samantha klon. i don't know. they were natural. they're cast well. you know, sometimes, yes, you lose certain things, maybe you livelihoods a certain kind of refinement that -- you know, certain things can't be refined, but you have an energy and kind of commitment and kind of lack of self-consciousness if it's set up right where the kids are playing. they're kids before they're actors. and some of them aren't actors and don't necessarily aspire to be actors. i'm sort of dealing with the real deal. and that sometimes -- that's preferable to a trained, crafted performance. because stuff is happening. you know, it's not -- it's not shaped maybe, but then the director, if he's -- if he's a good direction, to and sean's a very good director, is able to frame it and structure it in a way that that play can, you know, be fed into a narrative. >> yeah. >> the truth is, i had to fit in with them. i had to get my stink of an actor out of there. i had to become a human being. you know what i'm saying, because actors can develop tricks. they can develop a ton o