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By Suzanne

Interview with Wentworth Miller of "Prison Break" on FOX August, 2008

I don't watch the show "Prison Break", but I was invited to a conference call with its star, Wentworth Miller, for FOX, so I participated. I think it is a very good show, but I just have trouble with the violence. I thought the first episode was fabulous...until someone started to cut off someone's hand. Then I said, no, thanks. I am a bit squeamish. I can't watch, "Oz", either. I love "24", but sometimes it is a little too violent as well.

Anyway, Wentworth Miller and Dominic Purcell star in the show. I only watched the first episode, frankly, because of Dominic Purcell, whom I loved in FOX's "John Doe".  He looks better with the hair he had on that show, but still both of the stars do a great job on the show.

In the interview, I found that Miller is quite enthusiastic and good at fielding questions about his show. It sounds like the actors are very involved with the writing and direction of the show, which I found surprising because I know that is not usually the case. Miller mentioned several times that he told the writers this or that, so I asked him about it, and he admitted that he does have quite a bit of influence over the stories.  I was very shocked and told him that he was lucky, and he agreed.  I did want to ask him how I can get an autographed photo of Purcell, but I figured that would not be a good question to ask.

The first season of "Prison Break" was about how Miller's character got himself thrown into prison so he could help his brother escape.  His brother was innocent of murder.  Miller had a map of the prison secretly tattooed onto his body. Things did not go as planned, I gather. In the second season, they were on the run.  In the third season, which was shortened by the writer's strike, they were put into a different prison. In this upcoming season, they are not in prison at all. In fact, it sounds like they are asked by the government to be some sort of crime-fighting team.

A big surprise this season is the return of the character of Sara, who was decapitated in a previous year. I had to really laugh when I heard they were bringing back someone from the dead who had been decapitated. There is this movie "Soap Dish", starring Sally Field and Whoopi Goldberg, that takes place behind the scenes of a soap opera, and the really outrageous thing they do in that comedy is bring back a character who has been decapitated! So it is funny that a drama, even one as outlandish as Prison Break seems to be, would do the very same thing that they were joking about in this comedy.  They did laugh about it a bit in the interview, but not as much as one would think.

Anyway, here is the whole interested if you are a big fan of Prison Break and interested in all of the details!

T. Adair: Thank you, everyone, for joining us today. As you are aware, Prison Break has its fourth season premiere on Monday, September 1st, which is Labor Day. It’s a two-hour special premiere. So, we are on from 8:00 to 10:00 p.m. eastern pacific time.

Wentworth is calling in from the set and we have, unfortunately, a small window of time with him today. So, we’ll probably only get to one question - I’m kidding, but we’ll only have about 25 minutes for questioning. If we could keep all the questions circulated around the show and production that would be fantastic and we can open up the call now to Wentworth.

Moderator: Thank you. Our first question will come from Matt Mitovich with TVGuide.com. Please go ahead.

M. Mitovich: Hello, Wentworth. Thanks for your time today.

W. Miller: Hello. How are you?

M. Mitovich: The big scene, the first scene where Michael reunites with Sara, was it everything you hoped it would be?

W. Miller: Absolutely. I was just happy to see Sara back. I really felt her absence Season Three. I felt that her return was important not only to my character, but also to the show in general. What can I say; the fans have spoken. Sara returns.

M. Mitovich: For my follow-up, there has actually been some talk lately that maybe the way the series will end; the producers have talked about where they want it to end, that it might end with Michael actually dying, almost like a Greek tragedy type of feel to it. Is that something you’d be comfortable with at the end of the day?

W. Miller: Maybe, if it came to that. I think that there’s definitely a price to be paid for this little adventure. Michael’s hands are pretty fifthly at this point in the series. It’s become harder and harder to tell the good guys from the bad guys and the question becomes, can there be any sort of redemption for Michael? What would that look like? What would that take? Perhaps laying down his life so that someone else can live might be one answer to that question.

M. Mitovich: Thank you.

W. Miller: Thank you.

Moderator: Thank you. We’ll go next to Daniel Fienberg with Zap2it.com.

D. Fienberg: Hello, Wentworth. Thanks for doing the call.

W. Miller: Sure; my pleasure.

D. Fienberg: This is the fourth season and each of the seasons, the show has pretty much rebooted its premise to some degree. For you as an actor, what are sort of the advantages and disadvantages of doing a show that from one season to the next can be something completely different?

W. Miller: Well, it keeps it interesting. First and foremost, most other TV shows are in the habit of figuring out their winning formula and then beating it into the ground whereas we take what we already know works and toss it out the window at the start of every season, which I think is very bold and ambitious and it certainly provides a new playground for the actors.

That said, I’ve been more comfortable with some seasons than others. My favorites so far has been one and three because I actually think that my character works best behind bars with very real, physical, deadly obstacles to surmount whereas second season was a total change of pace and a real downshift for me and was one of my least favorite seasons because it felt as though my character was literally and figuratively riding shotgun, much more reactive than active. That can be frustrating.

But like I said, it’s most important for a show that’s running 67 episodes at this point to keep it as fresh and as exciting for the actors as possible.

D. Fienberg: Following up on that then, what in this season brings out, I guess, the best in Michael’s character?

D. Fienberg: It’s finally time to take on the puppet master. I think at this point, we’ve battled may serious advisories - Gretchen B., Agent Kellerman, etc., etc. Michael in Season Two had that great face-to-face with the president of the United States and you really thought that this was going to be the end of the journey. It turns out someone else was pulling the strings. In many ways, they had to go back to square one.

I think what the team realizes, Michael, Lincoln and Sara, etc., is that they can no longer flee. It’s time to stand and fight. It’s time to take on the puppet master and really put this whole conspiracy thing to bed if possible.

D. Fienberg: Excellent. Thank you very much.

W. Miller: Thank you.

Moderator: Thank you. Next is Joshua Maloni with Niagara Frontier Publications.

J. Maloni: Hello, Wentworth. Thanks for your time today.

W. Miller: Sure. How are you?

J. Maloni: Good. So, obviously, the Season Finale set up the whole scenario of Michael being on this great vengeance quest. At what point did you guys realize that Sarah Wayne might be coming back?

W. Miller: I think it was at some point during the strike that I started hearing rumors that Sarah was returning, that the fans were organizing write-ins and petitions and I think that’s emblematic of where we are in terms of television and the media. It’s very much a back and forth conversation between the fans and the writers, between the writers and the powers that be. Their opinions, especially when expressed online or via correspondence, are important and are taken into consideration.

J. Maloni: Right. I think your writers are pretty fantastic, but obviously reattaching someone’s head is a bit of a tall order. What can you tell us about how this comes off in the first couple of episodes?

W. Miller: I think that we address it as plausibly as possible. It helps that the show is kind of fantastic and I feel like we’ve gotten away with worse. But at the same time, we do provide an explanation and we don’t tease the audience. It’s not a flash of Sara’s ponytail disappearing down an ally for the first episodes, everyone wondering when she’ll actually make a face-to-face with Michael. She’s back first episode. Michael and Sara reunited, and then the gang hits the ground running because there’s work to do.

J. Maloni: All right; looking forward to it. Thanks for your time.

W. Miller: Thank you.

Moderator: Thank you. Next we have Fred Topel with CraveOnline.

F. Topel: Hello, Wentworth. Thanks for doing the call.

W. Miller: Sure.

F. Topel: So, are we ever going to see hints of the tattoo again?

W. Miller: The tattoo is addressed pretty definitively in the very first episode. It’s funny; it was a fan favorite the first season, but then Michael escaped - mission accomplished. Suddenly, it was just something that kind of had to be born rather than be something that could be used as a plot device. That resulted in me in Dallas in 120 degree heat wearing long sleeve shirts because we’re still pretending that I actually have the damn thing on.

I appreciated the tattoo and I think it’s addressed in the first episode of Season Four as something that’s kind of emblematic of Michael’s experience, that this is an experience that has left its mark. It’s not something that can be easily washed off and it speaks to the fact that Michael is now a changed man inside and out.

F. Topel: My follow-up was going to be, are you sick of wearing long sleeve shirts?

W. Miller: I appreciated the fact that I had to wear long sleeve shirts in that it up the sweat factor in Dallas and that was, I think, an important part of the look of the show, showing how hot and uncomfortable it was supposed to be in this Panamanian prison, but I am looking forward to rolling my sleeves up.

F. Topel: Cool. Thanks.

W. Miller: Thank you.

Moderator: Thank you. We’ll go to Jim Halterman with Futon Critic. Go ahead, please.

J. Halterman: Hello, Wentworth. How are you today?

W. Miller: Good; how are you?

J. Halterman: I’m doing great. I just finished watching the two-hour premiere. Like the whole series, it was such a rollercoaster. I was like how do they squeeze so much in, but yet it doesn’t feel like that. My question to you is as an actor. Your role is consistently so intense. How do you balance that out like on your hiatus or your other jobs outside of Prison Break? Are you always looking for something lighter, or is this kind of what you love doing?

W. Miller: I have loved doing it. I think once Prison Break comes to an end, I’m not going to jump into the next Bourne Supremacy franchise, and I should be so lucky actually. It is important to kind of balance out the intensity of the work that we do with some humor and we try to keep the mood on the set as light as possible. I’ve also become a big fan of the Family Guy and American Dad, Reno 911, The Office, the British version and the American version just because at the end of the day, after shooting all these scenes where I literally have a gun pointed at my head, it’s important to come home and unwind with something that is the polar opposite of where you’ve just come from.

As far as projects post-Prison Break, I’d love to be involved in like a romantic comedy or something, really change it up if possible.

J. Halterman: Yes, I can totally see that. How is Michael Rapaport working out? I mean he seemed to really fit in from the first time you see him?

W. Miller: Yes, Michael is great. I mean he oozes character. There’s character to spare where he’s concerned. His role is a pivotal one this season because he is upper boss, in effect; he is sympathetic and yet, there is supposed to be something a little bit off about him. That, of course, comes to a head, I think, later in the season. I think Michael pulls that off beautifully.

J. Halterman: Yes, I was already looking for that. I was like, where is he going to all of a sudden turn sides or you find out a little bit more about him?

W. Miller: (Hard to hear speaker.)

J. Halterman: Yes, all right. Thank you so much for your time.

W. Miller: Thank you.

Moderator: Thank you. Next we have David Martindale with Crown Features.

D. Martindale: Hello, Wentworth. I saw the screener, the first two hours too. It’s like the show morphs into a season long Mission Impossible or The Dirty Half Dozen. My question has to do with lasering that tattoo off too. Did you have a say in that? I mean were you just sick of the sleeves? Is it barely possible that somewhere along the way that somebody is going to slap Michael on the back and you’ll just scream in agony because of what you went through?

W. Miller: That’s a good question. The good news is that characters on Prison Break tend to heal very, very quickly. It’s quite possible to be shot in one scene and sprinting across a cornfield the very next. So, the precedent has been established, but I did have my concerns about the tattoo. It was a laborious process, putting that thing on throughout seasons one and parts of two. I was interested in sort of addressing it. I knew it was this open-ended question. The fans were wondering when it would come back, how it would come back. I knew that it probably wouldn’t really fit into the plot at this point.

So, I went to the writers and said, “How can we really address this issue in a way that feels satisfying and give some closure to people who were constantly on the look out for it?”

D. Martindale: Cool. The other thing is it’s probably superficial, but I’ve often wondered; your hairstyle that you’ve worn the past three years that you still have. Was it imposed on you, or was it your choice?

W. Miller: No, I actually had this before I was cast in the part and then they made Dominic shave his head. I’m glad they did because it really goes a long way toward selling these two characters or these two actors as brothers.

D. Martindale: The moments that you’re no longer on the show, is it going to grow out?

W. Miller: We’ll see. I kind of like it this short. It’s pretty low maintenance, but the good news is if I ever had any concerns about being typecast as Michael Scofield, only identified with this character forever after; because the shaved head is such an iconic part of the character, that distancing myself from it might be easier than it might otherwise be just because all I’d have to do is let my hair grow out.

D. Martindale: Good call. Okay. Thanks so much.

W. Miller: Thank you.

Moderator: Thank you. We’ll go to Niki Katz with Prisonbreakbuff.com.

N. Katz: Hello, Wentworth. Thanks for your time.

W. Miller: Sure; my pleasure.

N. Katz: At the end of the day, do you think it’s possible for Michael to be happy and do you feel that he’s worthy of redemption?

W. Miller: That’s a very good question. I think the interesting wrinkle that Sara’s return signifies is when Michael thought she was dead he crossed certain lines that he might not otherwise have crossed. At the end of Season Three, he was actively involved in arranging the death of another inmate, the henchman, who was killed in the cave in that Michael manipulated. So when Sara suddenly reappears, Michael is a very much changed man, perhaps one that she doesn’t recognize, perhaps one that’s not really worthy of the relationship that she has to offer.

I think that Michael is still a good man. But at this point, I think it would take something quite extreme for him to really even the score because in order for his brother to go free, so many people have died in the process and I think that weighs terribly on Michael’s conscience. Once this experience is over, once say they successfully destroy the conspiracy, there is no returning to his white collar existence as a structural engineer. I mean I think the only thing that Michael is kind of fit for at this point is as a hired gun, which actually dovetails quite nicely with the directions he takes.

N. Katz: Okay. Thanks. What personality trait do you like most about Michael?

W. Miller: His sense of loyalty, that it’s always about others. What I told the writers at the start of Season Three was please do not make this about Michael fighting to survive because Michael’s not particularly interested in his own survival. Michael is interested in self sacrifice. I think Michael has a touch of the martyr about him and he’s only motivated to act and act aggressively when other people’s lives are on the lines, when those that he loves have guns to their heads.

N. Katz: Thanks.

W. Miller: Thank you.

Moderator: Thank you. Next is Suzanne Lanoue with The TV MegaSite.

S. Lanoue: Hello. How are you doing?

W. Miller: I’m good; how are you?

S. Lanoue: Great, thanks. Thanks for being here.

W. Miller: My pleasure.

S. Lanoue: I noticed you said several times that you told the writers X and Y. I was wondering if they listen.

W. Miller: At the end of the day, it is me in front of the camera, isn’t it? I’m kidding. At this point, it’s very much a collaborative effort between the writers and the actors. The writers have a lot to think about. This is a very complicated show. There are a lot of balls that they have to keep in the air. And I think we’ve come far enough and the writers trust us enough that the actors have become really the watchdogs so that when we get script, I consider it to be a really good blueprint and a place to start from. It’s my job to kind of color in the lines as I see fit.

S. Lanoue: That’s great. You’re lucky to be able to do that.

W. Miller: I am very lucky. Absolutely.

S. Lanoue: Well, thank you. I didn’t have a follow-up question, but thank you very much and we’ll continue to enjoy the show.

W. Miller: Thank you. You’re welcome.

Moderator: Thank you. Next is Sandie Sahakians with Damon’s TV.

S. Sahakians: Hello, Wentworth. Thank you so much for speaking with us today.

W. Miller: Sure.

S. Sahakians: I was wondering how the relationship between Lincoln and Michael evolved this season.

W. Miller: That’s a great question. I think there’s been a lot of push-pull between these characters, a lot of swinging of the pendulum where the little brother is suddenly the big brother and the big brother is suddenly the little brother, so on and so forth.

I think this season is about kind of settling their mutual debts. At the top of the season, we see Lincoln in Panama. He has a potential love interest. He’s reunited with his son for the first time. It’s possible that he can make a life for himself, but he knows that his brother, who sacrificed everything so that Lincoln could go free, Season One, is back in the States on this revenge quest. I think out of allegiance and a sense of indebtedness, Lincoln follows his brother to the States so that they can stand together and take on the conspiracy. But I think when all is said and done the brothers will be able to part as equals.

S. Sahakians: My second question is can you talk a little bit about the new characters this season? I think there are a few.

W. Miller: The new characters?

S. Sahakians: Yes.

W. Miller: Well, we have Michael Rapaport playing Agent Don Self, who the “Charlie” to our “Angels,” if you will. Who else do we have? We have James Liao who plays a character named Roland who is part of our A-Team and we have Cress Williams who plays a character named Wyatt who is something of a deadly assassin, tracking down the bothers, Mahone and Sara. We see the return of some old favorites, Padman in particular, the General. This is someone with whom I have never worked, so you’ll forgive me if I can’t remember his name right now. But, the Padman/the General, who is the head of the company conspiracy, whom we’ve seen flashes of for the last couple of seasons; we’ll be seeing a lot more him this time around. I dearly hope that he and Michael come face-to-face at some point.

S. Sahakians: Thank you so much.

W. Miller: Thank you.

Moderator: Thank you. We’ll go to Troy Rogers with Thedeadbolt.com.

T. Rogers: Hello, Wentworth. Thanks for your time.

W. Miller: Sure; my pleasure.

T. Rogers: I was just curious about Michael and Mahone’s relationship going into Season Four. How is that going to change?

W. Miller: Well, in a strange way, I feel like they kind of resolved their issues throughout the course of Season Three because they did in fact have to work together. Yes, Mahone is still the man who killed Michael’s father. But in a way, I think Mahone is the latest in a series of surrogate fathers for Michael. The first season we had the character of Westmoreland. We also have the Warden and I think Mahone is a reflection, whether Michael realizes it or not, of what he could one day be. If he continues to walk down this very dark road, Michael might wind up very much the man that Mahone is today; someone who started out as a good man doing good things and then became a good man doing questionable things and then became a questionable man doing evil things.

T. Rogers: Okay. Thanks. Now that Sara is returning, I was just wondering is there a chance that we’ll see C-Note coming back again.

W. Miller: C-Note, the one character in Prison Break who got a happy ending. I wouldn’t be surprised. I wouldn’t be surprised. We do love the unexpected twist and turns on this show and I think Rodman would be a great addition. I always thought that his contribution to the show was a very cool one.

T. Rogers: So even though he’s basically free and clear, he might get pulled back into this thing.

W. Miller: You never know. I can’t say for sure.

T. Rogers: Thanks a lot.

W. Miller: Thank you.

Moderator: Thank you. We’ll go to Emile Christianson with Hollywood.com.

E. Christianson: Hello, Wentworth.

W. Miller: Hello.

E. Christianson: I was curious about the state of the other characters coming into the new season like Bellick and T-Bag and Sucray. Will they also end up in Los Angeles?

W. Miller: Yes. We do have an assemblage of old friends and foes standing together to take on the company. I think if anything, that’s what remains the same about Prison Break, season-in and season-out. We do change the playing field. But at its core, the show is about six or seven alpha dogs shoved in a cage, fighting together, at each other’s throats, but still having to work together to achieve some common goal.

E. Christianson: Okay. When it comes to shooting in LA, will we see some familiar hot spots and things like that?

W. Miller: Perhaps. My joke is if there’s a nudie bar or a pawn shop, that’s where we are. We don’t shoot in the nice locations. The good news is that we’re not pretending that LA is Downtown Hong Kong. We’re pretending that LA is LA. We can show you what we need to show you and not feel embarrassed about it. We’re not trying to pull a fast one.

E. Christianson: So, does that mean you guys will be doing a lot of shooting or have done a lot of shooting around town as opposed to like a sound stage somewhere?

W. Miller: We have done a lot of shooting downtown. One of our first episodes was at the Roosevelt Hotel. I think that’s important to the kind of general aesthetic of the show. It’s always been about the environment versus the characters.

The first season we had Fox River State Pen. The second season it was on the run in Dallas. Third season it was Panama and now, we’re in Los Angeles. I’d say that on average, out of the eight days it takes to shoot a particular episode, we’re on set for maybe three and the other five we’re out about on every street corner you can imagine.

E. Christianson: Just one final question. Will the cast of characters run into the Hollywood scene at all, or are they just in the nitty-gritty part of LA?

W. Miller: Perhaps. There are some characters that are introduced that are the lowest of the low and there are some that run in the highest circles. It’s pretty much across the board. I will say that recently, half of the cast and the Splinter crew got to go to Las Vegas and I understand had an amazing time, both on and off camera.

E. Christianson: Oh, wow. Okay.

W. Miller: (Hard to hear speaker.)

E. Christianson: That’s the one coming up.

W. Miller: Yes, that’s right.

E. Christianson: Cool. Okay. Thanks a lot.

W. Miller: Thank you.

Moderator: Thank you. We’ll go next to Rachel Cericola with TV Fodder.

R. Cericola: Hello, Wentworth.

W. Miller: Hello.

R. Cericola: I wanted to know throughout the entire series … so many--

Moderator: I’m sorry; Rachel, you’re fading out.

R. Cericola: Yes, can you hear me better?

W. Miller: Yes, thank you.

R. Cericola: Okay. Sorry about that. I was just saying that throughout the series, you’ve had a lot of characters come and go. This is sort of an offshoot to some of the questions that have already been asked. If you could bring back one character, who would it be and why?

W. Miller: I think I’d bring back Paul Adelstein. I thought he was a fantastic Agent Kellerman and I thought was symbolic of the kind of character that the show does best, which is someone living within the shades of gray. Not entirely black, not entirely white, not entirely good, not entirely evil, but someone who is complicated as we all are in real live. I think Paul really did a beautiful job of defining a character who could be vicious one minute and entirely sympathetic the next. He’s very much missed.

R. Cericola: Great. Thank you.

W. Miller: Thank you.

Moderator: Thank you. We’ll go to Susan Yeager with Entertainmentnews.com.

S. Yeager: Hello, Wentworth. How are you doing?

W. Miller: Good; how are you?

S. Yeager: I’m good, thank you. While shooting over the last four years, has it gotten easier to do this really intense character and then at the end of the day walk off the set and leave him behind, or is still difficult as day one?

W. Miller: I never quite leave the character behind. I am a workaholic, have always been. I’m always thinking about the character, even when I’m not on set. So, it has become part of the air that I breathe.

That said, I’m so used to his ways and his relationships with the other characters that I don’t have to do the kind of homework that I once did. All I have to do is show up on set, stand in front of Robert Knepper and I get instinctively what Michael’s relationship is with T-Bag because they have this great rich, fully flushed out history. Now that we’ve established all this beautiful mythology, we’re really free to play.

S. Yeager: Wow. Does it ever spill over, though, into your family and friends? Do they ever say, “Okay. You can quit being Michael now.”?

W. Miller: No, I don’t share that many overt qualities with my character, nothing that people that calling me on in my daily life anyway. I would say that the only times I feel like my character rears his head in unexpected ways in my daily life is when I’m in conversation with my mom and reminding her to watch the show. When something terrible happens to Michael, which is ever other episode, I have to give her a heads up or else I’ll get a very stern phone call the day after that she was upset and surprised and why didn’t I warn her.

S. Yeager: Wow. Well, thank you very much.

W. Miller: Thank you.

Moderator: Thank you. Next is Stan Urankar with Sun Newspapers.

S. Urankar: Wentworth, thanks so much for taking time out for the call.

W. Miller: Sure, anytime.

S. Urankar: I just saw the first two hours and the show looks as great as ever.

W. Miller: Thank you.

S. Urankar: I wanted to ask you; going back to day one with Paul, where in the universe of Prison Break are we at now? Did he see the fourth season playing out like this, or is a change from the mater plan or what?

W. Miller: That’s a very good question. I’ve heard so many variations on the show was conceived as six episodes or 22 episodes or one season or two seasons. I’m not sure what the real answer is, and I honestly can’t say I’m totally sure what Paul Scheuring’s involvement is at this point, but I think we’ve done a pretty good job of taking that initial concept and running with it.

S. Urankar: Is there any talk, anything on the horizon saying, “Well, this is as far as we can take this?” Are you only at five years or beyond, or what?

W. Miller: Well, it’s not CSI. It’s not Law & Order. It can’t run forever. I do feel as though we may be on one of our final laps around the track. It is something that weighs on my mind from time-to-time. Telling a story correctly necessitates knowing when to end it. At this point in the series, Michael and Lincoln, between them, have intentionally or unintentionally killed so many people and yet, they’re still running around with T-Bag. It’s really a testament to Robert Knepper that his character has survived through four whole seasons, but the man is a maniac, a psychopath and a child killer and a rapist. And yet, he and the boys are still digging ditches together.

Eventually, you have to wonder when is enough enough because it really makes my character look bad. These are the questions that I think eventually we have to answer or else suffer a fall off in terms of believability and quality.

S. Urankar: It’s funny; the last thing there about when you say believability always falls back to the old jump the shark idea. Do you think there’s potential here for fans to say-- I mean after all, it’s prison. It’s either in prison or on the run and now, they’re becoming this, as I think one questioner said earlier, this IMF-type unit. Are you walking a fine line with this season?

W. Miller: I think we not only jumped the shark long ago, I think we’re inventing new sharks. We’re taking it to a whole new level. Fasten your seatbelts.

S. Urankar: All right. Looking forward to it. Always glad to be on the ride. Thanks a lot, Wentworth.

T. Adair: We probably have time for one more question and we have to get back to the set. We’ll take that now.

Moderator: That actually as our final question.

W. Miller: Perfect timing. Thank you so much.

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