Elizabeth Olsen today on #C2E2 ⧸ 2026 (Interview - Part 1)

We've got a really special person waiting in the wings to talk to. Are you ready for this, guys? Okay, okay. My name is Josh Horowitz. I host a podcast called Happy, Sick, and Fused. Lizzie has been on the podcast a bunch over the years. She's the best. I know why you're here. You love Marvel, yes? You love the MCU, yes? You love Wanda Maximoff, yes? And do you love Elizabeth Olsen, everybody? Lizzie, come on out. Elizabeth Olsen, everybody. Here she is. Are these on? Can you hear me? Can you hear Lizzie? Okay, I might be talking a little softly. Hi, everyone. This is wild. I feel like we walked into a rave, and now I'm going to ruin the party. I have a cold, so excuse me. Don't feel bad for me, but I'm okay. But you guys, it's such a great crowd. I was just watching this morning on ESPN. They're doing the national cheerleaders competition, and this is bigger than that energy, right? We've got them beat. At the end of this, you're going to do a cheerleading competition for all of us. You're going to do a demonstration. Yeah, actually, the music was making me want to do—I wish I could breakdance on my head for everyone right now, just to really keep up with the amped-up energy. Oh my god, yeah. Thank you, guys, for making us feel welcome, for making Lizzie feel welcome. We're sitting far on a couch because I don't want to get him sick also. It's all good. This looks awkward. So, Chicago history for you. Have you spent much time here? Have you ever shot in Chicago? No. I have been here, I think, only once before. Yeah. Yeah, I know. This is already an emotional roller coaster. I was really excited to explore, too, but I got off the plane and was just sick. So, I had a huge list from a friend who was working on Shout out Sarah Ramos. She gave me the most extensive list, and I can't do anything because I'm just trying to sleep. If you get bored of my questions, just feel free to nap. Let's talk about your Comic-Con, your C2E2 kind of history. You've done the Comic-Cons over the years. By my math, I think it was 2013 for Godzilla was probably the first time you did a convention, a convention, right? In San Diego. Yeah. Yeah, I think it was. Because that was the year before, then you went back for Ultron the year after, by my math. Yeah, I'm trying to think if, yeah, I don't know which one came first, but that would probably make sense. Do you remember anything about, I mean, we're going to get into the casting and Godzilla and really Wanda, but like, I'm curious, entering this kind of a world. Do you remember what it felt like to step onto a stage and feel the kind of love you just felt the first time? Yeah, I mean, I think I was really overwhelmed and I think scared because I don't, like, big crowds are overwhelming to me. And then I think I was kind of like really taken away by how positive, because big crowds to me like usually means something kind of scary and like something could go wrong and people stampede. Well, you know, not always, obviously, but this is like a fear. It's going to be OK, guys. But I think that's what was really the thing that I walked away with was just how positive a feeling you have coming to them, because I think they were very intimidating to me at first. And yeah, they're just like a really happy place. Are you a neurotic generally? Do you have a lot of phobias and fears? The funny thing is, is I feel like when it comes to like the spectrum of neuroses, I'm like kind of on the healthy side. But then when I start having conversations, I start to think about the things I preemptively fear are different than others. So there are less of them, but they're more unique. Yeah, they're there. I mean, I don't know. I feel like they're kind of like, I guess I think that's normal to have a healthy amount of fear. But do we want to listen? I do lean to the side of neuroses. What's the most fun neurotic tendency you've got? I don't know. Like, again, like, I think I'm fine. Like if my husband were here, he'd be like spritzing down the sofa before sitting. So I guess I have a bad person to compare it to because he's a freak. I don't know. What are the weird ones? Like, I don't know. Like, I don't, like, I don't use a hand wipe when I go onto a plane. Like, I'm not, you know, I think like germs are good. Right. And because I don't usually get sick. You've also over the years, I mean, especially in recent years, you've done some of these with the beloved Paul Bettany. I have. He's the best. Yeah. Actually, I always like feel sad when I do these and he's not here. Oh, come on. No, sorry. What have you guys like settled into like a dynamic? Do you have it kind of like the pitter patter down? Like who fulfills what role, especially when you're doing press? Well, Paul like usually like has bits that I know, like I know how long they last. And so I just like allow him to do his bits and then I like speak less. And so that's kind of what ends up happening. And he's also incredibly articulate and such a great storyteller. So I become really lazy and rely on him to be the entertainer. It's just the accent, though. He could say anything and it sounds like cool. Such a good storyteller. Yeah. And he'd like he he speaks with like like he really is extensive with how he tells a story and then he finishes it with a button. And like, I just don't have that skill. He's I'm sitting down with him in New York in a few weeks for the for the podcast. Is there any anything you want to get off your chest and you want to say to Paul that hasn't been expressed yet? You're in a safe place. Well, I think what I would like to understand is how he's aging in reverse, because, you know, he's doing something like, you know, like whatever those weird conspiracy theories are about children's blood. And like, you know, Paul's doing something that I'm not aware of. This is where the rumor starts today. Paul, bet me. I don't know for a fact, but he does enjoy children's blood potentially. I mean, it's crazy. Like, it's just wild after working with him for over a decade now. And he just like looks better every year. Annoying. Not like like, why am I up here? Just also just like objectifying him. I should have something that's more like thoughtful. I'm really excited for his show. I think that's I know he's been really he's really proud of it. And I know he's really excited to share it. And I think he he feels like it's a really great rounding out of kind of like the tripod or whatever that we made with WandaVision and Agatha. And I think he thinks it's like it really just kind of sticks the landing. So I'm really excited about that for him. We all are very excited about that. All right. So let's let's go back to some some of your beginnings, even as a kid. Just I'm curious, like what you were what you were into as a kid. You were you weren't necessarily a comic book kid. Your brother was the comic book kid. My brother was a comic book kid. I just would go to comic book stores every Tuesday when he would get his new releases after school. But I what I was into, I mean, it was kind of connected to like what he was into as well. But like I would watch him play Zelda as if I were watching a movie or something. It's like a little sister looking up to the brother. But I was really into Star Wars from a very young age. Yeah. At five years old, you put me in front of episode four or five, six. It doesn't matter. I was just glued to the television like that and Return to Oz. Yeah, like things that were probably or like gremlins, just things that were like, like disturbing. When you go back and look at gremlins. And imaginative. Yeah, gremlins both Return to Oz and gremlins. They're kind of disturbing for kids. The wheelies are insane. Yeah. But I think I think I really I loved the the imaginative world of those types of films and the creativity. And I and then my friends and I would make like spoofs off of them. And these are like single digit ages. I loved I could just sit and watch these movies forever. I remember gifting my dad an Indiana Jones box set for his birthday or Christmas or something one year. And I was sick, I guess, home from school. And I opened it before I was sick and gifted him like an unwrapped Indiana Jones box set. As a as a Wizard of Oz Return to Oz fan, where are you at on Wicked? Did you Wicked? No, I learned about Wicked from the movies. I never saw the musical. I didn't realize how intelligent of a story it was about, you know, literal. And there's a goat that's quite literally a scapegoat. And I was like, wow, this is amazing for children. You know, it was like very, it was very intelligent and literary. And I guess but I, I don't, I never saw the musical. A couple. I mean, I think as I recall from past conversations with me and others, you've mentioned a couple of folks that we've lost in recent years, too, as kind of like idols, I think, like Redford and Diane Keaton were those two, those actors kind of big for you growing up as well. Huge. Yeah. Redford for like, I mean, so many things. Also, like what he did behind behind the camera, like Offset. Sundance Institute was a was a massive part of starting my career. And I didn't get to meet him, though. So you never crossed paths either at Sundance or through Marvel? No, but I just think it's amazing what he did with his what his life with his life and his legacy and and such an admirer of his of his work. And then Diane is just I mean, I think it's hard to think of like any actress who isn't influenced by her in some way. She was such an individual. And I don't know, she just she just made you like smile and laugh. And I don't know, she made you comfortable as an audience member. And she was so specific. And so, yeah, I mean, those are great. Again, someone I never met, but I'm like, I'm kind of OK with that. I wish I had. But I feel like I have so I have like such specific relationships with these people you've never met. Totally. Which I think we can all relate to in some way, whether it's like an athlete or whatever. So you mentioned you talked about Redford and Sundance. That's the first part of your career. You know, it's Martha Marcy May Marlene and then these Sundance kind of friendly movies. And then we transition Godzilla and then into Wanda. So Godzilla is the first kind of like big scale thing. Talk to me a little bit about like the learning curve on that one. I mean, you're working with Gareth, who is a unique filmmaker, like in that he he kind of has a guerrilla style by the standards of big scale moviemaking. Yeah. That kind of make it more comfortable for you. I think so. It's almost like a stepping stone to how Marvel works, because Gareth was shooting everything practically. Right. So I never actually worked with a blue or green screen. You know, you're looking at like city buildings, looking at a, you know, window for an eyeline for Godzilla as opposed to being on a on a set where you pretend to be outside. But yeah, the Godzilla was I don't know, there's again like crowds or whatever, but like there was quite a lot of like large scenes with extras and was quite a lot of choreography. But everyone had to look like chaos, but it's organized chaos. And I don't know, I think I think more about me not quite understanding how to do that. I think about that a lot when I think about the Godzilla set. But that was such a wild cast. I know Bryan Cranston was amazing. Angela Binoche at the beginning, like it was a really amazing group of people that came together for that film. And now those franchises just have continued, I think. Right? Because didn't they just have a TV series, but they've also got the movie. I mean, there's the whole world. But don't they have one that just came out that was like two of them pitted against each other? Yeah. Yeah. Like monsters. You're ready for a comeback. You're like, isn't that the same family as the one I was in? Yeah. Yeah. So it's, you know, been going on for a while. So that does that in a way, do you think that leads to being cast as as Wanda? Like, what's the sequence of events had that? Oh, actually, it was, I think I kind of took those meetings, those generals around the same time. I was I basically was was mostly in the first few years of working was mostly being considered for independent films. And I once I started, before I would just like, go out for anything and everything. Didn't matter what the medium was. And, and then I was trying to figure out like, why am I like, I love Star Wars. I love Indiana Jones. Like, I love Air Force One. Like, I guess I love Harrison Ford. Why is every film she's listening to a Harrison Ford movie? I love Witness. And so I was just trying to figure out like, how can I like, I'm kind of curious how that how those films are made, as much as I loved making independent films. So I met with these bigger companies, like Legendary at the time, and Marvel, and it just kind of timed out that way. Yeah. That and then it also timed out that like, Aaron and I were both being considered for both of those, which is, was was really fun for us. Do you remember the sequence of events like how you found out like, so you meet with Joss, I believe, at first, right? Yeah, I met with Joss. Yeah. And I met with Marvel generally, and then Joss. And then famously, correct me if I'm wrong, you go in, you don't know what you're going in for. With Joss. With Joss. No idea. Your brother kind of helps you prep says, Hey, they're, they're, they're thinking of maybe, maybe it's or something. He was saying Guardians characters. Yeah, I wasn't prepped for Scarlet Witch. He was saying Guardians characters. I'm pretty sure. Yeah. So when and then, like, how in depth did you get in that? That wasn't even on audition. That's a conversation with Joss? It was, yes. High tea. Joss being, you know, an Anglo lover. Right. But yeah, we had tea. And he, he basically was explaining the character to me the history of the character. And then the thing I probably said too many times, but he also said, like, you'll open up the comic books, and you'll see a woman in a red leotard with a crown on and she won't be dressed like that. Little did he know. Little did he know. And was Aaron on board at that point? Like, what was the conversation? Because I mean, you go from husband and wife to brother and sister, no judgments, all good. It's the movies. But did that give a little bit of a comfort level? Again, you're entering a whole new world, but at least you know, Aaron, you're on set, you kind of have a little familiarity. Yeah, I feel like I'm trying to remember how it worked. I think he and I were talking about it during reshoots of Godzilla that we had to do. And it was more of the conversation of, are you really doing it? And we were both really excited. And I think equally intimidated because the Avengers for the first film had already come out was such a huge success. Which I think was really, you know, the Iron Man films were such a huge success. And same with, I think at that point, there might have been two Thor's, one Captain America, I think, partridge in a pear tree. Yeah, exactly. Yeah. But there is such a huge fan response to these films. So I think it was and it was more intimidating to go into Marvel than it was just doing Godzilla. Because that was kind of the first remake of Godzilla. And not the first, I mean, in a while, like there's the one that they did with brought with Matthew Broderick, that was like, yeah. But yeah, so it was definitely a more intimidating thing for Aaron and I to come in and step into shoes that we already know we're already beloved. Yes. On the other hand, like you have the comfort of being part of an ensemble. Yes. And little did you know, again, like that you'd, you know, it's a very, it's a relatively small part at first, I mean, your first appearance, I knew Aaron wasn't coming back after the first one, and so... Spoiler alert, sorry guys. Sorry, if anyone here hasn't seen Age of Ultron, I just ruined it for you. I knew that was, I knew that was that. I was only signed up for a cameo and one more, like, so I didn't know what my destiny was going to be with them either. Do you remember like the first, so you have like, what must have been, I imagine a day or two, just the cameo at the end of Civil War. That's not even, you don't have a line in that, so maybe you don't have to make too many choices, but you have to start to make some choices. Oh, I loved that. Yeah. That, I mean, that, that, that end scene, what do they call them? Like, what did they just say? Post-credits. Post-credits. Yeah. Was so fun. And it was, yeah, it was like, you get to establish this language physically, and kind of this way that you are going, you're just going to start making choices at this point. It was while we were about to go straight into filming Ultron, so the prep was kind of the same, but Joss really knew how she moved. I know when he would write it, he would, he would do her hand gestures. Like he, he was very specific that he, he didn't want her to be throwing punches. He wanted her to have her own physical language. And so he hired a choreographer that to this day works on all the Marvel films, Jenny White. And she also did, she also choreographed Barbie. She's been doing very well. But Joss, but yeah, Joss articulated his physicality to Jenny. Yeah. And then Jenny reinterpreted it, and then she and I created this other movement. And so it was, it was a really creative, physical experience, and a different kind of training. And then eventually I became more connected to this stunt community in the later movies, because we were kind of just doing our own thing before. I feel like as you started to describe it, you started to like, Wanda started to come through a little bit. It's like your head tilt, it was starting to come out. I mean, how has that evolved? The physicality in terms of like, the hand movements, the mannerisms, like, is every project kind of like a further exploration? You don't want to replicate, but you want to honor what you've done before. Yeah, totally. I mean, we always want it to become more fluid, basically, especially in Doctor Strange. Like she really needed to be owning a whole new ability that she'd never had before. She had been training and teaching herself. And so it's, the other thing I'm always trying to think of, not so much about the physicality, but I always am hoping that we get to learn a different aspect of her. I know like, we like returning to characters, because there's something like comforting as well. Like, so you like, you like know a bit where you're going to get with Tony Stark, and you just like, love it. You know, you love how funny and fast and kind of like an asshole he is. And like, you're kind, you know, you like love it. That's why you like, love him. And then with her, I just felt like I've always tried to just keep expanding like her emotional life or a side of her we haven't seen. And so I felt lucky that I've been able to kind of create through lines and arcs that aren't repetitive, hopefully, for audiences. Like that to me is more important is for the audiences to like, have something to be surprised by. Do you feel like you've had to be like your own best advocate in that? I mean, Marvel's pretty good about that. They understand, but obviously all the characters need to progress and find that balance. But like, have there been points along the line where you've said like, we're going back to the well too much? Can we find something a little bit different? Yes and no. You're servicing something that's so much bigger than yourself and your character, you're servicing like a whole world of storytelling. And so you want to honor that and respect that as well. How has the accent evolved? So Ultron, you speak? Ultron's like full Sokovian, like English is your second language. I mean, you and Aaron also have to be on the same page. Yeah, Aaron having a British accent, me having an American accent, trying to figure out where we both are comfortable with sound changes. We're making up a whole new country and the way they talk. So we get to make it up, which was really fun when Daniel Bruhl came in, because he had to speak in a Sokovian accent. But we made it up. So he had to do what we made up. Love it. So over the years, again, that's evolved? I mean, it was about like, she had spent more time at the Avengers compound. She's becoming more comfortable. She's speaking English every day. She's not speaking Sokovian. So it starts to soften. And then in WandaVision, it was about the full shift into American television, which is why we chose that for them to be more fish out of water as characters, not necessarily people from specific countries within the television show of WandaVision. That makes sense. Multiple television shows. Totally, totally. Okay, so we'll definitely get to WandaVision, but going in sequence here. Okay, so Ultron, you get the classic drop to your knees, scream in abject horror. Yeah, we filmed that twice, actually. Yeah, you perfected that. We had two different locations for that. So where we first shot it was at a totally different location than the one that's in the movie. And we did that during reshoots. But yeah, it was nice to actually get to do it a second time, because I was quite intimidated to do that in front of a crew the first time. I would think. I've had this conversation with actors so much. So much of acting is about shutting out the noise and feeling silly. There's hundreds of people around, and it's dead silent. And you're supposed to just all of a sudden drop to your knees and scream. But not just scream, right? It's an emotional breakdown of your sibling having just been killed. And the physicality of whatever you do is going to destroy hundreds of robots around you. And so there's a lot of pressure on that moment. That's what your scream does in real life, too. That's how powerful your scream is. Exactly. Watch out. I'm not going to try it here. So as the films progress, like Civil War, you're starting to then work with Paul more, and there's the seeds of that kind of relationship in there. There's that great kitchen scene in that. Do you remember the discussion on and off set about, oh, we're building to something potentially? We want to allude to where this is going. Well, Paul's a very clever man. And starting in Ultron, he really wanted us to lean into it with the few opportunities we had, thinking if we can really tease this, maybe they'll have to do it. And so I just followed his lead. So he's pulling you off to the side and be like, I got a plan. Yeah. So even when he was kind of just born in Ultron, you're thinking about that. You're thinking about the potential of where these characters do go in the comic books. And you're thinking about planting those seeds along the way. So like every opportunity we had, whether it was, you know, then in Civil War, which was a bit more laid out, like actually in the script. Yeah, we were excited to kind of develop with that, what their relationship was with one another being these two real outsiders in this group. I mean, I'm sure every character, you can see how they're an outsider, but we really felt like outsiders at the compound. So building to Infinity War and Endgame, I mean, the scale is insane. So many characters to serve in those films. So many. It's only going to get wilder, it looks like. I know. We'll get there too. Don't you worry. And then you're throwing in like the box of it all and the X-Men. I guess they've already blended those bits. We're starting to. Yeah, it started already. Because we did a little bit too with K-Cho and WandaVision. Exactly. So do you remember like completed scripts? Like on those films in particular, do you get the full script or no? No. Infinity War, I just got my pages. I think I got a hard copy, which is nice. They offer you, if you want to read the whole thing, to sit in an office with no windows. Sounds so appealing. And read it off an iPad that's locked. So you have that option if you want to know what's going on. But they were pretty good at letting us know what we needed. The truth is you don't need to know everything to do your job. So I'm OK with that. But Infinity War, we just got our pages. Endgame, I don't think I saw a single page of the script. But I also was hardly in that movie. Was there a bigger learning curve or discussion in someone explaining to you what the Infinity Stones were or the multiverse? Which was a longer like, OK, let me sit you down and let me walk you through what's going on. That's a great question because I still mess up the Infinity Stones. The multiverse, I think I have a knack. I understand that a lot more. The Infinity Stones, I couldn't tell you what each one was for. The Mind Stone's the important one because that's the key, obviously, at the end of Infinity War. That was the last one. Look at that. Right? Do you remember? So that's a scene I assume you get. That's the key moment in that film for you and Paul. I mean, that's an emotionally huge scene, just like thematically. And then again, it's all the bells and whistles, all the effects and whatever that come in later. What do you remember about shooting that sequence? Well, it was improvised. How much of it was it? What do you mean? It was mostly improvised. I would love to remember exactly what was on the page. I think Paul and I would both love to remember that. But Joe Russo looked at Paul and I and they're like, yeah, you guys should come up with something. And we're like, what? Because we found out that day they took all of us into a trailer where they showed us, they do something called previs in these movies where if you guys haven't heard about it before, they create basically cartoon versions of the entire film. So it's like the physicality, they know what camera angles they need to move to or that they owe and make sure that it's all adding up correctly for a big fight sequence or something. And so with the previs, they showed us the animated version of and then dust. And so they showed us like, or else we did it. Sorry, another spoiler, but I assume that's why you're here. Imagine walking in here never having seen a Marvel movie. I just really love love and death. Or Ingrid or whatever, just something so different. But yeah, so we didn't know how that movie ended until they took us into this trailer. And so I felt similarly to that with the Paul scene. And I knew that I was going to have to stop Thanos and ruin the ruin the mind stone. At the same time, I knew that was like a physical thing I had to do. But the scene that was before, I think Paul made up those lines. I think we're completing with you to kind of make the choice, essentially. Yeah, they, it was a lot of pressure to be like, improvise, you know, this moment before you choose to kill him. But we did. And, and I'm really proud of what we what we did make, I think it's, again, like, it's kind of a, it's a funny atmosphere making these movies, because there's so much happening all the time. And then you have to really try and tell the story. Because ultimately, it's like those relationships and those moments that are the thing that's like, that you'll feel most as an audience member. And you don't take that for granted at all. You remember, again, the nature of it, seeing the finished product, whether it's before the premiere or at the premiere. During the premiere, yeah. So the premiere for Infinity War or Endgame, that must be so surreal for you. I was so happy when I saw that. I was like, that's what happened? Great. I was like, really, I was really, I was really proud of us coming up with, with that. So what about working with... It's hard to show up to work and like, not have something to prepare for, you know? Yeah. Yeah. I'm sure we all feel that way. What about working so on like, Endgame throughout, you'd worked with Josh Brolin in the past. Yeah. And so working with Josh, I mean, what's that like, again, you have like these dramatic moments, like that you took everything from me, kind of like exchange. Yeah. I don't know. That was written. What does he look like? Is he even there, like playing that moment? Yeah. So what Josh looks like, he's in a, like a skin tight onesie that you would see on an infant. Like, not like the cute, not the ones that people wear when they're like, we're going to be dinosaur pajamas. Like when, like, have a hat. Like, it's not that. It's, it's a skin tight, as tight as they get. Latex onesie that's gray with like polka dots everywhere. Did he wear the same thing on Oldboy just for fun? Was that... Yeah, definitely not. He was like, I feel like he was like, hardly clothed in Oldboy. That's true. Yeah, yeah, yeah. And then he has a huge rod that comes out of his head. Oh, he's in a helmet. Sure. He's in a helmet with, like, a lot of cameras on his face. His face has dots everywhere. And then he has a big rod that comes out of his head with two tennis balls at the top for his eyeballs. So those are Thanos's eyeballs. You can't look at his face. You always, like, we'd be doing, I'd be doing this whole interview with you like this, you know, and like trying to pretend that your mouth's not there. The next time we do one of these, I'm totally going to look like that, by the way. So that's what it was like working with Josh as Thanos. Yeah, it's really funny. But I think luckily he, like, did come down to my level. So I was able to, like, in one of the moments, I was able to look at him in the eye and not just, like, you know, that. Is there a Marvel-specific, like, stage direction you most dread seeing in a script? Like, where are you at on, like, the wire work, the flying, the... I love the wire work. Yeah? Yeah, that stuff. I mean, it was a learning curve, but it was... I don't like roller coasters. So now back to the neuroses. I'm just worried that, like, the one time I'm on it is when, like, something tragic's going to happen, which is really selfish. Oh, wow. My hair did something wild. Sorry. Which is, like, really, you know, a narcissistic thought of, like, this is a time, like, so stupid, but and not mathematically correct either with, like, probability. But I don't like the feeling of being out of control. Like, I don't like speeding in a car. Like, I don't... Although, like, I enjoyed watching F1 because it's just, like, something I can live vicariously through because I'll never do that. And the same with the wire work. The first time I did it was when we were in Scotland filming a sequence for Infinity War. I think it was, like, the opening sequence. And they had to just kind of show me what it felt like. And it was just the stunt unit at this time. And I just remember that feeling of my stomach leaving me. And I couldn't stop laughing for, like, 10 minutes because your diaphragm just had, like, a physical response. And so you're just, like, it's just going like this. You can't stop laughing. And now I really do love the wire work. It's not comfortable. I think the thing that I hated most, I think anytime it says, like, wet or rain or something. And, like, so when I was reading the Multiverse of Madness script, I couldn't believe it. Like, I was just like, okay, so I'm covered in blood, robot oil. Then I get washed away. I'm soaking wet. We'll be on a cold stage in London. I'm going to be soaking wet. And then you're going to blow the biggest fan you've ever seen onto you. And I was just like, Waldron, are you going to now throw feathers on me? Like, what's going to happen next? That's just physically uncomfortable. And you just have to make sure you don't get sick. Like, that kind of stuff. Because you work the next day and whatever. Like, you just have to make sure you don't get sick. And so that's why I just, like, don't love doing that. This is fair. I mean, I feel like I'm, like, always cold and covered in blood in, like, most things anyway. That's your thing. Yeah. So you just, you learn how to manage it, I guess.