Original subtitles

Good evening, everybody.

I'm Regina Roy.

I'm the Les Bartos Chief Curator of Film here at MoMA.

It's such a great pleasure to welcome you here tonight for this incredible

anniversary, the 20th anniversary of Requiem for a Dream.

If you haven't had a chance to watch the film recently, or just before tonight's

conversation, Requiem for a Dream Director's Cut 4K will be available

October 13th on 4K Ultra HD and digital.

and it is streaming now.

Before we get started, I'd like to recognize the donors who make film at

MoMA possible, especially Deborah and Leon Black for their exceptional

commitment in creating the Black Family Film Center here at MoMA.

As well as our annual film fund donors, many of whom I hope are watching

tonight. Also, as always, a big thanks to Chanel, our lead sponsor of film here

at MoMA.

They've been so generous and adventurous in following us from our work on 53rd

Street now into the virtual realm.

Thank you to everybody at Chanel.

Of course, a warm welcome to all of our MoMA members tuning in. If you're not

already a member, consider becoming one at MoMA.org slash join for special

events like this one.

and priority access to MoMA all year round, which you can have access to the

actual museum now, as Darren can attest, and we'll talk about that in a little

bit.

All of you watching can use the Q&A function at the bottom of your screen to

submit questions, which our producers will get to me and we'll bring them to

the group for discussion later on.

But now, I'd especially like to thank this incredible panel of creatives who

have joined us tonight.

Please welcome director Darren Aronofsky, actors Ellen Burstyn,

Jared Leto, Jennifer Connelly, and Marlon Wayans. Thank you all for being

here tonight.

How you doing?

Hanging in there, you know. Hanging in there.

Darren, I need to see the bottom half of your face. I saw the top half at MoMA

last week, was it, when you came to the galleries?

Yeah, yeah.

It was amazing to be back at MoMA. And I kind of like what you guys are doing

with the, I mean, it's amazing because your general experience at the MoMA is

often very crowded.

And to have that much space to see the art was a real gift.

So it's great for anyone who hasn't gone back. It's great to go back to the

museums.

Well, thank you for coming. Thank you for being masked when you were here. It

is a special time to be at the museum, especially after we were closed so long.

But unfortunately, we can't show movies at MoMA yet.

Theaters are still closed. So I wish we could all be on stage together here. But

it is a thrill to have you in this space talking about your incredible

accomplishment.

I mean, for me, going back, you know, unlike some folks who, you know, there's

one gentleman who wrote in that Requiem for a Dream is their favorite movie they

can't ever watch again.

That's not the case for me. It's more that, you know, when I watched it again

recently, you know, when I first thought, I felt like I was so grown up

when I thought, right? It was the year 2000.

You know, I was 28 years old.

And, you know, a lot of us, not all of us, but we're also in that kind of still

not quite a full grown up, but not a kid anymore zone.

Obviously, Ms. Burton, you were more of an adult. You've always been probably

more an adult than most of us.

But it was an inflection point, I think, for a lot of us.

And, you know, this film really changed the course for all of you in a way, the

way I kind of like went back and looked at the history.

But one thing I'd kind of like to start with is that this film, in a way, feels

like an unbettered culmination of...

what happens when you have, you know, an opioid addiction epidemic, when you

have mass media mania, when you have, you know, a racist incarceration

system, all of the things that we are living right now.

And I'm wondering if each of you could just speak a little bit to the frame of

mind you had, if you can remember, 20 years ago, addressing this story that

Darren and Hugh Selby wrote together.

or the screenplay and and your thoughts now uh about living in the society we do

that unfortunately is probably less hopeful than maybe we thought it might

be 20 years ago but darren i'll let you lead off on that wow it's a big one um

and definitely a really interesting question i did i did have

a thought i was thinking about the scene with jared and marlon um in the jail

And, you know, the N word is muttered and there's a racial

intensity throughout those, those scenes that, you know, were

hardcore when I read them in the novel.

And then they were super hard doing on set. And then, and then just thinking

about them now, they're just incredibly hurtful and painful.

I just, I think,

what cubby always did with his writing cubby is nicknamed for hubert sub jr um

that i was lucky enough to be able to call him um but um the

the kind of honesty and and open wound pain that

he writes with was always what kind of um inspired me

um just finding the incredible poetry in his words describing

people being the worst versions of themselves and how

good people can slide into that reality.

It just always moved me.

And so, I don't know, I think it's shocking at times, but

the humanity...

of the film is from cubby's original kind of inspiration i think everything

he ever put into the world was all about about that um and uh unfortunately it's

it's sad that um the world hasn't changed that much i guess i mean it's

changed in many many ways but in other ways it stayed exactly the same um

miss burston maybe i'll i'll direct this to you as well and i'm just wondering if

you recall having a, you know, obviously there's so much heartbreak in the film,

but there's also the potential, I think, for optimism.

Do you remember any, you know, kind of whether you had optimism about anything

related to these characters or the trajectory that we might take based on

their experiences afterwards?

You know, it seemed to me that Sarah was driven

To be her best self.

And she had a huge idea of what that might be.

That she was very ambitious and very dedicated to

recapturing something that she felt got away.

Yeah. And if only she could be thin enough to fit in that red

dress.

she could get it back and be on television.

What that represented to her and what it represents to so many people

of being famous or being seen, really, just being seen.

And so it seems to me there's a yearning in people to...

to unflower, the word that's coming to mind, that they feel something in

themselves that could have been and wish it were, and maybe it still can

be, and they don't have a real clear idea of just what that is. And so they

reach for something that they think will be satisfying or enlightening

or something.

But it's a false image.

And there's the tragedy that they don't ever actually connect with their deepest

self.

Yeah, I love that, you know, just thematically. Everybody in the film, we

all had, every character had something they was dreaming for, something that

they were reaching for, their own way out. And it's funny how the things of

your past, it's the reasons why people do drugs.

that hold you back and what i love about recrim as much as it was about like um

you know the greatest psa for don't do drugs ever oh my god everybody i

know that every coffee shop i go into man i quit crack when i got it when i

seen it's because everybody

had something they was dreaming for, but everybody had something that was, you

know, this pain, this deep-seated pain in their life that led them to the drug

that led them to the demise.

And I just thought it was a beautiful roller coaster to basically,

like, hell. And it was the greatest ride, the greatest high, and then it

just, like, crashed.

And the audience, I think, is blessed with the...

left over with the thing of, you know, with the real gift.

Sorry, my dad called me.

No, I mean, look, I mean, in all seriousness, you know, movies do save

lives. I mean, let's, you know, art does save lives in some cases. And so I

actually believe that some people may have come out of this, you know,

chastened about, you know, endeavoring to try any of this.

Jared and Jennifer, I was wondering, you know, in this vein, you know, I imagine

finding that trust between each other as actors would have been so critical.

Obviously, you had to trust in your director.

But I'm wondering if you could just riff with each other a little bit, if you

remember, about setting up that relationship and setting up the

boundaries of trust that must have been intense.

What would you say, Jennifer? Do you want to riff a little bit?

I just got to say like seeing everybody's face, it's very emotional

for me. I feel like I feel so lucky to have had

this opportunity.

I remember begging Darren for the job.

I remember being just floored that I got to work with Ellen.

Jennifer and Marlon. I just feel so connected to you guys, even though we're

not, you know, texting every day.

And I haven't seen so many of you in so long, but I just feel this like really

deep personal satisfaction and pride and gratitude that I,

I mean, God, I remember this movie so clearly. I think every single day, I

remember walking the streets with Marlon at night.

I remember all the research and.

The rehearsals that we all did in that little room with Taryn and all the crazy

stuff that we talked about and the time that I spent with Jennifer, it was just

so sacred. All of it to me was just so sacred and so beautiful.

I could talk about it for a very long time, but just have an enormous sense of

gratitude to see your faces and to have been a part of this film.

And I just want to thank you guys for that.

I had a similar experience to Jared.

I really fought to get that part.

I don't know. Darren, how many times did I audition? I auditioned a bunch of

times. It was a few times.

My memory of it, and Jared, you were there. Maybe you auditioned once for me

alone, but what I remember is being like, oh, Jennifer, yeah, I like her

work. I haven't seen her. I got it, you know, and she came in, and Jared was

there, and you came in, and you destroyed the room.

You threw a chair over.

Yeah, she, like, kicked the chair across the room. She kicked the chair, right?

And she walked out, and me and Jared looked at each other, and it was like

done. Done. We saw each other. We were like, all right, she got the part.

So I don't remember torturing you at all, but please. Jennifer, don't feel

bad. I auditioned six times. That's true. I didn't believe in you, Marlon.

Bro, you didn't believe at all.

I was like, wow, really, Derek?

Six times.

I had my own hit TV show on the air. I was like six times.

I remember I slept the night before in my heroin clothes.

I was talking like this dude all week. I went and auditioned one time. He was

like, ah, it's good.

I auditioned six times. Six times. I damn near paid him to do the movie.

I think the last day I bought everybody lobster. I think that was everything I

made on the movie. I donated it back as a wrap gift to the cast.

I mean, to the whole crew. I bought lobster.

Sorry, I interrupted you, Jennifer. Please.

Point being that to be there. I mean, I think that all of us felt that

way. I was so felt.

It felt really important to me to be there. I wanted it so badly. I

wanted to be part of that story so badly.

And so I was kind of...

All in, I think I threw all of myself at it. So in terms of connecting with

everyone, any opportunity that we had, I was so grateful to be there in every

moment and to completely surrender to the experience and be as

available as possible as I could be to everyone in all moments because it just

felt like something special was going to happen.

So, obviously,

the film has been lauded all across the boards. I mean, Ms. Person, we'll get

into that. It would probably be easier to name the awards you were not

nominated for in relation to this film because you were very justly rewarded

for your work there. But one thing that does jump out at most people is the

incredible work that you all did with Matty Levitique, the cinematographer.

And it felt...

You know, as a viewer, it feels very participatory. Like, I mean, at certain

points, I think even you all were probably strapped on head cameras. I

mean, I want to know how that all went down. And, you know, in watching the

kitchen table scene, I'm not sure how it's actually described in the script,

but that intense close-up that you have.

um jared is your is your scene partner but um really that intense partner you

know uh close-up uh monologue almost that you have i'm wondering if each of

you could just give a a set experience of working with maddie or working with

specifically with the camera work uh to talk to us how that was for you because

i can imagine it was in some ways very new well of course the the camera was

strapped on me one time for where I was walking and I was the

dolly carrying the camera. That's the only time in my 60-some

-odd-year career that I've ever been the dolly.

Low-budget film.

And then there was that, what do you call it, Darren, the fast shot?

The time lapse, the time lapse shot of you cleaning the apartment.

Yeah.

And I really did clean the apartment.

I really did all of that.

And it moved, the camera moved fast with special settings. So

it's a remarkable piece of filmdom. And I never

experienced anything like it before or after because I moved as fast as I

could, which was pretty fast.

then the camera made it seem even more so.

So it was, we were very aware of our interplay with Maddie

and how much the actors and the camera and the special

effects and the lighting and it was all part of it. You know, the

refrigerator moving and the...

you know, when the world fell apart, it was terrifying somehow.

It was very real on the set.

And it felt like teamwork.

All the various departments were involved and engaged and

giving their all.

And it had a high intensity degree of creativity at its most

fertile and vital and tough.

and hard and exciting and terrifying.

It was quite an experience.

It sounds like it. Darren, can you just talk to us a little bit about how you

and Maddie would choreograph this, talk to the actors, talk to the crew about

how this was all going to go down?

Well, there was, it's just a lot of conversations.

It starts with just talking about the project in front of you and talking

about the themes that make up the story. And then moment by moment, recognizing

where the camera is supposed to be. But there was a general approach of starting

off wider and brighter and sunnier and warmer and moving through the seasons of

how the book was structured to a much darker, colder, muted, tighter.

At one point, I wanted to do the whole third act, Winter, in just extreme close

-ups. But Maddie was smart in saying maybe that's a little too much. Get a

little more coverage, which was very wise advice.

But, you know, filmmaking is like how Ellen explains.

That's what I'm always trying to do is create a set where everyone is

contributing their specialty, their artistry.

uh to uh one type of you know score or movement together

uh and when you have everyone fighting to be the top of their game or or

give something from the top of the game it's just it's a it's a great place to

be inspiring and i feel sitting here in my basement i feel very very jealous

of the of that moment right now yeah um Jennifer, I'll send it

to you, but obviously anyone can answer. I mean, this was shot in an era before,

you know, onset intimacy awareness was, you know, top of mind in the way that it

is now. And I'm just wondering if you can recall how, you know, that safety

was constructed for you in particular.

Yeah, there have been pretty intense.

scenes one in particular um yeah I

don't know I think I was in a bit of a um it was different it was

different than for sure um I was so focused on what she was going through

honestly I felt like I was kind of just in my own world and I think that

the um

The people around her, it was all kind of a blur at that time, you know, in

that scene.

And I think I honestly was, it was a bit like that for me too,

to be frank. I mean, it was definitely intense, but

I felt like it was really important for the film and appropriate for the film.

And, you know, I really trusted.

Darren and do trust Darren and had so much respect for him and what he was

doing. So I kind of just did my thing and trusted Darren to do his.

Isn't the point that safety wasn't an issue?

I mean, that's not what you were thinking of at the time. You were

throwing yourself into a role fully and in every way.

This film had a level of abandonment and commitment that

it just wasn't... I mean, you think of safety, you don't want to

be hurt.

But it doesn't seem to me that you could do what you did, Jennifer, if that was

what you were concerned with. Am I wrong?

It wasn't what I was thinking about, for sure. I mean, I was just thinking about,

you know, who she was and where she was and completely surrendering myself to

that experience and that scene and kind of, like I said,

trusting Maddie and trusting Darren and how everything would come together

because I kind of just, once we decided, talked about what it was going to be and

everything was agreed on, I just kind of,

Yeah, I just gave my all to it, you know.

So following on that, maybe to Jared first and then to Marlon as well. I'm

wondering if there were some on set experiences that you have kind of

embraced or absorbed and taken and then used later on in the subsequent 20 years

since this film has been made. Any practical, anything practical that you

gained from this experience?

I mean, I guess the cliche that hard work pays off.

This movie was all about commitment. And it started with Darren.

And like I think all of us have mentioned so far, you just felt like

there was an opportunity here that something special might be happening.

And I, like everyone else, was so excited to be a part of this group, to

be a part of the...

you know, the source material, Cubby, Darren, Darren's previous work spoke so

loudly and was so groundbreaking, Pi, that I think everyone thought, okay,

this is a really rare chance to see what you're made of, to go to a place you

hadn't gone to before, to learn a lot.

And so we all, we just all had that sense that

we were part of, something unique and uh and and I still do

I still just I still feel that way what do you think uh uh Darren I do remember

with Ellen the first scene that I had which was that scene you spoke about in

her house I was so amped up and I was so raring to go that I lost my voice and I

had to come back like the worst thing that could happen happened I couldn't

even speak

But she was so good.

It's like playing tennis with, you know, McEnroe or whoever. She was so good. I

recognized immediately in the scene, I was like, oh, she's not going to let me

fail.

And it was just like this enormous gift.

And I felt dedication and commitment. And I saw Ma.

I saw her there.

And Darren is just the best.

He's an actor's dream because he's a nut and he'll go the distance with you. He

never says no to any of the conversation. He's always open. He likes

the debate and the discussion. He likes to push and to prod and to get to

something great.

And I think I have that feeling like, you know, between Ellen and Jennifer,

Marlon and Darren and Maddie.

that they, no one was going to let me fail. So I felt a little more, you know,

empowered to, to, to be, to take the risk.

Darren challenges you. As soon as you walk on the set, you're challenged.

I came out a month early. I believe we started filming. I came out a month

early and this man made me take off my shirt and said, where are we going? So

we're going for a walk. It was February.

And I walked through our streets in New York with my shirt off.

And I said, what are we doing? What kind of mind trick is this?

And he goes, I just want you to remember what it feels like to be cold in

February. I mean, now, because we're going to be filming the winter and the

summer. And I want you to remember how this feels.

And I was like, dude, I grew up here. I know exactly how it feels.

I didn't have a jacket. We were poor. I don't need this. But that's just, I

remember he would tell me things like, you know, he asked me, there's another

mantra. Give me five things you love. I was like, I love sugar.

No, three things. I love sugar.

I love sex.

And I love like, I think I'm in liquor.

He goes, great.

Here's what you can't have for the next.

He called it a month of wrath.

And he said, I couldn't have those three things.

And I swear, and I did it. And I was talking to him and I was younger at the

time. And he goes, every day he would check on me. How you feeling? I feel

like crazy.

Like, I feel like I want.

I want some sugar.

I want a glass of wine. He was like, now you know how junkies feel.

And I was like, word.

But that little mind thing, these little mind tricks that he played you, just,

you know, I think he had such a challenge because every one of these

actors that were on board to give their all, we all gave ourselves.

I gave myself. Whatever you wanted, I was there. If you want whatever you

need, I'm there.

And I think all of us had that same level of commitment. But we also knew

that he had our back. When I had a sex scene, of course, when it was only 20

seconds long, we did a 45-minute take.

But you know what? It was a closed set. It was Darren, script supervisor, and

like one or two other people. He kept it nice and closed. And he always made us

feel safe and protected.

And kudos to him for that.

Thank you.

It's interesting.

It's like it's all pointing in the same direction, which is like at

a certain point we had problems with the MPAA with rating. In fact, the film was

released not rated because they wanted to give us an NC-17.

And the pressure, you know.

came from where they were like, well, if you want to be rated R, you got to trim

this, you got to trim that, you got to trim this. And it was almost a bit from

each of the characters seen from the torture of Sarah to the torture of

all the characters.

And I remember, you know, the studio coming to me going, look, we can end up,

we can get released in these theaters and we can make this much more money if

we go with the rated R version.

I felt it undermined the whole point of the project.

Because the film is about how far addiction will push you to do

the most inhumane things to the people you love and to yourself.

And if we retreated from that in any way, it would undermine the exact reason

for the existence of the piece.

I think all of us understood that we had to take the audience all the way there.

Otherwise, there was no reason to do the project.

You've just pointed out that, you know, the film is always thought of as such

heavy, and we are drawn to, I think, you know, these really intense stories of

human suffering. You know, for whatever reason, these are stories that are

compelling and do move us and, you know, have given us some of the most

transcendent works on cinema and on stage.

But what I was also shocked to not recall at all was that there's a good

amount of humor in this film.

I'm not exactly sure that it's funny, but I found myself laughing. And, Ms.

Bernson, I mean, specifically you and your battles with your kitchen and with

food. And, again, this is not, you know, it's not funny, but I was laughing,

right? You have a dark sense of humor. I'm just kidding.

That's it.

No, I know.

But, like, the donuts from space and, you know, the alive.

refrigerator. Miss Burton, maybe you could just lead off, like, was that

something you were conscious of, that this might, you know, elicit laughter,

or, you know, or was it, yeah, what was that, what was that like?

Are you asking me?

Yeah.

Well, it is funny, because it's so absurd.

It's horrifying at the same time. I think it's a combination.

And I find sometimes I laugh at the most horrifying things because it's

like, oh, my God, look where we're going.

And you laugh when you're so tense you can hardly stand

it. And you laugh. And I think that the intention was never to be funny.

But the intention of going as far as you can go.

sometimes produces laughter.

So I'm glad I gave you a couple of laughs.

It's like your sense of humor is so dark.

He's got electric shock treatment.

Now you're talking about the end, Marlon, but he's talking more like

earlier in the film is kind of bonkers.

Bonkers is the right word.

What was the set like?

I mean, I, you know, knowing Darren Aronofsky, it was probably a laugh a

minute, but maybe with Marlon's set, any fun set story, on set stories for

the audience?

People often ask, like, how painful is the experience of making your films?

And I don't find them painful at all. And I don't think people do. I think

moment by moment between action and cut, There's a tremendous amount of

concentration and often at times the actors are going through some serious

emotional channeling that has an intensity.

But what I like about all of these actors is like when you call cut, we go

back to them being themselves.

I think Jared was probably the most method like.

he would walk away and take that emotion with him and try to hold it and store it

and nurture it was my take.

And, you know, we would leave Jared to do his thing, but Marlon very much,

Marlon the second you called him.

Ellen, when she's going deep into emotions, like I can remember when she

was like channeling some heavy duty stuff.

She would do similar to Jared. She would go off. She would always be there. So

like I could just go at Ellen and she'd look at me and I'd give her a note and I

could see Ellen underneath the character taking the note and turning it into the

energy that she was still kind of keeping until the next time we would

call action.

And Jennifer is like a complete, I mean, it's strange to call her a veteran, but

she is a complete, has always been an inspiration, her ability.

One story I tell, which has nothing, just because I want to say something

really nice about Jennifer, is that we didn't work together for like 15 years

or some ridiculous amount. And then we got to work together on Noah.

And it was like, I watched a really great uber talented actor become a

master. Like I worked with her when she was super talented. And then by the time

she got to me on Noah, it was a master class.

So I was like, wow, this is a craft.

There is a, you know, this craft can be developed and turned and grown.

Anyway, that's my nice story about Jen.

Jennifer, do you want to retaliate with a nice story or otherwise? Oh, no,

please don't. I'm sure you got some.

Well, you know, I would just say it's, you

know, in terms of the atmosphere on the set, I felt like.

It was such a privilege to be there.

Even when it's like the subject matter is difficult and these

characters are being tortured, it's being given that opportunity

to really delve into something.

Such an extraordinary gift.

So I think all of us, I know I felt so grateful in every moment to be there.

And I think Darren's just a genius, you know.

And I was so excited to work with him the first time. I was so overjoyed that

he wanted to work with me again and would do it any time. I think he's an

extraordinary filmmaker, which is why we're all here.

Well, just on the Noah front, I can share with you both that my niece, who

is in her junior year of college on the West Coast, thankfully, still in school,

had to write a paper about Noah.

So she called up her uncle who had a thought or two. But just so you know,

you are being studied. Your collaboration is currently being

studied. Nice. Beautiful.

You know, Ms. Bernson, you know, you were nominated for Best Actress for

this performance.

And, you know, you went through a whole cycle of, you know, the awards and

talking about this film and sharing with folks.

I'm just wondering any recollections of that period, you know, for, like I

mentioned at the outset, this was an inflection point. I think a lot of us...

got to know Jared through this film and certainly got to know Marlon as a

dramatic actor.

And, you know, had our fandom of Jennifer affirmed through this film,

those of us who had been following for a long time. But this really, for many of

us, was a chance to celebrate you in this, you know, new generation moment.

Just wondering what that felt like to kind of go through that whole rigmarole

of... acclaim after, you know, you had been through that before, obviously.

Yeah, I want to tell you a story that's not exactly about awards,

but I noticed after a few years went by after this film,

say like 10 years, that I was known to young people for that

film.

People who hadn't seen Alice Doesn't Live Here Anymore or The Last Picture

Show or even The Exorcist.

But they knew me from that film.

And I became aware of that. And I did a play in London.

And I lived near that big Ferris wheel.

Yeah. I don't know if you call it a Ferris wheel in London. And I wanted to

take some pictures from it. And I never got to until the last day that I was in

London. And I got over to the wheel to take pictures. And they wouldn't let me

on because somebody had rented the wheel for a private thing.

And they wouldn't sell me a ticket.

And so I went.

I went up to the people who were taking tickets and I said, they won't sell me a

ticket to get on, but I'm leaving London and I really would like to get on to

take some pictures. Is there any way I can get on? And she said, no.

And kind of rudely and had nothing to do with me.

And I thought for a moment, I thought, how can I do this?

I said, did you ever see a movie called Requiem for a Dream?

Love it.

And she said, yeah.

And I said, well, that was me in it. She said, you're kidding.

Oh, wow.

Yeah, you can get on, go on.

That is incredible.

Well, Marlon, that's the only way Marlon gets tickets to anything.

Exactly.

The only way I got in the Academy was because of her film.

Well, I will share that, Ms. Bernstein, you're about to have a whole new

generation appreciate your work for a whole new film. I will say that I have

seen... probably the most remarkable performance of the year that you gave in

pieces of a woman, a new film that launched in Venice.

And I was just destroyed by what you did. Once again, you, you, you have kind

of elevated what I can come to expect from a screen performance. So everybody

should get ready and check that out.

Hopefully coming soon to a theater. I've seen it. It's great.

Yeah.

Yeah, I did. I forgot to tell you. I'll tell you later.

Isn't Vanessa being divine in it? She deserves every accolade, which she will

surely get, but she could not have done what she did without you there as her

partner, and you elevated that film in many ways. So thank you for that. I know

we have a hard out with our guests this evening now, but I do want to thank all

of you for...

joining us for sharing these stories and for sharing this movie with the world. I

mean, it's as poignant and relevant, probably in new and even more powerful

ways today than it was 20 years ago. So thank you, everybody.

And I hope to see you at MoMA soon. Thank you, everybody.

Thank you, guys. Bye, guys.

Bye. Thank you.