User reviews

There's nothing better than walking into a screen to see the debut film by a writer and director – one that you have only heard very little about – and walking away 90 minutes later feeling more moved, entertained and uplifted by a movie than you have been in years.

Perhaps cinema-goers in the mid 1990s had this experience upon seeing Wes Anderson's first film Bottle Rocket. And maybe even those who witnessed Spike Jonze's big screen debut, Being John Malkovich, only a few years later will understand it too. However, for those of you who, like me, were too young to witness the birth of these auteurs of independent cinema then you don't have to worry, because Richard Ayoade's film Submarine is almost as good as both of them put together.

It tells the story of Oliver Tate who is caught at the junction between childhood and adulthood as he struggles with his first feelings of love, desire, heartbreak and must choose what path he wishes to take that'll define who he is for the rest of his life.

Sure, it may sound somewhat similar to all the coming-of-age stories that have hit the cinema recently, but what makes Submarine so special is Richard Ayoade's ability to capture the essence of growing up; the joy, the optimism and the tenderness alongside all the angst, confusion and depression too. I defy anyone to not see themselves plastered up on that silver screen in the film's opening as Oliver fantasises about the adoration and attention he'd receive if he died.

The ups and downs of this British comedy are mainly due to Ayoade's wonderful screenplay and direction that are touching yet never slip into sentimentality - he often playfully pokes fun at it in many cases – but what also deserves credit are the poignant score by Arctic Monkey's singer Alex Turner, the cinematography that effortlessly shifts between comic framing and beautiful imagery and the note-perfect performances by the entire cast.

Craig Roberts plays Oliver Tate in a star-making performance that will surely see him become one of Britain's finest young actors in the next few years. His character is a complex, multifaceted one yet he is able to make it wholly believable. Similarly outstanding is Yasmin Page as his love interest Jordana. It's essential to the story that she is a mystery to Oliver for much of Submarine's opening half, only revealing the reasons why she is so rebellious, unromantic and mischievous in the final act, and Page brilliantly portrays this with a careful mix of enigma, seductiveness and humanity.

What also excels Ayoade's film from being just another British coming of age story is the stylishness of his direction. Presented in the fashion of a French New Wave film like Jules Et Jim or A Bout De Soufflé he gives Submarine an aurora of quirkiness and creativity that you rarely find in British cinema. The "kitchen sink" is gone and has been replaced by jump cuts, inventive sound design and a somewhat disjointedness.

This style, moreover, helps to complement the personality of our aforementioned protagonist who sees the world in a unique way to everyone else.

So what lies in the future for British cinema? Some could argue that it's the big dramas like The King's Speech, others could argue that it's the low budget affairs like Monsters and many will say that it's spectacles like Harry Potter. However, on the evidence that Richard Ayoade presents here, Submarine might just be a glimpse of the great things to come.

Whilst watching Richard Ayoade playing uber-nerd Moss in the hit-and- miss sitcom The IT Crowd, or playing TV producer and actor Dean Lerner in the criminally underrated Garth Merenghi's Darkplace, the last thing I pictured him doing was confidently directing a feature-length film. I don't mean to knock him, as I've always felt he was an extremely talented comedy performer and writer, and he brightens up whatever he appears in, no matter how crap the material. But here he has focused all his ambition, influences and talent into creating a truly memorable debut.

Tate (Craig Roberts), a strange, intelligent and unnervingly confident schoolboy who falls for an equally strange girl Jordana (Yasmin Paige). After an incident which sees Oliver reluctantly participate in a spot of casual bullying that causes a girl to fall into a muddy pond, Oliver and Jordana begin their unusual romance. All seems to be going well until Oliver suspects his mother Jill (Sally Hawkins) of having an affair with cheesy self-help guru Graham (Paddy Considine), who lives next door. His father Lloyd (Noah Taylor) is so passive and uncaring that he is practically a zombie, and so Oliver takes it upon himself to rescue his parent's broken marriage whilst holding his own fragile relationship together.

The film arrives amidst critical praise and festival word-of-mouth, and the promise of a real future talent in director Richard Ayoade. I'm pleased to announce that the film is every bit as good as I've heard. I had my doubts, concerned with the film's 'quirky indie comedy' tag that films are so lazily lumbered with these days. But while the film is quirky, indie and a comedy, it finds its influences lying elsewhere - from the greatest of all film movements, the French New Wave. From the start this is clear with the Godard-esque large lettering with strong colours for the opening credits and title cards. Everything about the film screams New Wave, from its stylistic boldness, self-awareness, and even the unconventionally handsome and turtle-neck-wearing leading man.

One of the main strengths of the film is it's awareness of slipping into cliché. The quirkiness and magic of the French New Wave have been copied and ripped-off so often that nowadays when it is used it can come across as pretentious. But Oliver's intelligence and amusing voice-over frequently touches on this. At the start of his relationship with Jordana, they spend their days on the beach and frequenting industrial wastelands, and Oliver comments that he will put these moments in his 'Super 8 memories', cue shots of the couple running and laughing on the beach, shot in that grainy, home-video look. He also fantasises that he is in a film, and that the film will end up with him searching for Jordana on a beach and how it will end in an arty-farty, pretentious manner aimed to encourage discussion among chin-strokers. It's a great little trick and you have to admire the film's refreshing self- assurance.

The film is also very, very funny, with Craig Roberts proving an extremely talented comedy performer, all pale-skinned, wide-eyed awkwardness, and a pronounced, high pitched voice that almost resembles many of Ayoade's TV characters. The humour is often similar in style to Wes Anderson's (dare I say it?) indie comedies, which are some of the best comedies, if not films, to come out in the last fifteen years. Most of the humour stems from Oliver's increasing desperation to lose his virginity to Jordana, especially in one scene where they find themselves home alone, only for Oliver to light candles around his bed, and lie open-legged on his side in a cheesy pose. Jordana, with her eyes closed waiting for the surprise, opens them and deadpans 'f****n' hell, you're a serial killer.'

A real gem, and a film that definitely introduces the potentially massive talent of director Richard Ayoade, star Craig Roberts, and Arctic Monkeys frontman Alex Turner, who performs the wonderful music. And also a rare opportunity to see some of the beautiful sights of Swansea, where I currently reside.

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Greetings again from the darkness. A UK version of a teen comedy is quite a different experience than a US teen comedy. Maybe it's the source material from Joe Dunthorne's novel or maybe it's the deft touch of first time director Richard Ayoade. Either way, there is much more depth and emotion involved here ... not just sight gags.

The two leads are Craig Roberts as Oliver and Yasmin Paige as Jordana. Watching the way these two work so hard at not appearing to like each other perfectly captures the teen dance. Once they do get together, the film does a nice job of creating those perfect moments of doubt, discovery and subtle humiliation.

Oliver is carrying quite the burden. He strives to be the perfect boyfriend, but is also very concerned about the slow collapse of his parents' marriage. This problem is enhanced when his mom's old lover moves in across the street. Graham Purvis is some self-proclaimed mystic healer who somehow gets people to pay attention to his words, despite driving around town in a van with his face painted on the side.

Oliver's parents are played by Noah Taylor and Sally Hawkins. Taylor is superb as the quietly suffering loner who has no concept of what makes a relationship. Hawkins is the disillusioned wife eager to recapture the magic of her youth ... even if it is with a goofball mystic played by Paddy Considine.

I have to point out that Craig Roberts, who plays Oliver, is the spitting image of a young Bud Cort ... and even has some of Cort's mannerisms from the classic Harold and Maude. Mostly Oliver and Jordana are just two regular teenagers fighting angst, depression and self-doubt, not to mention REAL issues like disinterested parents and a very sick mother. Turns out, being a teen is every bit as tough in the UK as it is in the US ... but the dialogue is much better!

Most teen romance coming-of-age movies are completely predictable, especially the American ones. High school student, Oliver Tate, as played by Craig Roberts, reminded of an equally quirky Dustin Hoffman in "The Graduate." He wanders throughout this comedy with a wisdom far greater than those around him. He spies on his very strange mother & father and tries to keep a relationship with his girlfriend, Jordana(Yasmin Paige) going with very mixed results.

Writer-Director Richard Ayoade does a great job of keeping the pace moving with no wasted moments & a dialogue that is both witty & believable at the same time.

If you are in the mood for a film which will make you smile and even bring back some childhood memories, this a perfect choice; Ayoade is to be commended for a wonderful movie & I eagerly await his next project.

'Submarine' is a wonderfully engaging film. Along with being very funny, It genuinely understands and insightfully explores, teen anxiety and communication/perception troubles. While watching it, I felt like I was experiencing the story first hand. As a result of an artfully made, endearing and enjoyable experience, the film gently implies a progressive and positive message.

The film also shows the tremendous versatility and courage of filmmaker Richard Ayoade. 'Submarine' has created its own category, as it's quite different from Ayoade's brilliant TV comedies, It has a very unique, personal language and sensibility, which is equally thrilling and satisfying for the viewers. The casting is perfect as well, each actor makes their character ring with an authentic and lively human truth.

A delight, Highly recommended!

Dead pan humour is the order of the day with Submarine. Understated lines such as "my mum gave a hand job to a mystic" could go unnoticed by an inattentive audience; every exchange has a hidden reward if picked up on. There are of course obvious jokes throughout, however the true comedy is found in Oliver Tate's voice over and interactions.

Casting Craig Roberts as Oliver Tate was a masterstroke and much of the film's success is based on his performance. The imaginative and peculiar schoolboy analyses everything, often conjuring up fictional events which parody mainstream movies. In one such hypothetical situation he sees Jordana (Yasmin Paige) by the shore and runs to her, meanwhile his narration explains that it isn't her standing there, a stranger turns around.

Submarine is a simple coming of age story, without the solid plot of the British film veterans. A little slow paced on occasion, it could have done with an extra thread of story. In essence the narrative follows two strands, the relationship between Oliver and Jordana and between Oliver and his family. Trying to date Jordana and reignite the spark between his parents isn't a small task, not that that fazes Oliver.

Submarine is devilishly funny, a true gem and I hope it doesn't stay under the radar of most cinema goers for much longer.

I'm surprised by some of the rave reviews of this film. It's good in parts, and I suppose I quite enjoyed it, but it's not a film I shall want to watch again. Which is surprising, because I generally quite enjoy subtle comedies, especially when they involve themes of teenage angst or coming-of-age.

Craig Roberts impressed me. I haven't seen him before, but I though he made a good fist of a pretty uninspiring lead character. Others seem to have found Noah Taylor and Sally Hawkins to their taste, playing the protagonist's parents, but I found them dull and uninteresting. Maybe that was the point, but if so, it passed me by. And the Paddy Considine character (the mother's weird ex-boyfriend) left me cold, I'm afraid.

I found myself comparing it, as I watched "Submarine", with Bill Forsyth's brilliant "Gregory's Girl", made some 30 years earlier. Both films are made from the young male's point of view, with very similar themes of real teenage awkwardness, that feeling of trying to find one's way into an adult world without really understanding it, subtle British humour (this in Wales, that in Scotland). But there really is no comparison: "Gregory's Girl" has stood the test of time, and I still enjoy it. I doubt somehow that people will be remembering "Submarine" with the same fondness 30 years hence.

It's not a bad film, and I think Richard Ayoade shows promise with his directorial debut, but for me, it's eminently missable, I'm afraid.

We had the pleasure of seeing and listening to Richard Ayoade in person at last night's screening at the Glasgow Film Festival.

I am normally a bit scared of coming-of-age movies, mainly because of potential cheesiness and annoying child actors but Submarine managed to an accurate, funny portrayal of the hell of teenage UK school life. There were some slightly Adrian Mole-esque moments but that's not a bad thing.

The audience at the screening seemed to think that the whole thing was a rip-roaring comedy and laughed at points which were obviously supposed to be more poignant or sad. Overall, however, the tone is one of wry comedy at the horrors of growing up and even subjects such as brain tumors & divorce are treated as lightly heartedly as possible.

Don't be put off that Ben Stiller's production company was behind funding the film - it has nothing in common with a Hollywood teen movie. One of the best British films we have seen.

The films about this problem are becoming uncountable. You can't say that those movies have high ambitions all the time, but which one has.

Oliver is 15 in the beginning of the 80s. He's very intellectual and very precise in his comments about the world, which is not uncommon among film teenage virgins. But he meets this girl and since he is anyway just 15 when it comes to emotional maturity, there are problems.

But these problems are mirrored against Oliver's parents relation difficulties. That puts the movie to several levels at the same time, which is hard to accomplish, and the director doesn't succeed here. Charming film, but it's making things too complicated for itself.

"Submarine" is Welsh. It opens, at least in North America it does, with a letter from its protagonist (Oliver) to Americans; educating us that Wales is a country located next to England. Although thankful that America has not yet invaded his country, Oliver informs us that this is an important film which we should treat with the utmost respect.

Don't worry, it's okay to laugh; you're supposed to. This is a teen coming-of-age comedy. Oliver Tate (Craig Roberts) is like a young, Welsh hero of a Wes Anderson film. Gangly and awkward he struggles with popularity in school, but when he imagines his own funeral, the entire country mourns. He bullies one girl to try and impress another but then writes a long letter not so much repenting his guilt but teaching her how to be cool. The dialogue, like Oliver, is precocious but hilarious with a surprisingly fresh feel considering how tired the genre has become.

Oliver tries to win the girl and become the best boyfriend in the world, and he also has to be the best son in the world to save his parents' marriage. In both adventures, he uses psychology books (usually found in routine searches of his parents' bedroom) to ensure his actions accurately reflect his intentions. If you can guess how his plans may go awry, then you are the right audience for this very funny film.

His father, Lloyd (Noah Taylor) is a depressed marine biologist, while his mother Jill (Sally Hawkins) is inappropriately attracted to their neighbour, an old boyfriend of hers. He's a mystic, theatrical performer, and Oliver and Lloyd are the only ones that see it for the nonsense that it is. Lloyd is like a grown-up, Welsh hero of a Wes Anderson film and I loved how they included the father of the protagonist as a main character and showed that although he was more mature, still not any more in tune with the ways of the world around him.

It has some slightly dark twists, but "Submarine" succeeds because it never lets up the humour or the quirky tone. Funny? Yes. Important? No, but I certainly get the joke.

I feel as if I've seen 1000 indie movies about very "special" teen boys, their odd parents, their loss of virginity, their self-involvement, with pop music soundtrack over inevitable scenes of them walking alone on the beach/city street/park. Yadayadayada. At least in this case it's not the filmmaker making a self-congratulatory semi-autobiographical film about how "special" he was (so special we have to see a film about his very special specialness! Oh joy.) The problem with all those films is all the boys are is: self-congratulatory, self-involved, cruel, clueless, irritating, average, and not nearly as "special" as some parent or progressive school(or for that matter, executive producer) told them they are. Whatever lesson was allegedly learned here in this version of that clichéd tale was undercut by the very last scene, so there's no moral redemption for this boy's casual cruelty, crimes, and other offenses against people. The whole thing felt misogynistic to me as well. So it's episode 9999 in The Squid and the Art of the Submarine, or whatever, and please save me from the next episode. Note to wannabe filmmakers: I don't care about your first sexual experience! I don't! Not even one little bit!

The best movie I have seen this year. Whilst I'm sure more in depth reviews will find flaws I was completely won over by this film.

Great writing, genuinely funny. For me , very evocative of an English childhood. Super performances from the entire cast.

Hilarious turn from Paddy Considine (he is never in a duff movie!).

I think this small budget movie deserves to become a DVD cult hit.

Very entertaining.

As a rule I don't buy DVDs as they sit on the shelf for years before a second look.

I will be making an exception for Submarine.

Bravo!

I have to confess that this is the type of film that I always tend to warm to. If you are into off-beat films then Submarine should be a film that you make time to see at the cinema.

The film follows the growing pains of Oliver Tate (Craig Roberts) who is a rather awkward teenager at school. He is the lone child of a dysfunctional marriage between Lloyd and Jill. His mother is on the brink of an affair with a former lover Graham which Oliver vows to stop. Oliver is also trying to lose his virginity by his next birthday and is lusting after Jordana (Yasmin Paige) at school.

I'm of an age where I saw Gregory's Girl as a teenager and this is very much in the same mould. Tate and Paige are excellent and the film is very nicely played by all involved. There was a couple of excellent dream sequence scenes and it was enjoyable throughout. Although I could relate to Oliver throughout I wasn't wholly convinced about the conclusion of the film. Maybe I'm just a heartless old cynic nowadays though!

I had the pleasure of seeing this film at The Toronto film festival a few nights ago and I absolutely loved it! I had no expectations going in, since it was the directorial debut for Richard Ayoade. He did a wonderful job with this film. It was beautifully shot and directed and the cast, although unknowns to me were unbelievably good! I didn't understand a few jokes since I didn't understand a bit of the British humour, but most of the jokes were universally understandable which is great. Overall I gave it a 9 out of 10 and I can't wait until it gets distributed worldwide so I can see it again. I hope Richard Ayoade starts working on another film soon, because I'm excited to see what else he can do.

NOTE: This film was recommended to me by Rachel Davis for "Steve Pulaski Sees It."

Richard Ayoade's directorial debut Submarine is so close to being a Wes Anderson film that all it's missing is the polish. By polish, I don't mean Ayoade's film is sloppily constructed or poorly shot, but unlike Anderson, who emphasizes heavily decorated sets, immaculate symmetry, and astute framing, Ayoade emphasizes a more natural and intimate style of filming. Ayoade works to emphasize character facial expressions, in addition to his characters becoming sole subjects of a scene as they discuss the film's events or narrate certain parts in a manner that breaks the fourth wall.

The result is a quaint comedy-drama that unfortunately succumbs to its identity crisis and its desire to try and find a path before it figures itself out, much like its main character, Oliver Tate (Craig Roberts). Oliver is a fifteen-year-old boy living in Swansea, with a crush on his cute but ordinary classmate Jordana (Yasmin Paige). The two wind up going out after Oliver's passes result in defeat on Jordana's behalf and acceptance after her own attempt to make her ex-boyfriend jealous failed. Oliver is also concerned with his parents' disintegrating marriage when he notices his father's (Noah Taylor) increasing disconnectedness and his mother's (Sally Hawkins) brewing relationship with a new-age guru (Paddy Considine) that she dated back in school.

Oliver is very demanding and blunt, with a desire to use people in his circles as pawns for his greater good without even really knowing it; he takes "having all his ducks in a row" to a new level. He's not necessarily evil, he's just never really been told "no" or been let down in his life until his relationship with Jordana begins going south beyond his control. His intents are not malicious, but his conception of boundaries leave a lot to be desired. Having said that, the relationship he crafts with Jordana throughout the course of the film is a precious one, as is much of the film (until heartbreak begins setting in, and Oliver begins writing notes to himself that will make anyone who has went through heartbreak shatter a bit inside).

Submarine is crafted in that indie movie light that emphasizes the quirky and the largely improbable or eccentric. This is the kind of film that requires your suspension of disbelief more often than its filmmakers would like to admit. Going back to Anderson, his films largely work because of the whimsical world they create. In films like The Royal Tenenbaums and Moonrise Kingdom, we get the sense that the verisimilitude Anderson crafts is meant to exist in a fictional realm of reality, where things are unrealistically beautiful and painstakingly decorated, not exactly the world in which we are currently. Anderson is also an anomaly because he can do this without asserting the presence of the world he creates nor really emphasizing that we are leaving the world we live in to inhabit a new land.

Ayoade's biggest struggle is not really being sure how to capture Oliver's unpredictable behavior, and in turn, how to communicate its direction to the audience. Is this supposed to be a satire on the absurdity of coming of age films? Is this supposed to be an all-out parody, or sort of a "teens do the darnedest things" episode? Ayoade isn't exactly sure it seems, and as a result, neither am I. The Oliver character isn't grossly unlikable, but he's not a particularly strong or convincing protagonist, despite Roberts doing some strong work as an actor in terms of the copious amounts of dialog he needs to recite within the scenes. However, the monotone nature of the film lacks any kind of justification as to whether or not we're supposed to feel glum during the course of this film, or at least recognize the film channeling morose themes of love and early onset disillusionment.

When a film's intentions and themes are muddled, the only thing one can do is spitball, and that's what Submarine requires - a lot of spitballing and contemplating in terms of what it's trying to say and do. The film is heavily reminiscent of later works like Me and Earl and the Dying Girl and The Perks of Being a Wallflower in that it belongs to the category of, what I call, "neo-coming of age," where films are bent on quirks, eccentricities, and heavily scripted dialog in the form of lengthy monologues and precocious characters to appeal to the kids who aren't as likely to speak first in class or completely go unnoticed all together. For a soul as quirky as Ayoade, who did some brilliant comedic work in the British Television show The IT Crowd, I would've expected, yes, a film with more polish and direction. The film's humorous moments and grin-worthy sequences only go so far before we realize that the circumvention we expect from a film is missing and traded for an endless game of connect the dots.

Starring: Craig Roberts, Yasmin Paige, Noah Taylor, Sally Hawkins, and Paddy Considine. Directed by: Richard Ayoade.

Submarine is a cute quirky film that seems to be very overrated. I am a sucker for a coming of age film so I probably enjoyed this more than most. Craig Roberts is great as the quirky and insecure Oliver Tate. Just a regular kid with regular parents living in Wales. The style of this film is interesting and funny, similar to Wes Anderson. The plot is what you might expect, Oliver is not interested in school but is interested in a mean classmate..Jordana. Jordana is one of those girls who treats men with contempt and she does that to Oiliver but eventually he gets sex and is happy to have a girlfriend. Eventually however, he starts to notice that his parents are in the middle of a marriage breakdown and becomes obsessed with trying to stop them from breaking up. While funny and a bit tender (sad to see a child ever worrying that much about things) the entire plot just stops on a dime so you get the feeling they didn't have an ending for it. In the course of this he manages to lose his desire to be hanging out with Jordana just at the time she needs him most and generally is a jerk. I couldn't really enjoy the story because the main character does turn out to be quite a selfish jerk with a nice face.

This was Richard Ayaode's directorial debut and he has done a very good job of adapting the novel.This film perfectly suits his style of humor.Craig Roberts is very talented and plays this role of dark teenager very well. Acting - All performances were good. The psychic was hilarious. The boring dad, tempted mom, crazy bullies. Music- The songs chosen were terrific and I listened to all of them after the movie. Cinematography - This is where the movie shines the most. Beautiful beaches and waste factory areas are excellently captured. There are many scenes that stand out like the bathtub scene.

The movie like a movie is divided into 4 segments and its like the main character is watching his life as a movie himself being the narrator.This puts an interesting perspective to the viewers.

Though some characters may not be likable, it adds to their dimension unlike romcoms where all characters are one dimensional. In the end it was enjoyable but , it may not be everyone's cup of tea.

Being so far away from my school years that I remember Betamax video players and a world without Instagram, I'm not that into teen love stories, but I was more than happy to give 'Submarine' a try, based on the fact that it was directed by the (awesome!) Richard Ayoade (best known for the 'IT Crowd'). And I really enjoyed it. In fact, I bought the DVD, but have only just got round to watching it a second time again. Oddly enough... I wondered what I saw in it the first time round.

It's set in the eighties (some may call this a 'period piece' but it basically sums up the world my childhood was set in) where a teenage boy struggles with growing up. Or rather he struggles with his own inner demons surrounding what plagues many boys of that age... girls. He's fallen in love with a girl in his school and he basically has to come to a way of winning her over, while dealing with his parents possibly having marital difficulties.

So the plot is hardly original and, don't get me wrong... it's not bad. The direction is very good - I believe the term is 'meta' where the characters sometimes talk directly to the camera in scenes where the protagonist theorises on what may or may not be happening. And, although there are plenty of good lines here and there which will make you smile. Plus, if you're like me (i.e. of a certain age) you will enjoy seeing the world before smartphones. However, what didn't seem to gel with me this time was the two leads.

I found them both a bit unlikeable. They seemed so wrapped up in themselves that I found I didn't really care whether they got together and lived happily ever after or not. Maybe I've just got even older and I'm finding even less in common with the younger generation (even if the younger generation in question are the ones I grew up with!). Overall, I - sort of - enjoyed it the second time around. Like I say, it's very well directed and Richard Ayoade definitely has a future ahead of him if he ever tired of fixing computers, plus I did laugh here and there, but I probably won't watch it a third time.

This movie was a pretty darn funny movie. The characters did seem pretty realistic and the acting was all good, I thought the things it said about human nature were intesting and I enjoyed it a lot. I feel that having the characters be flawed even the ones your supposed to like was an very cool choice making it feel more like real life. The movie was very heavily stylized and sometimes it looked really nice other times it was a little distracting. The movie all around was an unexpected gem and knowing nothing about the movie going in I came out with a positive feeling on the movie. 7/10

Don't watch it, no entertainment in this one, no fun. It may look artistic and relatable to some philosophical folks, but it ain't amazing man. It's not worth a watch. The only thing I liked in watching this movie was my decision to turn it off after 57 minutes. Thank you.