You know, I think it's I think it's a little bit of both. I mean with with Icarus, I mean I truly, Aside from being a filmmaker and how that came together I really became the investigative journalist, because before we brought that story to the New York Times, we had spent at that point six months, compiling all of the evidence, literally getting, you know everything that we had translated. So when we sat with the New York Times, it was, it's kind of funny and and also upsetting for me. The New York Times at the end of there, you know, it was a front page, and then a two full pages on the inside of the front section, then the entire back page right with the story. So, this is a massive thing in the New York Times presents it like it was their investigation, like they had done, they had uncovered it right. And at the very end of the article, there's a little blurb about, like, literally materials provided by, you know, Brian Fogle who happened to be making a documentary, and I'm going like, come on guys, we did not only did we not only did we bring this to you, we like, We brought it to them, you know, packaged in a gift with a bow I mean literally handed the New York Times dossiers of information, you know, highlighted with tabs in it by section by day. It was, It was unfathomable that the paper would essentially take the credit for this, but, you know, but that aside, you know, it was, it was a so much investigative work to know, okay, this story isn't going to get knocked down, or that there aren't holes in this story, or that all of a sudden it could turn out that Rodchenkov was lying, or that, or that he was a criminal, and that took that was, that was a long path, to, to verify everything even though, even though I knew that he was telling the truth. And I had no reason to doubt him in. You know what, what became the second half of the film and presenting that to the world, but then bringing that to the New York Times. And then, you know, publishing their own, you know, investigation based on everything we had brought them in story was a, was, was quite it was quite a journey, but I, I guess to answer the question I mean I, I think of myself as a filmmaker first. And, you know, just like in the dissonant or Icarus we get into these big elaborate graphic sequences and big music and score and sound and and how it shot and how it camera moves, say always kind of approaching something from, from an idea of cinema, of how it can be crafted how you can take these stories that are real and then turn them hopefully into an emotional cinematic experience which I think really helps to. I don't know what the word is, but illuminate or bring interest in stories that you know you might, you might otherwise pass by, or read, you know, a couple bullet points on, like in the case of a story of Jamal Khashoggi, I think, pretty much anyone in the world who is following news knew that there was a Washington Post journalist who was killed on a consulate in this temple, and they know that Saudi Arabia, essentially ordered that murder. But beyond that, I don't think most people in the world knew all the intricacies of what that was. And so for me that that becomes my job of how to take a story like that, and hopefully turn it into cinema, but also, you know, bring and fill in all of those details to craft a compelling narrative.