Keynote: Touch Me with Your Voice

I have something to reveal to you. I believe all of you have some unlocked potential that we can unlock within the next 40 minutes. And what is that about? That is about your voice. The theme here is Touch Me With Your Voice. And as we just heard, tenderness and intimacy is something we long for and something that can make life more human and also video more human, I believe. And how we use our voice is also a part of, is it beautiful and connective or is it a little bit like over the edge and a little bit rejecting people? So when we watch a video or a film, it's said that the audio counts for like 50% of the total experience. Of course, depending on what movie it is or what video it is. But there's a huge potential in how you affect people with your voice. Our voice transmits emotions, intentions. It's energy. It's vibration that actually connects with other people. So that is what I have happily been invited to explore with you today. My first point here is, can I actually see my notes up there? That would be beautiful. Because I see Touch Me With Your Voice and I know that. Can I see my speaker notes up there if it's possible? But my key point here, my most important message today is relax and be yourself. Because I'm inviting you into a universe with different things you can do with your voice. But the most important thing is actually to relax and be yourself. Because each of you have a very unique trademark. And that's the way you speak, your voice. It's not just a biological construct. It's also you're socialized. If you were in a family where people spoke like really loud, it's one thing. If they were really timid, it would also affect the way you used your voice. But I'm not here to say you should do all these things. Please don't. Pick one tip or two. Because the human ear is so sensitive to when we start to be fake or phony. I will go deeper into that. There is something called the "fundamental frequency" in our voice. And the ear actually detects if we go too far away from that. But maybe you have a hope to be sometimes a little bit more clear, a little bit more present, a little bit more engaging. And here your voice is a big and magic tool for that. But the magic doesn't lie in the tools or the techniques. The magic lies in that we shed light on something that everyone knows, but sometimes we're just not aware of. We're not aware of using that knowledge. So that's the key message. Remember, relax, and be yourself. Big, big, fantastic directors like one you will hopefully stay for this afternoon, Thomas Winterberg, Lars von Trier, Coppola, Scorsese. They all know that the human voice is a great part of how you can create magic on screen. Of course, it's a different thing than doing a personal video. But still, if you think of the Apocalipse Now, if you have seen that, Martin Sheen's voice is like taking us into this sad, mysterious universe just by his voice in the beginning. Also, Lars von Trier, he is really, really into using the voice as a way to create an atmosphere, a universe. And I would like to share an example with you just to highlight how the voice can affect us and how it can be used. So let's just listen to Max von Sydow, the fantastic Swedish actor, in the introduction to Europa, Lars von Trier's masterpiece from 1991. You will now listen to my voice. My voice will help you and guide you still deeper into Europa. Every time you hear my voice, with every word and every number, you will enter a still deeper layer, open, relaxed and receptive. It's a fantastic sound. I don't remember if it was in the list of beauty, but curiosity is a beauty of itself. And I'm super curious. I contacted one of Denmark's best in the movie industry audio persons, Peter Albrechtsen, just to make sure of some things. That I thought I knew to make sure they were right. And he just told me that when Max von Sydow did this, Lars von Trier asked him to lie down because then the voice got even more grounded and relaxed. And also, instead of transmitting it from one speaker, as you usually do with dialogue, it was transmitted from like all three speakers in the audio set up in the cinema. So you really get enveloped by this sound. Also, hypnotists use their sound to put people into a specific state. I read in Leonard Cohen's biography that when he was 14, he picked up a book on hypnosis and he wanted to test if he could do it. So one day when he was alone in the house in Montreal where he lived, his mom was down shopping. He asked the maid, he had a maid in his house, to come in and sit on the couch. And he started, okay. And then he got her to undress. And then he was a little worried if he also could redress her before his mother got home. But I believe, I just, it just hit a point because I believe that in his music and his universe, that hypnotic sense is really there when he sings. So the voice is a fantastic tool. It's a magic tool. Why am I talking about the voice? I had a beautiful introduction and I just want to let you know that I have a little bit of a voice journey. You saw my two boys when I was pregnant. I could not work in the theater or in the movies. So I did a lot of voice work. I've done audio books recording. And it's important if you do an audio book, you should not overshadow or over modulate. You should just be there to support the art that is already there. So you lend out your own voice. One of my proudest lend outs is to Jesse. Yee-haw! I will not do it loud. Your ears will have a crisis. But I was in Toy Stories and I followed Jesse. For 30 years. And I believe there's a movie number five coming up. She has a really big, huge part in the film. I've also worked with Steve Spielberg. Just doing the Danish voice of the mother in E.T. So not really, but kind of, sort of. And then very small because I'm not that proud of that. But I've also done a lot of commercials. And in commercials, you really have to know how to use the core of your voice, but really compress it. The old spice. The most wonderful perfume. You know, you use all the power, but you pull it back. So I have myself a lot of experience. And I think it's a fantastic tool to affect people and create atmosphere. But this is not about Max von Sydow. It's not about me. And it's not about Steven Spielberg. It's about you. So I just want to say what I really, really love is to help people to be more free and more expressive. Be more themselves. And to have a voice. I had a woman recently who came to me who was Icelandic Danish. And she found when she was Icelandic, she had this very, very free voice. And when she was Danish, she was a little bit more timid. Because first, when she came to Denmark, she was doing all these little mis... What do you call it? Expressions. She didn't really know the language well. So she had like, stringed herself a little bit. And then we made a recording of her speaking Icelandic and speaking Danish. And we tried to... How could we merge that so she became her Icelandic eye in the Danish language as well? So that's like my passion. Because it's fantastic to see a person free themselves. I also had this CFO. The CFO and the CEO came to me. And the HR director said, you have to fix these people. Because often they're in front of investments, analytics. And they're not really doing a top, top job. And especially the CFO. He was clearing his throat all the time. Like really. You thought, what is going on? And we had like the last session. I had very little time. These people. We had the last session. I had one and a half hour. And I had to fix that problem. And there I had to use all my different kind of entrance points to a human being. And he came up from one of my questions. He said, five times... Five years previously, he had been working in a big Danish company. Really one of the big ones. And on stage like this, in front of the investments analytics, the CEO was telling this very beautiful story that was not true. The CFO knew because he knew the numbers. So it was a question of integrity. You also say our communications chakra is here if you're into that. But he could not really stand the lie or the non-sincerity that was coming out of the CEO's mouth. So he tried to clear it out of the way. And when I said... When we talked about that, I could see his eyes start rolling. Like, whoa, whoa, whoa. Something was happening. And then he said, because I work also with strategic communication leaders, strategic planning of their communication. So he said to me, Puk would not like this. Because we didn't plan anything. Because we didn't need to. Because all the numbers were actually right and transparent. And then I said, okay, so could you say that I can speak freely because all the numbers are right? Like a mantra. And he was like, again, I could see it was rolling. He went out of the door. And one and a half months later, I asked the HR director, so how are we doing with the... And he said, what did you do? And it was totally gone. I also advised him to go back and share this story to really set himself free. And this was a question of setting a person free because he could have been fired from that vocal issue. So this was a little bit about other people. And again, this is about you. That's why you came today, I'm sure. You want something home. One tip or two that you can actually use And as we know, the voice is a part of your personal brand. Be yourself. Relax. I will come with a little bit more points to that in a moment. The voice is also for yourself an entry point to your energy and your presence. Because if I came in today and spoke like this, I would not really create a really big field of energy for myself. I would not really be in my body. So if I actually use my body to speak, I open up my physical energy and I become more safe because I create a little powerhouse for myself. I can actually sense how my body heat has... Not only because of the natural tension of staying on the stage in front of you, even though you are sweet people, this is natural. But also because I'm using my voice, investing my body in speaking. And that actually gives me this powerhouse. So I feel safe. We also connect to other people. What is your name? Josefine. I could speak to Josefine like this. Josefine, I have a few key points that I would like you to take up. Josefine, I have a few key points that I would like you to take home. So I can actually project my voice without shouting. But just let the energy and the intent travel. We will go into a practice section a little bit later. And you can already prepare because I will ask one of you to volunteer. I will not point at anyone, but I will ask, would anybody come up and do some magic with me here? We can do magic. But first, you also affect people's nervous system with your voice. Excuse me, what is your name? No, no, no. People get rejected by that. So how do you connect or calm people? In a video or in a meeting? My most dramatic story about this. You saw the two boys. They are much older now and alive. I just want to state that. Because some years ago, 10 years ago, I had a call late in the night after the oldest one should have been safely home. And I picked up the phone and a person said to me, hello, my name is Thomas. I'm a paramedic. I'm here in the ambulance with your son. Kind of like that. But very, very, very calm. Very, very clear. And when you have such a call, a nervous and natural tendency to go totally over the, into an anxiety. But with his voice, he actually guided me into a calm state where I could ask, what hospital is he alive? And everything was fine. It was a bike accident. So since then, that Thomas just have popped up into my mind. Like, what was it that he was able to do just with his voice? So that is what I would love to explore with you in a more practical session. Because sometimes we think voice work is, oh, that's for actors and that's for politicians or singers. But no, it's for everyone. Again, we use our voice all the time. Have you ever had the, reaction yourself? Oh, I don't like to listen to my voice. A lot of people have. When was the last time you had feedback on your voice? Yeah. Yeah. Was it useful? No. So what you can also use this for is to be more specific on what is it you want to improve. And again, just pick one or two things and then you can actually ask for specific feedback. So you can develop. But what can we do? What we know, there's some facts. There's some science behind this. We of course know that a vibrant and dynamic voice can actually catch our attention and keep it. And some of us talk more like if we're sitting in a train, it's like the usual track of melody and it doesn't really are very dynamic. We don't want that. But we don't want it to overshadow the content either or be too phony or fake. There are these facts that people who speak with their lower pitch, not a fake lower pitch, they are ranked higher in the social hierarchy. There's this test where a group of people were asked to solve a task and at the same time they had to rank each other in a social hierarchy. And the people who were ranked highest was the people with the lowest pitch, their own lowest pitch. So you're not like doing a fake pitch. That's not recommended. But you should find the spot where you actually speak from your chest resonance. Because then we can hear not only your cranium sound up here, but also here there's a whole body and a person behind the sound. So some people take it a little bit over the top. For example, this young woman, I'm sure you know who she is, the Stanford dropout, Elizabeth Holmes. She created a fantastic company that collapsed like a souffle and now she's in jail. Short story. And she did something with her voice because she knew it is a big part of a personal brand. So another example I would like to share with you comes up here. It turned out he had a nub on his elbow and we talked to our lab team and they said, okay, you can do the draw. And so they did this, what would have been a finger stick on this little nub on his arm. Sure. Over the last 11 years, we've reinvented the traditional laboratory infrastructure. So again, don't overdo it. She also put on the black turtleneck to be a little bit more tech-savvy. And I just think she did this for many, many years. What a lot of energy and focus it must have taken from her total field of focus. There are some science behind this. There's a woman called Anna Lavawetz who has done a PhD in preferred voices in the broadcasting industry in 1912 to 2021. No, 2012. And just a few points because this is a kind of floaty area. So how can we be a little bit more exact? One thing is that we know from science that we like to listen to people who speaks with an embodied voice. And again, that's not speaking from your cranium. It's not swallowing your words totally. But we hear this resonance. I will do a practical test of that a little bit later. Also this, that we are intuitively sensitive to what is called the fundamental frequency. You don't have to remember this. But it's just to say there is a frequency that matches a person. And when we go too far from that, like with Elizabeth Holmes, the ear detects something is wrong here. So that's why you should just be yourself with a little bit more awareness maybe. Also, very, very interesting, we actually mimic the tension that we hear in other people's voices. So if I spoke like a little bit more with a little bit more strain or a little bit more tension in my voice, you would sit unconsciously and become a little bit more tense. And that's also why the hypnotic kind of relaxing yoga voice is very, very airy and very, very relaxed because it makes you relax. So that's why relax and be you is the key here if you want to touch people with your voice. But we do like clarity and presence and we do want people to express themselves. It's not overshadow the content or the message. So what can we do? Let's look into that. What is actually doable? If we again go back to this with the embodied voice, what is that? What is an embodied voice? I could get very nerdy and into a big universe now. I will not do that. We have not enough time. But there's a voice guru called Roy Hart. And he's a mentor. He was in the World War I. And there he heard people use their voice in a way that should not be humanly possible. It was not a beautiful scenario. But he got very into how could that be possible. And he started to study the voice. And later came a recording where he does all the voices in the, what is it called, the magic flute, the opera. And he found pretty, but he was able to like do eight, what do you call it? Yes. A lot of voices. And what he said is that we all have four voices or four placements of our voice. So just to demonstrate very lightly, I could speak like with a young girl's voice where I only use my cranium up here. I sometimes see mature women in corporate life who still speaks like this. They have been running up the career ladder so they didn't really settle down in their body. Then we have the more mature woman's voice. And the only difference is I speak more from here, more from my chest resonance. We have this intent that we want to reach people. But the more we stay with ourselves and transmit from here, the more we will actually grasp people with a nice rounded voice. Then we have the young man's voice. It's the same placement, but it's just closing the vocal cords a little bit more. A little bit more directive. And then we have the old man's voice like more Max von Sydow. If then you need a new recording, I can probably offer that. Or if I need a raise, something like that, I use my belly a lot more. But it sounds phony. So for me, I would try to stay up here. So the embodied voice is because we like this intimacy. We like this tenderness, this vulnerability. We like to hear that it's human. And we also like to hear a voice that is not affected by or creating fear. So we can calm people with our voice. We can create atmosphere. We can engage them. Are you ready for some magic? Yes. I love that answer. I hope for that. So magic would be for one of you to actually volunteer because I've been speaking a lot and that makes sense. But it makes more sense to see someone actually work with their voice. Anyone who would be willing to come up here? We have a very courageous young man here. Welcome. What's your name? Welcome, Daniel, to the stage. Welcome, Daniel. Hello. And I can assure you, you just have to be yourself and relax. The immediate reaction standing in front of people is like, ooh, the nervousness because we out ourselves of the flock. But you are with us, aren't you? Yes. And will you also do the exercises with Daniel? Yes. Good. So, Daniel, I will just find a little piece of text and then I will tell you what we can do. A piece of text. And what I would love us to do is, can we see the text up there and then see Daniel up here? Yes. So I would love us to actually see Daniel. Yay. Yay. And Daniel, were you here last year? Yes. Not here, but at the summit, yes. Because I had a super tool that can be repeated and that's about, first of all, remember your deep breathing. Remember when you're in a position like this because it does affect you with all these eyes on you. So just breathe and then we have a text here that will appear. And the invitation, because we will do the magic together, is that I would invite you to read aloud the text once. Then I will give you a little bit of tips and we will see if things changes. And I will give you three, maybe four little tips or techniques that you can use. But remember, never apply them all at a time because then it will be very phony. So, here is the text. Are you okay, Daniel? Do we have some more water? Do we have a water bottle? Yay. So if you need some water, that's the speaker. The speaker is the most important tool. Never take it too cold because you freeze your vocal cords. Take it lukewarm. All right. So let's do the first run through and see. And naturally, if you read a text for the first time, it's a little bit like, whoa, shaky. That's totally like it should be. So when you're ready, you can go. I love being part of these summit days, getting inspired, meeting great people, and just enjoying the time. Enjoying the moment. Yay! Beautiful! And if you can actually show the text on the screen up here. Because the first advice, if you're going to speak a text, say a text. Can you put the text up here as well? Is that possible? It's actually to decide what is the power words. Because not all of the words in a text is important. Some words are just transportation. I love being part of the summit days. So love could be important, summit days. Not too much, but decide what is important. And maybe emphasize those words a little bit more. When I say emphasize, it says highlight up here. And a way to highlight a word could be to take a little mini pause before the word and after. I love being part of the summit days. So I decide, I actually don't use the written punctuation at all. But I decide my power words and I really give them room and time. Space and time. Would you be okay to try and test it? I think he's so courageous. And you can have a couple of runs. You don't have to. This is not about being perfect. This is about exploring and see, is there a difference? So you can go when you feel fine. I love being part of these summit days. Getting inspired, meeting great people, and just enjoying the moment. Beautiful! And what is this? This is just my little hand drawing of, if you don't decide on your power words, if you just say, like, I love to be at the summit. It's just like running down a ski slope without any kind of twists. So you can consider your power words as the flags. And it takes down pace. A little bit. So you are actually in sync with your message and your content. And you're not just like, scaringly going down the slope. Does that make sense? So I love being part of the summit days. And vice versa. This is overdoing it. It's training. When you start exploring your voice, it's also really important to consider that there's a training room and then we have the concert hall. And only take one or two things into the concert hall at the time. Maybe none. Just the breathing first. We had this with listening in the other talk. And also this about listening. How do other people use their voice? Can also open up your own awareness. What can we do more? We can, of course, use the beautiful tool of smell the flower of taking pauses. So you can also decide before you start speaking. You breathe in through your nose. And then you actually speak on the out-breath. And not all the time, but after a section or a power word, you can actually reload with breathing and also inhabiting your Buddha belly here that makes us feel more safe and make our voice sound better. So I've just put in some suggestions. If you can see them, Daniel, up there. There's a little star after days. After inspired. After peoples. And then I put a suspense one in. And just enjoying the moments. Because also having that pause is like, what, what, what, what? And then it expands the next power word. Let's give it a try. You can do the watermelon from last year if you feel a little bit tense, like just freeing yourself. I just recently heard that when you do that, you also tell your body there's no wild animals nearby. Because then you would never do this. You would. So. Yes. Then try, Daniel, by starting by taking the in-breath through the nose and then speak on the out-breath. This is training again. And we're not after perfect. I love being part of these summit days. Inspired. Meeting great people. And just enjoying the moments. That was a dish of view of when Pete Joseph was here a little earlier. I got touched by this because I could sense Daniel here. And I believe you could as well with your reaction. And also because when we sometimes I just advise people to have time in one hand and your deep breathing in the other hand when there's something at stake or when a camera is in front of you. Because then you are in sync and you're more present. Beautiful. We can do more. I love it. Yay. Because then we have this with the embodied voice. And again, do not overdo it. Not you, Daniel, but people as such. This woman actually really, really overdid it. I encountered her existence six years ago when I really started a journey into exploring the voice. Her name is Marianne Simnet. And she actually injected Botox into her vocal cords because then it became like a permanent lower voice. And she just wanted to explore how it could merge the sense of identity and how people actually just react differently to a person with a lower voice. But she really took it too far. I promise I will not do anything here. So what we can do and here I need help from my friends. From our friends, Daniel. So the thing is again, I call this sometimes to go a little Pavarotti. Like overdo it. And then maybe just bring 10% back to your normal voice. And going Pavarotti is like trying to explore this sensation of your chest sound. Actually, we do have time for saying if you had to go on stage here later or do a video, maybe you're invited for an interview later, how can you prepare for this? I want to classify the opera singer and was like one hour of preparation. I've cut it down to one or two minutes. What you can do and you can actually do it here with us right now. First, relax your jaws. There's three little things you can do. First, you can tilt your head, open your mouth a little and see if a little fake yawn appears. Then you can do it to the other side and again, see if there's a little fake yawn up here. I went to acting school for four years and the first year was only about relaxing. Because it's so important to be present and to receive inspiration and intuition. If you're tense, it will never happen. So this is an entry point to become more present. This, then you can take your knuckles and see are there some deadlines hidden in your jaws? After these some days, because if we're too tense, we cannot really express ourselves and people also pick up that tension. So very comfortable. And the last thing, should I do it with my back turned because it's not really flattering. It's the camel chew. Don't do it on a date. Again, it's about releasing the tension and making your most important area ready to express words. We are so lucky actually. I'm listening to these tapes about non-speakers and we're actually very lucky that words can actually come out and we could see, could they become a tool of compassion and inspiration when we actually open our mouth. But that's a different subject. What more can you do? You can release your belly. A lot of us have been taught to like, pull in the belly when we are in official settings, but we should actually relax because our diaphragm should be able to work with us. And that's also where we can use, smell the flower and just let the belly unfold. You can also do a three times three breathing, three in, hold three, three out. But this is about letting the body actually breathe freely is super important. And the last one is this, go Pavarotti. So if we go Pavarotti, it's about putting a hand on your own chest and open your mouth, high ceiling, and then breathe in through the nose. And this is again, not about producing. It's about maybe just open your mouth and let the sound appear. And why should I do that? It's because my brain also sends, I'm about to go into this video recording and I've not said a word. If I start using my voice, I actually create audio to territory. My brain picks up, Oh, she's taking space up today. And I become more confident. And also, of course, it warms up my, my body and it clears off all kinds of little dirty things on my vocal cords. So this you can do in two minutes. So then the Pavarotti voice in action, if we go back to the text, now it becomes a little bit contraintuitive because we should use this resonance, but we should also withdraw it. So we speak more personal. So first you try and breathe in and say out loud, what a wonderful day today. If you're ready to do that. So breathe in, smell the flower. What a wonderful day today. You can do it better. Even louder. It's energy that comes out of your mouth. So try once more. Breathe in. What a wonderful day today. Yes. And going Pavarotti is also about over expressing the articulation to warm up these muscles as well. So if we have done that, then next we need to pull back. Because if I'm on screen, I don't have to reach people like this. I actually just have to reach people like they were sitting on my shoulder because that's the distance they will have when they open their computer and watch me. Hello. Good morning to this wonderful video. Hello. Good morning. Welcome to this wonderful video. Maybe I was overdoing it a little, but this is about speaking in this distance and not trying to reach people out there. Wow. That was a lot of information. If you can just, Daniel, try to say, okay, I start the engine here a little. And then you try to speak from that point. But already now you have a really, really nice pitched voice. So just explore. And it's a good idea to, yeah, first go ah, and then close your mouth, breathe in, and then speak. I love being part of these summit days, getting inspired, meeting great people, and just enjoying the moments. One last. Can you hear me? Yes, you can hear me. Can I shut myself down? Can you shut me down? I'm not hearing. Okay. All right. Last time. I love being part of these summit days, getting inspired, meeting great people, and just enjoying the moments. Yay! I just have to ask you, Daniel, how does it feel? You're really courageous because it's very intimate to work with your voice. Because we are, there's a lot of emotion also in ourselves and with all these nice people watching. But could you feel a difference yourself? Yes. I think the breathing in, just kind of being in the moment helped a lot. Yeah. Just being within my body and understanding my limits and being my natural self, not forcing it. Yeah. I think that was very important. Beautiful. You did a super good job. And thank you for helping me here on stage. Thank you, Danielle. A hand. I once were working with a man who was almost two meter high. And when he spoke, it was a little bit like held back. He was like working with security, was before that in the army. And he was like, mm-hmm. And I was like curious, what was going on? And it showed up that he had been told that he was taking up too much space. And then we started working with this spot. And I also said to him, you are no longer employed. You are now the CEO of the company. And he started, you know, to really use his voice. And of course, in some situations, it could be too much. But what we think of ourselves, the role that we actually allow ourselves to take is also influencing how much vocal power we allow ourselves to use. Just a little last thing because we can do it. There's also this about, I can have help sharing it with you because it's a fantastic little tool called the clap trap. We love the power of three in rhetorics, in marketing, et cetera, et cetera. Often we have three examples of three power words. But if you say them with the same tonality, they can actually become a little bit blurred and it means a little bit the same. If I should say this, I love being part of the summit days, getting inspired, meeting great people. And just enjoying the moments. And I could continue. There could be much more. You don't know. Because they're flat. They have exactly the same tonality. There's a British professor in rhetorics, David Atkins. And he wanted to find out why do people sometimes know when to give an applause. And sometimes they're like, is it now or not? And he named this little concept a clap trap. Because we are also coding our messages with the tonality that we use. If I want to sound final, for example, this I have decided. Or not. This I have decided. I have. So the tonality, the finality is also important. And if you have three words or three sentences, you can do a little magic clap trap. And you can just decide that the first sentence or word is neutral. The next one is going up a little bit. Then you can create that magic suspense paw, smell the flower. And then be sure to be final. So then it would sound like this. I love being part of these summit days, getting inspired, meeting great people, and just enjoying the moments. And it wasn't a bit too much. So again, this was a way of exploring how we touch each other with our voice, with the energy that we transmit, the emotions, the intentions. But really, really, really important is remember to relax and be yourself. Because we pick up when people are too artificial or if all these little tools overshadow the content. So I hope you have picked one or two little things that you can explore. There's time, I believe, a minute or two. If there's a question, there's a minute. Anyone who has a question? Who has a question? Yeah? Yeah? Woo, that was quick. That's what you call a runner, isn't it? Yeah. It was more a comment on the Nick Cave quote that we heard in the prior and about being real and AI not having real experience. And I just thought that your talks on speech as well kind of teaches some of the same things about being real and that is something that AI probably can't take away from you or any of us. Beautiful. Yeah. That's a very nice way to put it. And again, I believe this, it's about the awareness that we can shed light on something that we already do. When I started working with some of these tools in corporate settings, I was stunned that people didn't know this because it was ingrained in me from my actor's upbringing. And I found out it was really valuable for people who have to stand like in this spot and speak. So thank you very much for that comment. I believe we are right on time. So thank you very much for your time and your interest. Thank you.