Original subtitles

Hi, this is Michael Stearns. I was the composer on Chronos,

and 17 years ago, we made this film.

To my left is.

I'm . I'm the... I think I was the production manager,

unit production manager of Chronos.

You were the producer.

I was.

What do you mean, production manager?

I was the production manager. That was my title.

Oh, that's right. That's right.

Mark and I were the producers.

And this other gentleman whose voice you hear in the

background is Ron Fricke, the director of Chronos.

This title was even done all in your studio, Ron?

It's like 18 passes or something.

Wayne McGee shot that. It was really a nice title he did.

All done in-house with the same camera that shot the movie.

Mm-hmm.

He animated the whole thing with all these holdout gels,

all this high contrast, and then lit it from the rear.

I think it was 18 passes.

Any one pass could have ruined it.

And we start in the four corners.

I remember when I started scoring this, of course, I hadn't seen any footage.

And I had one long piece of tape, one 16-track, 2-inch tape,

and I just started at the beginning and went to the end.

Scored to the end.

This is from a place called Hunt's Mesa that Ron found in Monument Valley.

Thank God you knew what you were doing, Michael.

We didn't.

From A to Z.

Here it is, that's shooting a whole bunch of footage.

That's from the opening.

That's from Pompeii.

Right.

Was that in Pompeii, that hit?

I think it is.

That was in a museum, wasn't it, in Paris?

Yeah, it was a teeny little thing.

Yeah, it's a very small hit.

It was like four inches high or something.

I know where that is.

That's Stonehenge, and isn't there a freeway that goes right by Stonehenge?

It's not a freeway, but it's a pretty well-traveled road.

They didn't want to let us in there because they had a lot

of problems there with people right before we got there.

But did they let you right in?

Well, there's a fence now, and you can't get near it.

We were all over it.

We got inside of it.

It was pretty wet there, but it was a really good experience.

We stayed in Salisbury, I remember, and drove down there.

I remember getting together with Constance Denby, who made

these amazing large metal instruments for the opening sound,

those big, deep bowing sounds you hear in the background are Constance bowing

on these huge stainless steel instruments that she designed and built herself.

Yeah, I love the score of this.

That's probably the thing that really stuck with me is the music.

The emotional feeling of the music.

Do you remember, was the Four Corners and

Grand Canyon shot towards the end of the shoot?

Almost in '85, I believe.

We did the easy stuff last.

Because all of '84 was overseas, I think.

This is Lake Powell. Remember we got on a houseboat?

We cruised around and shot off the houseboat.

Yeah, I remember we ran aground with it, too.

We got it stuck.

It was fun working off a houseboat.

It was. We had the camera mounted on the front with the fisheye

and we ran the footage backwards, going down those narrow canyons.

That scene comes up here, I think, pretty soon. It kind of takes you back in time.

Yeah, that's the transition to going to Egypt.

Yeah.

Wayne did a great job on this motion control.

This was not run by a computer.

This was not digital.

This was all contraption he built that fired off a resistor.

And the value of the resistor determined the ease out and the ease in.

Shiprock.

And they were just fluid moves.

Was this the Wilcams shooting this aerial?

Yeah, all the aerials were with the 24 frame.

Jeff Williamson, great camera designer.

God, I wish we'd have bought that camera in those days.

He designed it.

It was a mere $200,000.

Is that what it was?

This was a long and complicated time lapse dolly, three axis move, I remember,

to reveal the White House ruins in Canyon to Shade.

Remember, our dolly wasn't running on track, it was on a board.

It was running on a piece of plywood.

A motorized wheel crawling on a board.

Yeah.

Yeah, we didn't have track, we just ran it on plywood panels.

Amazing.

Out of our minds.

This was an aerial that had all the jump and jitter.

It's a little Colorado.

Oh, this is the little Colorado.

The trip before it turns into the-- Yeah, right out of page.

It looks better on tape than the IMAX screen.

It's like an earthquake.

That's one thing about that format, boy, one little bump or jiggle.

Yeah.

And the seven-story high screen jiggles.

I think we used every take we had to put this together.

Just about.

The aerials were hard because we had no stabilization or anything.

That's right, we built a mount, too, that hung under the helicopter.

That's right.

We built a frontal mount that hung under there.

That's why it shakes.

No.

That's a great sound transition.

Now, is this Park Avenue?

Yeah.

From the Hemsley.

We've shot there a lot from that same kind of place after we found that one.

A little different angle on it.

Now we're going to hit backwards on Lake Powell, I think.

Yeah, that's from the houseboat.

The houseboat barely fit through there.

That was as far as it went.

Yeah, I know.

It stopped at that wall.

That's right.

It's a beautiful place.

We got that houseboat in some very bizarre places.

It's a big one, too.

Now we're in our first location.

So this is Upper Nile.

I like the pyramid complex here.

This is actually in Giza, but the Abu Simbel material is in here, too.

And Luxor.

We shot in Luxor, too.

The first place we went was Abu Simbel.

With a new camera, and we forgot the changing bag.

We left it in Cairo.

And so Ron had to crawl into a tomb.

And we had to close all the doors.

I got this guy to get us in a tomb, and he loaded the camera in a tomb.

It was pitch black with no changing bag.

I remember how hot and sweaty that-- And he was in there screaming at me.

"Why don't we have the changing bag?

" I'm sorry.

I haven't slept in four days.

It's in Cairo.

But, you know, the film was okay.

But it was not fun for him.

This is in Luxor here, actually.

I was thinking every five minutes that camera was going to stop.

This is the interior of Abu Simbel, which is the temple that

was moved up from the Nile when they built the Aswan Dam.

We just lucked out that day or week.

The sun just shot right in the door.

It happens on Equinox, and we happened to be a day or two away from Equinox.

We didn't even know. It's the only time the

sun penetrated the back chamber of this temple.

It was all-- It's just master planning.

It was all very fortunate.

And it's hard to keep tourists out. The place was very bizarre.

I remember showing this shot to the investors, and they were very impressed.

They said, "Oh, genius. Brilliant.

" It kind of made it look like we knew what we were doing.

This is the cross in the Valley of the Kings and Queens from Luxor.

It's a beautiful--the Ramessium, I think it's called.

Ramessium, yeah.

Beautiful temple.

I remember not much time lapse there. It was just the light and shadows moving.

They were long because you had to do really long takes to get the shadows to move.

So there are hours and hours for each of these takes.

Sitting in the sun.

Zip, no clouds.

Sitting in the hot sun, just hoping the camera would make it through.

I remember we had those things all over our heads.

We were burning up.

That's a shot with all the little birds.

Yeah.

Insects crawling all over.

In fact, all the shots in this film were

done with that 1.5 frames per second camera.

The only other images were the aerials, and they were 24.

It's all 1.5.

It's all.

Basically.

You had long delays on the shadow moves, though, didn't you?

Didn't you have pretty long delays in there?

I may have changed it.

I think you did.

I know the stuff in Paris.

Yeah.

Wayne did some acceleration moves by hand.

Right.

Wow.

There was no curve, and there was no computer working with it.

Especially at Mont Saint-Michel.

There's some clouds.

Yeah, it was very...

You.

Yeah, it's the Valley of the Kings and Queens, too.

That's where the sign is, "No big cameras allowed.

The first move.

It's not the first move we did, is it?

Uh-huh.

That was a 400 millimeter lens, a Pentax lens.

Right.

Remember?

And that was the 500.

Now we're transitioning to Greece.

Yeah, that's actually in Paris, that shot.

Uh-huh.

We got to go in the Louvre on the day they were closed.

It was great.

That's where the Cronus head came from.

It's right in that room.

Oh, yeah, that's right.

It was.

That's right.

This is Greece.

This was one of those days we arrived, and it was fantastic.

We decided to sleep, and then the next day, when you're ready, the clouds.

We were so exhausted shooting the Parthenon.

That's the Parthenon.

This is the first place in the score that you hear

the beam, which is this 12-foot-long instrument

strung with 24 piano strings, long piano strings,

and they give us that deep growling sound,

and they kind of propel us through this section.

This is in Pompeii, the bathhouse.

Did you smoke out in the room?

Yeah, I smoked about 50 cigarettes as fast as I could.

Oh, my God.

We were all pumping out cigarettes in here.

Everybody.

Even the man who doesn't smoke.

Everybody, we were trying to get smoke.

This is the smoke machine.

Still, you can barely see it.

Terrible.

I love these murals in Pompeii, though.

Interesting place.

No budget for a smoke machine.

It's phenomenal, the solar heating and cooling

system they had built with water through the village.

It's amazing.

You mean in ancient times.

Oh, yeah.

Pompeii was a very sophisticated place.

Funny.

Yeah.

Here we are.

Remember how cold it was and wet on those days?

We were wrapped in blankets.

It was freezing.

This is like the high tide coming in 18 miles to this abbey of Mote St. Michel.

It's just down from the Normandy.

It's near Normandy, actually.

I think the omelet was invented here.

The omelet?

Mm-hmm.

They had a great omelet parlor.

These guys cooking omelets in the fireplace, remember?

I don't know, but this is an amazing shot.

Remember this day?

Oh, this is incredible.

That's 18 miles of tide coming in.

Wow.

Boop, and you had four more frames of film.

The roll ran out there.

Yeah, I remember. You were so nervous it wasn't going to close up.

Yeah, these are all one take.

Every one of these shots were one take.

It wasn't like we shot ten to one.

Where are we here?

This is, I think, in France.

We're shooting some ruins.

An old abbey or an old church?

I think it's in the UK.

Oh, that's right.

Yeah, it's some old kind of castles in the UK.

Yeah.

I don't remember the names of them.

They're not really famous ones.

They're kind of very obscure ones, but they have these great looks to them.

You have to check your program for the names.

I can't remember the names of them.

What made this film work was the music.

The music that Michael did.

It was such an opportunity for me to be able

to do a film like this with images like this.

In IMAX, you know, and work in six channels around.

And actually put a six channel surround system in the studio

and score the music architecturally for the theatrical space.

What a treat.

Still UK?

Yeah.

This is right near that castle.

That's in Spain.

Yeah.

This is real Greco-Lift.

Toledo.

Beautiful place.

Looks like old Greco's paintings, the skies.

Kind of jumps around.

This is back in the UK.

And back to Mont Saint-Michel, Ariel.

Was this the helicopter that couldn't land because the struts were too short?

No.

Yeah.

Oh yeah, it was.

It was.

Underneath, you'd land it on the camera.

So you had to land on boxes on each side of the strut?

Sandbags.

Yeah, the coordinator and I would jump out while

he hovered and hold sandbags under the skids

so he could land without landing on the camera.

Wow.

I don't think I'd do that again.

It was very dangerous.

I don't think anybody would do that.

We'd look at each other across the helicopter and leap off at the same time.

And then we had to get back on to it.

Oh my gosh.

While he hovered like three feet off the ground.

Otherwise he'd land right on the camera.

Now we're inside Chartres.

I love the bells in this, the echo through to them.

You can have these pieces of music names too.

Isn't one of them called Fairies Dancing on the Roof?

Oh, it was Angels Dancing on the Roof.

Angels Dancing on the Roof.

Yeah.

I remember they all had names.

Yeah, that was the little sequence before this.

Right.

That was a zoom we did.

Yeah, not many zooms.

Right to Notre Dame.

Coming up here in a moment

is where I had to splice all the soundtracks together

because it's next to, right here on this downbeat.

Every soundtrack that played in every IMAX theater

had to be spliced together right at that note.

It did?

Yeah.

Because there was no way to do it in one continuous pass.

This was great.

This was in Notre Dame and I tried so hard to get permission to

shoot in there and they said you can but you can bring no lights.

I said fine.

And this is all a time lapse pan that Ron did in

there and that room was almost pitch black dark.

Wow.

We were doing right, five second exposures.

Yeah, we were.

That's right, we started doing them.

Every frame in this statue is four or five seconds.

And they couldn't believe we shot in there in the dark.

And it looks gorgeous.

And we would have never shot in there because they'd had a

fire from problems with other people bringing lighting in.

We would have never been able to shoot it if it hadn't

been the way that Ron was doing it with time lapse.

And long exposures.

All these interiors.

Oh yeah, they're all dark.

All dark.

I don't think we carried a light.

We didn't have any lights with us.

There's not one artificial light in the whole movie.

We didn't know what lighting was.

Yeah, you do.

You shot with all natural light.

It's all natural light.

Every frame.

It's just learning how to work with what light is there.

I love the clouds in this shot that are just drifting in between the...

There's two levels, the upper level and the lower level.

Oh boy, remember this?

Hope's balcony.

Yeah, and right here, they turn the lights on inside.

Yeah.

Right?

It's towards the end of the shot, actually.

What do you think?

You know, doing a shot like this, a place this

big, that somebody can hit the wall switch?

Here it comes.

There's a musical note that hits right on it.

There it was.

I know Ron was really upset.

We'd been there hours shooting this shot, and somebody

turned on the lights right in the middle of it.

It's pretty hard to shoot in that place now.

We were pretty lucky in '84.

Yeah, you can't get on that balcony.

Yeah.

We actually walked outside and stood on the balcony the Pope gives his speech from.

Remember that?

We were on the other side of his balcony.

Yeah, yeah.

That looked inside the Basilica.

Yeah.

Yeah, access is very difficult there.

Great clouds that day in Paris.

Yeah, it's gorgeous.

This is from Montparnasse.

Yeah.

It's on top of the Montparnasse Hotel, or the Montparnasse building, I guess it is.

What's this piece of music called, Michael?

Oh, I guess I don't remember.

It's just a little kind of classical piece that I wrote.

Oh.

It was really just a very short bridge piece to get us

into the escalator sequence, which we're about to start.

Didn't we arrive in Paris and no one met us at the airport or something?

Yeah, the coordinator didn't show up, so we

loaded everything up and we drove in at rush hour.

I was driving for the first time in Paris in

rush hour with all the gear around the Concorde,

trying to figure out how to get out of the circle round.

We went around that thing about ten times.

Ron, I don't know what we're doing.

Plus, you were driving on a vehicle on the other side, right?

Yeah, it was light.

Now, is this Italy?

Yeah.

Uh-huh.

Yeah, this is a shopping mall.

All those Italians know how to go shopping.

This is La Scala.

This is La Scala doing, was it Romeo and Juliet?

There's the Concorde.

That's where we got caught.

It didn't look like that.

There was more cars.

The Galleria, that was called.

Yeah, it's the Galleria.

Yeah, this is, I think it's Romeo and Juliet.

I don't remember.

Full orchestra.

Yeah.

Oh, boy.

Jerusalem.

Yeah.

Hmm.

Actually, we went back.

Remember that guy, Stan, sitting there with the mustache?

Yeah.

He wasn't going to move.

Right.

He didn't want us there with that camera.

But we went back there with Barack.

I went to that place and saw that same guy.

Yeah.

Yeah.

I went over and said hello to him.

He's still there?

Yeah, he's still there.

They stake out their territory.

Oh, yeah.

This was a fun section to score.

Yeah.

Because I had about five synthesizers.

And this was kind of before computer control of synthesizers.

And I set up a sequence that I could play on all the synthesizers simultaneously.

And I ran around the room and changed the programs and turned them on and off.

Manually.

Manually, while the sequence was playing.

That's a crystal cathedral.

In Orange County.

Yeah.

These are all the big monuments.

Grand Central Station, the Crystal Cathedral.

You can't go to that balcony now over the escalators.

You can't?

No. Totally off limits.

So, Michael, does that mean you had one pass to do all that?

Yeah, I did the whole thing in one pass.

Isn't this multiple exposures on the same frame?

It's, um, oh, yeah, it was.

I think it's like three exposures on the same frame or something.

I can't remember.

Triple exposure.

Wow.

With their little dolly creeping forward on the floor.

The bullet train.

This is my favorite part of Cronus, is that, to the sky.

Really cool to see that on a big screen.

Oh, yeah, and then the tilt down.

It's a very difficult location to get to right there.

Hunts Mesa.

Hunts Mesa.

It's a massive four-wheel creep, mile-an-hour drive to get the gear up there.

I guess you could hike up there.

It would probably take you a day or two days carrying equipment.

We spent the night up there, didn't we?

Mm-hmm.

Camped out.

It's got the greatest views of Monument Valley.

Oh, that's right.

That's where Wayne almost walked off the cliff.

Right.

It's like a, you know, thousand-foot drop right where we're standing.

We weren't really prepared either.

We had these little sleeping bags.

It was like, I don't know.

We were into making movies and not too many into creature comforts.

You get a little older, you start thinking, "Boy, I

think I've got to have some warmer socks next time.

" Warmer socks at a three-star hotel.

Yeah, right.

This is the Spanish Castle.

It's Seville.

And there were these three birds flying around

this castle while we shot this, and Ron was so mad.

And you can't see them because he was afraid

they were going to look like little rocket ships.

Even on the IMAX screen, you can't see them.

He was yelling at these birds.

I was yelling and screaming at the top of my lungs.

But you can't ever see them.

I guess in between the, you know, frames, it's just they're on

there so little in one position, they almost become invisible.

This is the Versailles.

And then this is another house near Versailles somewhere, I can't remember.

A chateau.

Some chateau.

And the flickering is the clouds rolling in front of the sun, causing the light to...

It's very frightening.

I have not yet figured out why that chandelier is shaking

back and forth, unless it was the subway or something.

This is back in Paris.

It is. You don't notice it in normal time.

But it made everything feel very threatening, like earthquakes and lightning storms.

I love the way you put that together, though.

We didn't know what it was until you saw it.

We never saw any of this footage until it was cut together in the screen.

That's true.

At the premiere in San Diego.

Yeah, that was the first time it was all projected on the big screen.

We never saw it.

We'd never even seen it big until we showed it to the press.

We didn't have a budget for daylight.

20 seconds out of sync.

These are bunkers in Normandy.

This is a bunker in Normandy that came from a

dolly through a tomb in San Pietro, St. Peter's.

I remember Ellis Island.

Yeah.

Before it was opened, it was completely abandoned.

We took this old tugboat over there.

That was a great tour.

It was incredible.

Oh, and this.

This is Cape Canaveral.

Yeah, this is where the astronauts were killed.

The Apollo launch ring.

Yeah.

And it's stenciled on those concrete columns, "Abandoned in Place.

" There's just a little plaque noting the death of those astronauts.

It's completely--there's no one there.

It's completely isolated.

Very powerful place.

Very Stonehenge-like.

And this, if you can believe it, is Los Angeles.

I remember Ron waiting to the day when you could see L.A.

It's like after a rain, finally it was clear

enough to fly an aerial over Los Angeles.

This is in a helicopter.

Yeah.

And is this flying forward in a helicopter with the camera mounted underneath?

Mm-hmm.

Man, this was a tilt up from the top of the World Trade Towers.

Yeah.

Looking back at Midtown.

And the World Trade Towers were there.

It was fun climbing up on that scaffolding.

It was scary, but fun.

I remember we got ran out of here because we were-- Yeah.

We were six inches over the property line or something.

Right.

We got from the public sidewalk to the private sidewalk.

Same thing when I was there, you know, shooting for Francis.

Same thing.

Same thing happened to you?

You walk out there with a tripod, they run right out there.

Yeah.

It was raining, too.

I remember we were all taking turns blowing air across the lens

between exposures to try to keep the raindrops off the lens.

Remember that?

Yeah.

There they are, twinkling.

Yeah, there's a little bit of water there occasionally.

I was shooting straight up.

It's kind of hard to get the water off.

There's that face printing we did.

Mm-hmm.

The Cronus camera and the aerial camera actually pointing into it.

So this is time lapse and then each frame is printed, what, four times or six times?

Six.

Six times, I think.

I remember it actually almost goes back to normal speed, but it doesn't look that way.

The actual time spin is almost normal, but it's a series of stills.

I think we had the first optical printer, I think.

Yeah.

I think the only way to do this when we did this was in '82 or something.

That was '84.

That was '84, yeah.

'84.

MGM was still the only lab that processed 70mm film in LA.

They're not even there anymore.

This is in the Beverly Center.

I think 12 frames each.

Yeah, it might be.

This is kind of one of my favorite shots.

Mine too.

Just the humanity.

Yeah.

The variation of people and cultural kind of ages and cultural backgrounds.

Isn't this guy an actor, the one?

Yeah, he's a model, the guy in the blonde hair, which...

Wasn't he on the wing of an airplane and played a creature?

I don't know, maybe.

Yeah, and what was it?

I don't remember, but he saw the film.

Yeah, we heard that afterwards.

Afterwards, yeah.

Because I couldn't get releases from all these people, we just did it.

I mean, can you see me running out there trying to get releases?

There's no releases on any of these people.

There are in the locations, but these people

on this escalator, we didn't get releases on.

I can't get any way out.

And this is a double pass, right?

You should explain that.

I'd love this.

A double pass.

One pass for the sunset and then one pass for the night.

Double exposed, so you see the night lights and the sunset simultaneously.

Total exposures for each pass.

Boy, LA looks like a big circuit, big LSI.

This is from... where is this from?

Griffith.

No, not Griffith Park.

This is up on the... Mount Wilson.

Yeah, Mount Wilson.

Is this another double pass?

Uh-huh.

One for the moon and one for... The grid.

That was from Griffith Park.

Yeah.

Now, how was this done?

This is... We were on top of a bus, I think.

We were on a double-decker tour bus, shooting out the front of it.

And again, it's... that's looking the other way.

Again, it's time-lapse and then it's step-printed.

So that's what the original footage looked like.

And this slower stuff, we printed each frame.

I don't know what the exposures were on this.

Four or six times, I can't remember.

Oh, then we did it on a helicopter.

Oh, these were one-second exposures.

Wasn't this the helicopter you flew sideways or something?

Oh, we... we... that's the only time I almost got sick in a helicopter.

The back of that thing.

Venice.

Now, this is our one-and-a-half frames per second speed.

And then the stuff at night, we were doing one second per frame.

Yeah, I remember.

Now, it's coming back to me.

Only 17 years ago.

These are off the Batam Ocean.

We got arrested here, too, in Paris.

You got arrested here?

Well, we got busted for shooting on a sidewalk.

Somewhere we were supposed to be.

It was hard to know where you could be and where you couldn't be sometimes.

That's where the ball drops.

This is, again, multiple exposures on a frame.

One frame with multiple exposures.

Make six of them.

And then it was step-printed.

And then step-printed, too.

All done by Rod in his studio.

That thing went out of house.

That shot looks handheld, but it's the dolly bumping over the marble.

This shot, I remember, Ron, you were there with the wheel every frame.

Trying to make it go straight.

Yeah, it wouldn't go straight.

It was wobbling.

You were on its hands and knees for like three hours.

In the Basilica, we just let it go wherever it wanted to go.

I think it crashed into one of the pillars.

It's a Bernini pillar.

Now, if you look really closely, folks, you'll see

some guy in blue jeans lying on the top of the Spiro.

Trying to hide because it's completely illegal.

Yeah, it's right there.

It's hard to see on video, but on the iMac screen, it's really easy to see.

I remember running around chasing these boats that night.

We shot all these in one night.

Yeah.

Little glow bugs.

This is the shot that Wayne did the slow manual

increase of the exposure per frame to accelerate.

Accelerates the shot.

He was sitting back there on this analog switch, a rocker switch.

And this was one second exposures that were face printed.

And then the face printing went.

It started stepping longer to slow it down into this God's eye.

Ron told this helicopter to fly over LA as fast as he could, as wild as he could.

You can see in that frame, he actually did a 360 in one second.

Yeah.

Can't do that anymore, folks.

Doors off, camera lashed.

I had to lash the camera in there.

I didn't want the camera to fall out, but it's lashed in pretty good.

It didn't fall out.

These are different credits around the iMacs, aren't they?

Yeah, they didn't work in video.

Poor Wayne McGee, great guy.

He's not with us anymore.

He did a fabulous job building it here.

He was an amazing person.

And Mark, taking a chance to build the camera.

Jeffrey Kirsch.

Mark traveled with us to all those locations.

Did he?

Yeah, he came.

I remember Stephen Marble was eaten by mosquitoes in Egypt.

He went to sleep.

He didn't move.

He woke up, and one half of his face was just pulverized by mosquitoes.

We hadn't slept in three days, so when he went to sleep, he never even rolled over.

But he opened the window in his room in Egypt, and they just ate him.

I slept in a stuffy room, because somehow I knew they were going to get me.

There's the old credits.

You saved our ass on that film, Michael.

Your music was so good.

Thank you, Brian.

We composed it from A to Z, and then we cut the picture to it.

Yeah, we actually did.

You shaped it, I think.

Talked to Michael, and then he brought the score in.

Yeah, we talked a lot about what the different sequences would be.

I felt like the way you should do it.

Just write the music, and we'll cut the picture to it.

Those are good old days.

That was fun.

I remember when we cut the negative cutter out in Walpole.

I remember I cut the negative on it, too.

It was like, "God, we did so many things.

" You were editing, too.

Yeah, I helped you cut it.

It was easy to cut the big negative.

Great. That was fun.

Yeah.

We'll never do that again.

Thank you, folks.