in a ritu their friends and they and they're kind of tough on each other, um, but they run ideas past each other. And and kind of her fresh eyes and uh, Pixar has kind of that institutionalized We don't call ourselves that. I mean, I guess we do now, but for the longest time it

was someone else called us the brain Trust. You know, it sounds kind of pretentious, which for for us, it's just a group of people who make films who have some you know, maybe helpful thoughts. Uh, what was the up a story nut to correck on this one? Well, really the superhero villain aspect for the sort of plotting part of it. The original notion of the job switch where Helen would get the assignment rather than Bob I

had when we were pushing the first film. And uh, I also knew that I had the unexploded bomb of of Jack Jack that uh the audience knew he had multiple powers, but the part family did not. And that any any sequel to The Incredibles would have to feature Jack Jack as as a major character and not just a supporting character. And so those two things I had in my back pocket, and I felt good and excited about those ideas. But the superhero part was the part that I never I was like, you know what, what

would be a good idea? And finally, when I was making Tomorrowland, and I've been dabbling in an incredible sequel before that, I I ted Mathodd, who's the story supervisor, and I worked on the opening sequence with a version of the opening sequence with the Underminer before I did Mission Impossible Ghost Protocol. So I've been you know, tinkering

around with it for a while. But I came to them with an idea while tomorrow Land was you know, shooting, I sort of pitched a notion of, um, you know, I think I have a plot thing that that will be cool. And I pitched the idea and they liked it, and we got green lit, and and uh I got a release date and we started going. And about five months in I realized this isn't gonna work, you know, And I could either I could continue to tinker on this,

but we won't make our deadline. You know. Now, now I'm kind of screwed because you everybody's starting to arrange chairs and you know, uh and uh so that idea involved Ai and and uh, it's a cool idea, but it didn't work well with the main story, which was the family stuff. And so I had another idea and and parts of that sort of worked, and then I had to change that and and uh, you know, the

screen slaver notion kind of came late. And I realized just about a week ago when we were starting to talk about the film, that that's kind of like the first movie, because The Incredibles was the only um uh project to come in from the outside where I had designs for the characters, and I had a plot, and I had paintings of the style of it and everything.

You know, I came in with it. But when I came in and had a different villain and uh in and uh doing uh and exploring an alternate opening for the film at Pixar, I came up with a new villain and killed him off in the opening sequence. And that villain was better than the villain that I had, and everybody said, he's kind of cool. This villain. Uh do you really want to kill him? And I thought, yeah, we should, he should be the villain. So that was syndrome and uh I And so also in the first film,

the villain kind of came late. And I can't tell you why, it's just the way it happened. Interesting, speaking of what do you think of his I loved it. Uh oh season he's seeing a get to see him won all his awards. Oh yeah, No, it was a real pleasure. He's such a good filmmaker. And uh um. When I was first getting to know him, Iron Giant came out and and you know, the doors to the theater flung open and sagebrush blew through, and I was

feeling kind of devastated. And I was in Vermont, you know, trying to have a vacation, but I I ended up, you know, just obsessing with what can we do to get a few people into the theater because when they go, they like it. But we couldn't get enough people to go. All the people that went, you know, had a good time.

But it was just an awful feeling because I was getting all these reports of like thirty people in a theater, but at the end those thirty people would applaud the film, and and it was just this horrible feeling of like people can't like it unless they see it, and we

can't get them to see it. And and Guillermo called me, uh, you know when I'm you know, just you know, just holding back tears in Vermont, and just uh was very uh supportive and had a lot of nice things to say about Iron Giant and kept saying to me that it's going to last and people are going to find it and and all this stuff. He couldn't have been cooler and it meant a lot to me. Yeah, one

of the best movies of the year, hands down. Yeah. Well, and and so to finish, I didn't really answer your question. It was a fantastic I saw a Shape of Water until your ride and hung out with him, oh yeah, and hung out with him a little there, and and he knew that he had something special and it was just such a cool moment to to uh, you know, he's made a lot of films and had you know, tough experiences like like everyone has, and and it was so cool to see him, you know, get vindicated the

way the way he was. It's not like people didn't love Gara well before that, but just to have that kind of support and validation was really cool. And it's a really terrific movie. Yeah. I got to spend some time with him the next morning and I wrote our cover story holding the oscars and everything. He's still soaking it up. Man. I'm really happy for him. Iron Giant One. Speaking of I wanted to talk about It's almost twenty years now. Next year. Uh guess one. We all are as,

I said. One of the best movies of that year, one of the best movie years, I feel like of all time. Um, you know, just the filmmakers and the movies that were on display, Spike Jones being John Malkovich, The Insider and The Matrix, Just Scorsese he had a movie, Kober had a movie. I was watched. I mean, just the caliber filmmakers that were on display that year. You get a movie, you get an If you had any thoughts about that or is that just a meeting about

that year, Yeah, my perspective is different. My my perspective is you were at home bummed that your movie. Yeah, like what everyone do you see this? Yeah? So no, UM, I can't look at it that way. Um, it's interesting though I will go back and kind of revisit which which films came out that you check it out. I mean, I think Iron Giant has a great place in that in that history. Thanks. Um, what did you think about the way that the Iron Giant was used in Ready

Player one by the One? Well, um, I'm not only a long time admirer of Steven, He's one of the filmmakers that I really have studied. And uh um when Close Encounters, you know, I saw it like eighteen times on its first release. You know, I just love his filmmaking and and uh he gave me my first opportunities to write and uh direct and produce and even like act in a stupid way, I would have had a very tiny part in a episode of Amazing Stories that I wrote. Uh but uh so it was wonderful to

have Iron Giant show up in a Spielberg film. Yeah, so nothing but cool for me. Yeah, regarding Amazing Stories, I want to talk about that, that was like your first thing really and yeah, right, I mean, and they're bringing that back, which is great having this anthology of of of Stephen involved. I'm not sure if he's involved. I just know that ring I heard them ringing it back. Who knows cool? They're reviving everything these days. Yeah, those pesky new ideas. Gott to not do any of those. Well,

let's talk about that. You get you get a sequel here, you know you're you're not keen on a radit TWI sequel. Um No, I mean I feel like we we got the story. We we It's not like now he does fast food. I mean you know, it's like, uh, you know, we don't need it. There there's airspace for new ideas. I hope still. You know, Ratta Tui was a new

idea not not too long ago. So um, I hope they haven't been banished from the show business landscaped Well, what do you think about Pixar, you know, going to the well a lot with cars sequels with I would love to tell you it's part of a grand plan, but it just sort of happens. I mean, right after Toy Story four, Um, there's going to be a slew of Originals and um that's not planned either. Um, it's just kind of they happen the way they happen. And

uh um. You know a lot of people have opined that it's part of some Disney mandate or corporate strategy, and it's not It's just they just happened the way they happen. So uh, I knew that I wanted to do another incredible Um I've been, like I said, I've

been tinkering with it for a while. Um because the most fun I've ever had making a movie so far in my pretty limited career has been the first Incredible Swet And I think it's because I got to take it from the first um atom of an idea to finished film, whereas everything else has kind of had a life before me, you know what I mean. Uh, Iron Giant was a book, uh, even though I changed it

a lot. Uh, it was the notion of it was Ted Hughes notion and uh Rada Tui was beyond pink of his idea and I kind of came in on it and mission impossible as mission impossible obviously and and uh uh tomorrow Land began as a Damon Lindeloff and Jeff Jensen idea that I, uh, I was really intrigued by.

So uh, you know, incredible is kind of mine. You know, I mean not to say that we you know, it's also my cruise and and you know, all of that, but you know, it's it's my baby, and and uh, I knew I wanted to return to it, and I didn't also plan for it to be fourteen years. I just had other things and I kept tinkering on it, and suddenly I looked up and it was fourteen years or not fourteen years, like twelve years later, and I thought I'd better get going or people are not going

to remember the first film. So, uh, you know, I'm not opposed to sequels. Sometimes people think misunderstand that I'm opposed to them. Basically, I like them. I've done two of them, but I think they're taking up too much

of the bandwidth. You know, it seems like we're playing musical chairs now, where it's like you do another's planet in the Apes, and I'll do a Spider Man and you do a Star Wars and I'll do a Marvel and it's it's like, no, It's like, at one point all of these things were originals and and and I remember when Spielberg came out with poulter Geist and and Et within a couple of weeks of each other, and it's like, you know, how cool was that time? And

why can't we do that. You know, there's certainly no shortage of great filmmakers. Now, yeah, absolutely that. Having been said, something like the Incredible seems right for like expansion far beyond these movies. If if you, if you, uh, comic book series, TV shows the whole game, at the whole

expanded universe things. And so when you're starting to say expanded universe or franchise, and all I can tell you is my skin burns, it burns, so so you don't you don't envision yea, Yeah, talked about Mission Impossible there. I wanted to actually touch on that because again, I just want to remind everyone your listeners that you know, some of my favorite movies are sequels. Sure. I love The Empire Strikes Back. I love Godfather to Bring It

on Road, Warrior, love Goldfinger. Best Bond film is Goldfinger, the third one. Uh So, so don't anyone misunderstand that I don't think sequels can be fun. I think we've just made one, you know that is fun, But I don't think it can be the only part of filmmaker's

diet loud and clear. Mission Impossible. I kind of feel like more than JJ's movie, even this movie goes put a protocol was kind of responsible for this new identity that the movies have, I guess for like of a better word, in my opinion, uh, it was kind of the beginning of that. And I love each of these movies. Sure, I'm just curious, you know, would you go back to it? Well? Uh, I think the reason I wanted to I was having trouble getting a project that I still hope to make

called nineteen o six. I was having trouble pulling that together, and I needed to do a film. I was spending too much time banging my head against the nineteen o six wall, and when I looked around at the projects

that were gassed up and ready to go. UM. The thing that I loved about the Mission movies, besides the fact that Tom Cruise and I had been looking to work with each other because he liked uh the way the action sequences and incredibles were done UM, was that the emission of Possible series embraced the differences between filmmakers. It wasn't about um us all. Subscribing to a house

style was more about um. The the the Brian de Palma one wasn't was different than the John wu one, which was different than the j J one, which is different from mine. And uh, the refreshing thing about that was that they came to me and said, is there anything you've wanted to do in a spy movie and just and I said, oh, yeah, there's a whole bunch of things I want to do in a spy movie. And they just said, we'll have at it, you know, and that attitude of like, we're ready to go any

direction you want to go. Um, you know. So I said, yeah, I want the text stuff to break. I wanted to be unreliable, you know, I want to do something in a sandstorm, you know, a chase in a sandstorm, you know. And they were just like, yeah, yeah, yeah, And so it was it was just fun and and everybody worked their asses off, but that we're all kind of having fun, and uh, that was what was great about that. And and it was fun to shoot in Imax, you know.

I got indulged on that one. I would have set I want to do what Nolan did on Dark Night, and and they went with it and said, yeah, okay, let's do it. And you know, we got Imax cameras up on the tallest building in the world with a with an actor that was crazy enough to do that stuff. So that was really fun for me. Hard but fun is at the time that's what you wanted to do. You were really done my Nation Impossible film. Yeah, I think we'd like to see you do another one. That's all. Well,

I'm glad you. He also wanted to touch on randomly batteries not included. Oh wow, randomly absolutely long ago. Um, just watch it again recently in my garage. I have a ton of vhs. Yeah, you must watch. That's the only hopefully really deteriorating exactly any memories. Sure, I mean, you know, it's my first screenwriting credit. Um, there's not a lot of my work left in the film, to be honest. I work done a really early draft and and they went in different directions, which you know, of

course one would do. But Matthew Robbins, the director, really gave me a really amazing break when I needed it to do his episode of Amazing Stories. Um, you know, he I was at a real low point. You know, this spirit project that I wanted to do, it didn't turn out. I mean, it was going to be produced by Gary Kurtz, who did you know the first two

Star Wars movies. Empire strikes back in Star Wars, and we had ambitions of uh, you know, doing something really wildly different from the animation being done at the time. And I had the cream of the Disney crop ready to give their two weeks notice and and and and uh jump onto that film. But we couldn't get anybody that wanted to pay for it. And so I was

at a real low point. And uh, I was having lunch with Matthew Robbins and I was telling him my tales are well, and he was telling me, you know, uh, well, there's this new Steven Spielberg TV show and and uh they're sending me a script and uh, if if I don't like the script, I'll pin you and let you know. And he loved the idea of the script that he got, which was Steven's idea, but he didn't like the way

it was done in the script. So he kind of invited me in and uh gave me the shot to write a new script for it, and uh lo and behold it it got made and I was on the set and kind of doing storyboards for it, and and it was it was my shot, and and uh, Stephen liked the script enough to invite me down and and say, you know, are there other things you want to do?

And I showed him a New Family Dog, which I had showed him years before as a short, and he couldn't find any movie theaters that were willing to um take time away from the concession stand. So I had done on just thumbnails sketches a new Family Dog thing um Tim Burton and I had done the first story board um and uh showed it to Stephen and he said, can you do uh, you know, a half hour of this? And I said sure, and he said, let's do it as an Amazing Stories. So that kind of got me

going on on my film career. Uh, and it meant the world to me. So Batteries was part of that. The Matthew Uh. Stephen enjoyed Matthew Matthew's episode of Amazing Stories so much that he said, you know, how about this. I have this idea for an Amazing Stories and I think maybe it would rather be a film. And that was Batteries. So I got to work on and it was a great opportunity and I had a great time.

I had to jump off of it in order to get Family Dog done for the second season because they didn't renew after the second season, and so I had a certain amount of time that I had to do to get family Dog in there, and I had to jump off of it. But I got a credit out of it, and that was cool. But there's not a lot of my work in there. Kind of moved on. Yeah, and you're talking about I wanted to touch on that.

What's the difficulty with because this this is yeah, it's it's that it uh, it wants to be a longer story. It's a really fascinating moment in history. Um uh, the prior to the earthquake. San Francisco is this really happening city that's somewhere between the Old West and the twentieth century. I mean they still had bars where people were getting shanghaied, I mean, give and slipped Mickey Finns and you would wake up on a boat and if you didn't work

the boat, you'd be thrown overboard. And so uh, that was still happening. And the people who owned those kind of bars were you know, in the California legislature, so you know what I mean. I mean, in other words, it was somewhere between the Wild West and and the sophisticated. Uh City, San Francisco like to see itself as it was in many ways. So it's this fascinating moment in history where where gaslight and electric light were coexisting, and

cars and horses were coexisting. And uh um uh getting it uh in a movie sized box. It's too big a story for if you do it for TV, you're missing the scale of motion pictures. And uh, so I keep trying to get it to kind of straddle these two worlds. And uh, are you opposed to TV because of that or just still something? No? I mean no, but you know, I love the movie experience and I would want the earthquake to be on a movie screen. And yet I recognize that the stories too, So I'm

kind of trying to get it done. Is an amalgam and people kind of are intrigued by it, and Warners wants to do the earthquake part of it as a movie and and uh, you know, we just can't get it all under one roof. But I'm still fascinated by

the story. So you I mean, you know, to be continuing, I mean, you're yeah, still plugging away at it or is it just kind of I'm still interested in it, but I want it to be done in a way that embraces all the possibilities and yet somehow stays uh near or just part of it or something on the big screen. So we'll see what happens. The last thing I want to talk about, just at the end here is on lasted. Um, you know, just morale at the

company at Pixar. You know, all of that news broke, uh when you were finishing your movie, and so just curious what morale is like up at Pixar right now in the wake of all of that. Well, you know, it's an odd time, but I think everybody is uh you know, uh we uh hunkered down and and uh um you know, we we knew the game was on, so we're going to play the game, which is is uh, you know, get the film done. And everybody, we're heads down, and uh, I think we pulled together and pulled off

a very ambitious skill. Uh. I can't talk anymore. I've been talking too much. A very ambitious film on a very tight schedule. Um, so uh we knew. People assume that we we knew or know something beyond what the public knows. Right. Um, we were all just working and then Uh. I think we knew a half an hour before. I knew a half an hour before the press knew. Um. Uh. And I haven't seen him since. I've sent him an email and he didn't. He hasn't responded, but he didn't

respond before this happened. He was just doesn't respond to emails. But if you run into him, I'll have a conversation with you at any time. So, uh, you know, we haven't seen him since. You kind of know what we know. But uh, you know, uh, you know, I love Johnny's an old friend and and I hope it works out in a way that everyone's happy with. Well that's what my next question. Is there an expectation that he can

return in some capacity there? Uh you know, Uh, if I gave an answer one side or another, it would be untruthful. We truly don't know, and uh uh the moment, or maybe half an hour after, we know the world will know. So um, we're just all where we are right now. We don't know. Okay, Well, good look with

the movie. It's called Incredible to the release date is sure, and uh, please encourage your listeners to see it on Find the biggest, best screen, the best sound system, if they are turning down the bulb and you know, get in their face and say, no, we want the full bulb on. We you know, crank it up, crank up the sound. Do you check out theaters to see how

they're playing. Yeah? Sure, And and you know, by the way, if it's a pack theater, they need to turn it up for dB because the body has absorbed the sound. So um. You know, hopefully you have some geeks out there who will insist that if it's a packed house, turn it up to four D four dB. You know, that's the way to get the ultimate version of it. So see it in IMAX, see it and Dolby Vision.

Find the biggest screen you can, uh you know on uh this cinem mark, I think it's x D Cinema x D. Find the x D screen and you know, just big. Find a screen the size of Cleveland and the sound system that will blow your hair back. And that's the way it should be seen. Bread would like you see his movie on a big screen everyone, and with popcorn pleas Hopcord bred Bird, thanks for coming on my show. Really tikes it. It's a blast. Thank you.