Alan Lau, what type of reform or progress would you like to see in anime production in the future? Totally. So it's almost like exactly. It's almost like a pirate ship and everyone has shares of the treasure, kind of that kind of thing. Right? You're going on this voyage together and maybe the captain has a little bit extra share of captain's director, but everyone's on the ship together and, you going out to sea. I think that that's definitely something I think people wanna see. Cool.

Certainly, that is an important question because, you know, I know that in Japan, there's a big discrepancy in like, compared to, like, Hollywood typical Hollywood salaries versus animation production salaries in Japan is quite low. Work environments, you know, long hours, low pay. It's kind of well known that this is the case. You know? I think, you know, I I I would love to find new ways to, you know, help solve these problems. You know? I think maybe there's new business models of new ways of releasing animation that could help in this way. But, yeah, certainly, you know, it's tricky because, you know, certainly, I feel like people need to be paid fairly, and they shouldn't people shouldn't be exploited. I I don't really we try at every opportunity to to increase any you know, what we normally what would normally be you know, what's considered normal and what's not. But one thing what we had this one situation that was kind of interesting, and I didn't think about it this way. But, you know, sometimes when, like, a a more powerful Hollywood company comes in and they can afford, like, a bigger budget, which is something that I'm trying to bring to Japan because I, you know, I want them you know, we wanna pay them fairly. And so when we raise when when a new project comes in and if it raises the status quo of the then the local Japanese studios who don't have the same money as the Hollywood studios are starting to get priced out out of making their own animation, which I I never thought about, you know, as a potential side effect of trying to increase everyone's salaries and stuff in Japan. And so, you know, if you look at it holistically, you know, I like the idea of profit shares. You know? Like, if something does well, then the artists get paid based on shares, like, of of the success. I don't think that happens very often. It might happen for a small group of people usually connected to the production committee, but but also they put the money in. So that's just like the business, you know, principles around that. But but still, I like the idea of, like, if something does really well, you know, maybe profit sharing is is the best way to solve that problem versus increasing because if you increase the total cost of the production, you increase the risk of getting that money back, and then it starts to become less. You you what what what ends up happening when you increase budgets, people become more conservative creatively, and they take less risks. And that's why, typically, Western, productions take less risk because they've spent so much money on the productions. Whereas in Japan, there's so much creativity and so much risk being taken because the budgets are lower. So there are pros and cons, but I think about this problem a lot. But I think the the best way to think about it would be like a shared risk, shared reward scenario. Pie in pie in the sky. Yes. Yeah. Yeah. Yeah.