1:11:00 And then he would you know, the film was done all in sequence in that way. It took super long, but it's such I I think it's beautiful. I think it's a really poetic film, and it's, it's something that I feel like you could kinda make with, like, your homies in a camera. Like, you don't need you know, the cinematographer Christopher Doyle is brilliant and did some really brilliant stuff, but so much of it is set against, you know, the lights the neon lights in Hong Kong, which grounds it physically, but it feels like they would just go to a place, turn on the camera, and, like, shoot a scene. And they would sort of they were, like, crafting the film as they were going as opposed to being this other kind of molded thing.