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You are waiting for a role to come. It is coming. [music] It is written for you. You are being prayed for the series to be successful, and it is successful. You say, "I hope they write for you." They are writing. You say, "I hope they don't kill me this time," or "I hope they don't remove me." This can happen in any role. A man who has torn Eleni away from her mother, from her family. He is actually doing these things for love. Would you go this far for love in your life? >> No. >> Uh-huh. I wouldn't. I mean, he thinks he's doing it for love, after all. >> Uh-huh. I think he doesn't know what that feeling, that concept is. >> Some people say, "I cursed just last night, and now you're in front of me." They say, "I cursed just last night on the plane, but honestly, and so on." But the most interesting thing is. [music] [music] [music] [music] Our guest this week is Aytek Şayan, who will overflow this sea. Welcome, Aytek. >> Welcome. >> How are you? >> I'm fine, honestly. How are you all? >> We're good. Seeing you, I'm honestly better. >> Same here. >> We've been talking for a long time, but you'll come from Trabzon and go. You squeezed in filming and holidays. We see it on social media. >> But shall we start from the very beginning? >> Now, this isn't your first YouTube program, is it? You've only participated in one-on-one. >> Yes. This is my first. >> And you're excited. >> I'm very excited. I'm doing it to get excited. >> I always get excited when I see a camera. >> Oh, come on, stop lying for years. >> Okay, now I looked. Of course, you've done a lot of work, but there isn't much information about you. I'll proceed step by step by asking about what I've found. First of all, you're from İzmir. >> Is that correct? Are you from İzmir? Are your parents from İzmir? What kind of family were you born into? Shall we start by getting to know you from the beginning? I am from İzmir. I was born and raised in İzmir. However, I left İzmir at an early age and started university. I studied a lot at university. My university studies took a long time. My mother is from Düzce, and my father is from Balıkesir. We are Circassian. I generally say, "Hello, I'm Aytek Şayan, I'm Circassian," because people say, "What a strange name, Aytek." For us, it was a name like Ali Ahmet. >> Uh-huh. >> So, what did your parents do? My mother was a housewife, and my father was a lecturer, an academic. >> At Ege University. >> How many siblings are you? >> We are two siblings, but I grew up in a very large family. Because our summers were spent at my maternal grandmother's house in Düzce, playing ball under the fruit trees and so on. It's just like the old stories told. We actually grew up with six cousins together. Of course, with the other children in the neighborhood. So, I grew up feeling like I was from İzmir and from Düzce. Then I went to university. I studied at the Faculty of Veterinary Medicine in Bursa. I think the Faculty of Veterinary Medicine is a place where you can encounter many different profiles of people and encounter many different things due to its course content. I became a bit of a Bursan. Then I went and studied for 9 years in Ankara. I lived in Düzce in between. Now, have you finished veterinary medicine? [clears throat] I dropped out in the 4th year. When I started the 4th year. >> Why did you drop out after coming this far? >> It was 5 years. I had to study the 4th year too. >> So you dropped out in the middle. Again, >> it happened like this. I >> why did you choose veterinary medicine? >> Thanks to my father. >> Did your score just reach there? >> No. I actually applied for veterinary medicine with a very large score difference. My father is an academic, his field is animal nutrition in agriculture. >> Ah, so he influenced you. >> He's been talking about veterinary medicine to me for a long time. Even when we talked about veterinary medicine, anyone who passed the threshold could get into veterinary medicine. But he used to say, "Look, I go to conferences abroad. In the future, people will quit their jobs and focus on cats and dogs. This will become very popular in Turkey. Women will also start to prefer it. Scores will rise significantly. I don't know exactly now, but I think it's in the top 5 in terms of high scores." >> Yes. >> So I went and studied veterinary medicine. I applied with a very high score difference. I applied with a difference of about 4550 points. >> So what happened in the 4th year that you dropped out? By the way, I went to the faculty with a score difference. When I arrived, they welcomed me as a hero who came for veterinary medicine. I didn't even hold the scalpels in the anatomy lab. I was more interested in solving the problems of the anatomy lab. I did student representation and so on. Then, as soon as I started, I immediately joined the theater club. >> Ah, that's where it started. Good. >> Before that, something happened. My literature teacher was a very sweet woman. And she noticed things in me. I was trying to write poetry and short stories in my room. I even tried to write a 60-page novel at the age of 13, inspired by Yakup Kadri Osmanoğlu's "Yaban." >> And she noticed that and gave me 20-25 minutes of class time once a week, saying, "Go on, do something." That motivated me a lot. Then I tried to do it in high school. When the theater club was first established, our physical education teacher said, "You have to go to the May 19th demonstrations." I started in the lead role, but ended up as an assistant lighting technician. My friends and father said, "See, this isn't something very serious." It was destined for university. As soon as I went to university, I found the theater club. There, I studied acting at Bilkent. I'm very grateful to all my teachers and everything there. But what I truly found myself in, and what I think is very important for theater in this country, are university theater clubs. There, we experienced a different world through festivals, Boğaziçi, Ege, METU, and we learned and loved this work. I loved myself too. I was with my friends. >> Okay. You dropped out of veterinary medicine and went to Bilkent in Ankara to study theater. Did you finish that? Of course. I finished theater. Uh-huh. >> Uh-huh. So you have two universities, right? >> Yes. Then I did my master's. >> What did you do your master's in? Where? >> I did it in acting. Thesis-based. >> Did you do it at Bilkent again? >> No. I did it at Haliç here, in Istanbul. >> Haliç. So what did your father say then? You suddenly came to the end of the line and said, "I'm going to be an actor, I'm going to Ankara." >> It happened like this. I came to Istanbul for a year without telling my father at all. I tried to get a feel for things here, to understand the environment. All my friends too. >> How? Your father thinks you're there in Bursa. >> While he thought I was in Bursa, I came here for a year. >> You're hanging out here. >> I'm not just hanging out. I'm running around, trying to survive, trying to learn things. Then I returned. My father had undergone goiter surgery. They said you won't be able to speak for a day and a half. My mother said, "This is the perfect time." >> You confessed while the man couldn't speak? My mother said, [takes a sharp breath] "Yılmaz, I've been in Istanbul for 8 months." >> [laughter] >> Thanks to my father, he couldn't say anything at that time, but that's the real story, it really happened like that. The funny part is, but when my father saw me with the theater club on tour from Ege University, along with the theater club from Bursa, and then we used to have discussions about the play, and when he saw how people thought of me, I think he started to be convinced. After that, he was always fully supportive. >> When did you start for television for the first time? >> I think it was 2014. It was a project called "E 46." We did it for Star TV. We did a 45-minute episode then. When everything was very long. With Erdal Beşikçioğlu. I met him in my second year while studying in Ankara, and then I did theater with him for 6-7 years. >> Uh-huh. Before Tatbikat Sahnesi >> Before Tatbikat, there was a place called Stüdyo, where we did it. >> Yes. >> Then we took a break. With a team led by him, of course, at Tatbikat Sahnesi, we founded it together with about 6-7 friends. So, how would you describe yourself? We see you on screen, we know you from your work, but if you had to describe yourself, how would you summarize yourself to us? I have many dreams related to my work, and I would probably explain myself through my work rather than just as a job. This sometimes saddens me, this actually. >> I mean, I've traveled to many cities for work that I love very much, and I have friends I've met from those cities. I actually see myself a bit through my friends. I have very good friendships. I still see them after 20 years. Someone who loves his friends very much. And trying to maintain that, while also having many dreams about work and being very serious on that path, that seriousness sometimes tires me. I define myself as a man who tries to leave a lasting mark by producing something in theater and in the field of art. >> Is there anything about yourself you'd like to change? >> I'd like to relax a bit more. I mean, a bit more. >> I think especially with my work, I can sometimes achieve that. I don't judge myself much. I judge myself. I criticize myself a lot sometimes. When I watch something I've done, or when I haven't done something, I'd like to leave that part a bit more relaxed, honestly. So, in your life, is there a moment when you said "it's over" and then started again? I don't really say "it's over." >> Honestly, there's no moment I've said "it's over," but I really love the struggle. My nature regarding struggle is like this: >> I hope everything doesn't come to me easily, step by step, through my efforts, so that I can appreciate its value. >> My life has indeed passed that way. [laughter] That's why there's never been a moment I've said "it's over." So, what's your most interesting trait? >> Well, from what I'm observing here, I have many interesting traits, but perhaps the most interesting is my mood swings, which I just described. >> Uh-huh. How so? I change moods quickly. I mean, >> one moment I can be very happy, and the next moment I can be lost in thought. >> Uh-huh. >> I don't know, honestly. But this has seemed interesting to my friends, and it came to mind because they observed it and told me. >> So, how many years have you been doing this job? >> [mumbles] >> I differentiate between doing it professionally and doing it as a hobby, but for me to count the years and say "I've been doing this for X years," I'm not doing it for that reason, but I've turned 41. I've been doing this job seriously for about 20 years, since I was 21. >> So, in your opinion, what's the biggest injustice you've faced in this sector for 20 years? >> I think it's this: No one is curious about what the younger generations want to do. >> Uh-huh. >> They're not curious about what young people want to do. That's why the biggest injustice I see is the absence of a person or an institution that says, "What do you think?" or "What do you want to do?" or "There's a space for you." I think we are in a system where we try to adapt to what is given. And that makes everyone struggle a lot. >> So, if you could change something in the acting world, what would you change in this sector? >> Education. >> Uh-huh. >> I think we have an education system that has become very alienated from our own culture. Of course, not everyone becomes an actor through education. I'm not trying to make such a distinction for myself either. In fact, I used to try to tell everyone to read. Now, when someone asks, I don't say that either, because I was lucky in that regard. But you can get lucky and encounter a good education. I would like to change the education system. I would like to change the perspective in that regard. But it's not just one point. However, looking at the path I've taken, the biggest problem is that we always try to build a career or a path by looking through the eyes of others. That's why I would like to change the education system. >> So, do you think you are a leading man? >> I don't know. If you tell me exactly what that means. >> Uh-huh. >> I mean, the one who sits at the beginning of those series. >> I don't know, if I were, perhaps it would have happened by now. >> I don't think so, probably. When I say "I don't think so," I really don't think about it. But there are people, friends, who tell me that sometimes. I think they say it to motivate me, but I don't look at it from that perspective. I really don't look at it from that perspective. You've generally played villainous roles. I mean, what we can call "villainous" in quotes. >> What do you think is the reason? Do you think you have a physically villainous appearance? Or do you choose these roles? >> I said it earlier. >> Because, for example, you look stern. Sometimes you become stern. You're looking stern right now, for example. >> Yes. I looked, and I wasn't aware. >> Yes. Look, you change when you smile. You change when you look stern. Is it because of that look and physical appearance that you seem villainous? >> I think it's related to the questions you asked earlier. I mean, no one coming from below, it's also related to these stories. I never forget, a very famous actor friend of mine, when I told you I came to Istanbul for a while, said to me one day, we were sitting somewhere, and he said, "Look, you'll never be able to play a leading man, you know?" I said, "Why would you say that, brother?" He said, "There's a math to this business," and something like that. I still don't understand what he meant, but I guess there are certain molds. >> Uh-huh. >> Things are written according to those molds. I mean, we, the audience on television, want to see something here, want to see something there, and so on. >> I understand. Physical molds are also set. For women, for men. >> Fate is also set. I mean, when someone starts writing a story, I don't think they write it considering those molds, but when it comes to selling, I guess everyone starts thinking about those molds. >> For example, I think the biggest advantage of the work we are currently in is that. I don't think anyone is cast according to those molds in our work. >> That's why I feel lucky. >> But these molds exist. We are in a system where "the audience wants this." I don't really think that way. >> The value we give to what we want to tell in the story affects the choice of actors. When the director, producer, everyone comes together, they look at it from one perspective. Sometimes you come across projects that, if you look at the history of television, every project made with such care has become unforgettable. >> Uh-huh. Despite that, a different system seems to be operating in general. >> So, were you always liked by women? >> I was liked, but I didn't think of it as physical. Not physically. Not male or female either. Generally, I have a joke that I'm famous or not. I was always famous. >> I was famous in my neighborhood, in the housing complex. >> Uh-huh. >> That's because I always had very high life energy. That's why I was always something. >> Ah, you shine in any environment you enter. >> For example, when I lived in the housing complex, I used to organize my friends. I used to organize the end-of-year performance. Also, I studied at Anadolu High School. We studied together from age 11 to 17. >> Uh-huh. >> We grew up together. Just the other day, I came across our yearbook, which we wrote when school ended. In it, they wrote about me, "Your father wants to make you a veterinarian, but we know you'll be an actor one day." So, yes, that's what I was going to say. I think, you know, the physical aspect of the question you just asked is not as strong in me as the other aspect. >> I mean, my love for living and living it with enthusiasm. Looking at Piction, for example, you've had many projects before, as we said, but with this project, you've started to be found sexy. Okay. "Sexy man," "sexy villain." Do you consider yourself sexy? That enthusiasm, that libido, is already there. I generally feel good about myself. >> Uh-huh. >> I try to feel good. If I don't feel good, I put on some music and feel good again. >> Are you in love with someone right now? >> Yes. >> Good. Good. Is it going well? Is everything for her? >> Yes. >> What kind of lover are you? >> Well, you'd have to ask the other person, but I'm passionate. >> Yes. All of it is there. >> Good. So, what's the fastest thing that turns you off in a relationship? >> Well, if I feel that we're not listening to and understanding each other, because then one person tries to put the other into a mold. It happens. I feel that way. >> The moment I feel you're not letting me be myself. >> So, do you have a definition of love? Uh-huh. >> I think if it's the first thing that comes to your mind when you wake up in the morning, and before you go to sleep at night. >> You're roughly in love. >> So you say it has happened. Good. How much of a social media person are you? >> Very little. >> Very, very little. I'm very little of a social media person. I use Twitter/X a lot, but mostly for news or to follow art-related things. But thankfully, with my other friends from the series, who want to help me with social media, I'm trying to use Instagram a bit. >> Do you have a fake account? >> No. >> No. So, do you receive indecent proposals? >> What? Where? >> From Instagram. >> I don't think there's anyone who doesn't receive them, who is in front of the camera or visible. Regardless of gender. >> What's the strangest offer you've ever received? Did you ever say, "Wow, this is too much"? >> We've seen too many. >> So many things have come. I mean, your question is making me laugh because it's at least as dangerous as those offers. >> I mean, "Let's get together" is already strange enough. >> Uh-huh. Uh-huh. >> So, would you have a chance to meet someone from there and fall in love? >> No. >> Or are you closed off? Is a physical encounter important to you? >> Yes. >> That electricity and chemistry. Yes. Yes. I'm not familiar with everything there anyway, but >> sometimes you come across it, but it's very difficult for two people to experience something without meeting face-to-face. >> And there's also this situation with actors. You're always in the same circle. I don't object to people meeting on social media. >> I mean, I think it's very normal, especially in this era. But I'm probably not that kind of person. >> So, what phase of life are you in right now? >> I think I'm in one of the best phases. >> You know, if what they say is true, I'm in my 40s. My best years should be starting. >> Yes. >> And then, a good project came along related to my work. >> That's why it's actually a good, beautiful phase. >> So, what's the biggest lack in your life right now? I'll say money. [laughter] More money, and so on. >> That's absurd. That's not the lack right now. >> I mean, I think in everyone's life, at some point, there's a situation where >> economically, I think when people feel more comfortable, life is better. I'm saying this because I feel that right now. There's no big lack in my life. >> Uh-huh. >> But still, it's possible in the geography we live in and in this profession. Because it's a business, one way or another, economic values are the biggest destabilizing factor. That's why I wish everyone luck in that regard, not just myself. >> Of course, because if a project is successful, if it's not, a year of your life is gone. >> Tab >> Then you wait for a new project. >> Actually, it's not as easy as it looks from the outside. >> Of course. >> It's not a glamorous life. I mean, >> now, young people who want to become actors >> when they watch you, they think, "What beautiful lives they have." >> Right. >> He goes there, he acts, he earns a lot of money, and fame comes, and so on. >> He, everyone shares their best moments on social media. The best moments are already filmed for the series. But this job isn't like that. The hardest part of this job, I always say this. You wait for a role to come, it comes, it's written for you. You pray for the series to be successful, it is, you say, "I hope they write for me," and they do. Then you say, "I hope they don't kill me this time," or "I hope they don't remove me." This can happen in any role. >> Managing this psychology is very difficult. That's why when someone talks to me, I appreciate myself for being able to manage not to care about it for myself. Of course, I struggle a lot sometimes, but generally, even if it's cliché, I think it's a journey towards oneself. It's an experience. When you step outside of it a bit, you say you enjoyed it immensely, with its excitement and sadness. But keeping this psychology alive is so difficult. It's not an easy thing. >> Not financially or emotionally. >> So, "Taşacak Bu Deniz" continues. Is there any theater? >> I don't have a play I'm acting in this year, but a few questions ago, when you asked what I felt was lacking in acting in Turkey, I'm trying to do things for myself. It's not just related to acting, but also to theater. Last year, I had a play at Dasdas. >> Thankfully, we valued each other very much. Both the general artistic director there and Mert and Fırat. [mumbles] Then I had a project I'd been thinking about for years: the Short Plays Festival. I mean, 20-minute plays, not like theater plays, but we can call them performances. My aim was to create a concept called "Shorts." Because one of the most neglected things in Turkey is performance artists. And "short" aligns with today's values and many things, and experiencing plays under 20 minutes would be an interesting thing, I designed it and told it to people for years, but we were able to realize it with my friends at Dasdas. They sponsored the venue for me, and they were also part of the think tank for this idea. Together, with very valuable people, we developed it, and last year we organized the Short Plays Festival. >> 160 plays applied, and we staged 62. For 4 days, 13 plays a day, 4,000 people attended the festival. They watched, and so on. We also managed to produce three plays, three stories by women, by pushing our limits. >> Hmm. Now, Dasdas has kindly sponsored the venue again. Those three short plays are currently being performed at Dasdas. >> They are being performed. And "Taşacak Bu Deniz" continues. Şeref [clears throat] Fırtına. >> Yes. Exactly. >> Now, Şeref has forced Esma to marry him. >> Uh-huh. >> He has torn Eleni away from her mother, from her family. He is actually doing these things for love. >> Uh-huh. >> And from that perspective, would you go this far for love in your life? No. >> Uh-huh. >> I wouldn't. I mean, he thinks he's doing it for love, after all. >> Uh-huh. >> I think he doesn't know what that feeling, that concept is. >> The character. >> So, how do you code Şeref in your mind? Can you empathize with him? Are there aspects you see as justified? When you first start a job, they always tell you to describe the character. Now it's progressed. Most of those who are watching already know Şeref. At this point, what does Şeref mean to you? [clears throat] I can start answering that question like this. First of all, actually, I'm playing another villainous character again after many years. >> I really thought about playing another villainous character, but I'm lucky in that regard. I mean, with the team I'm with right now, both because of the script, because when we audition or go for a director's meeting, we don't have the whole thing. We have character analyses. And there can be many things said, but they don't materialize. I know from my experience. But from the first sentences we started building with Çağrı Hoca during the audition, and then within the atmosphere we created with the writers, I realized that it was something I wanted to experience from within. That's why I wanted to play it. First of all, I think the fact that Trabzon is in this project, that we went there, >> the fact that all the effects brought by that geography can be felt in the script is a big advantage. >> Naturally, we were able to build something together as a writer, director, and actor. I also thank them very much. Because they allowed me to add something to it. In fact, I was able to add these things because they made me feel it first, and I took it from there and ran with it. My concern is, I've been interested in what evil is since I was a child. I mean, both from what I've read and watched. I watched David Lynch films with my older brothers at the age of 13, when films were downloaded from the internet. Since then, I've been examining it from many angles. When I look at stories, when we started the theater club at the age of 20, when we read something, we look at the author, the author's era, their other plays, the character, the influence of the geography on them, the influence of sociology, other events happening at that time. >> Since I'm used to this, I also look at the character from this perspective: why is someone evil, and why evil? By the way, he is very evil. I don't find him justified anywhere. >> Uh-huh. >> But I know I have to think about where he finds himself justified. >> Because otherwise >> it's like he doesn't even cut evil bread, but he stabs it and puts it on the table for breakfast. It goes to a caricatured place. >> And here, the character wasn't like that. There were many sociological reasons, psychological reasons given to me. I tried to research them and incorporate them. But generally, I think my biggest advantage is my other friends. Because the preparation time for the series was short, many things came very quickly. But we have a team like this: we are next to each other, and when something comes, we start talking about it. "Shall we do it like this tomorrow, like that?" When we go to the set, even while the other scene is being shot and we're preparing, even while getting makeup done, we talk. When we enter a location, I always try to establish its relationship with the place. My other actor friends and I all try to help each other. With these exchanges, I'm trying to create something living in my own way. Actually, the story progresses like this for me. I forgot the question while talking. I spoke very fast. >> How would you describe Şeref right now? >> I would describe him like this. >> Thank you. Good. So, have you confronted the evil within yourself? >> It's not related to Şeref. Of course, in every situation. Did the villains open a door in you? I mean, after playing so many characters. >> Of course, it's not just related to these characters. There have been many moments in my life when I felt that. I tried to cope with it. For example, the feeling of jealousy. I mean, not just with your lover. That's the biggest thing. Because when you put effort into something, you deserve it. It's a career where you put so much effort into something, and you wonder if it's including you in this profession. Theater, the industry, is like that. >> I have confronted it and I think I've managed to control it by being with decent people. Of course, I've confronted it. I've confronted it in many moments. >> So, what is the place of revenge in your life? >> Because Şeref >> in these two families, there's a lot of revenge. >> I don't bother with it. I can't bother with it. I don't have that kind of thing. >> I just do this. I don't forget, and I don't get close again. If someone has done something to me, it's hard for me to forgive, but I don't try to get revenge. I can't. I can't bother with it. >> How are the reactions on the street? Very good. >> No one shouts, spits in your face. >> Wow. >> Some people say, "I cursed just last night, and now you're in front of me." On the plane, of course. "I cursed just last night, but honestly, and so on." But the most interesting thing is, one day, at a place we frequented, there was a sister working in the kitchen. She came running out of the kitchen and said, "Can I hug you once? No one is hugging you." >> Uh-huh. >> That was very interesting to me. In fact, with that maternal feeling, with Gamze, the actress friend who plays Şirin, and with Yeşim, who is like a mother to me, we think and talk about the relationship between Şeref, the son, the male child, and women, mother, lover, Esme. They also think, talk, and share. I think I've met many people who, as mothers, would say to Şeref, "Let me hug you." >> That was the most interesting thing for me. A sincere hug, as if by hugging him, Şeref would stop behaving badly. He would see that affection and >> feel like he would heal. That was the most original for me, and at the same time, >> I myself, you know, Şeref's biggest thing is manipulation. And as an actor, it's something I've tried, and I feel like I've succeeded. >> So, as you said, you've had theater and other projects for years, but with this series, there's been a big breakthrough. Do you think you're late for fame? >> I don't think so at all. >> Uh-huh. >> I wouldn't want it to be like that, but it's also something I'm a bit afraid of. It's not that I'm late. It's something I've always prayed would find me without me understanding it. >> Uh-huh. So, did you like being recognized? >> I mean, as I said, I was always known in my neighborhood, within a radius of two neighborhoods. That feeling, dealing with it, in adolescence, when you talk more in an environment you enter, or can talk, its impact on other male friends is different. I think I've had a lot of experience with where I should stand within that group. Fame is a bit like that, on a larger scale. [takes a sharp breath] But still, being constantly watched, or the cameras on phones now. I'm someone who talks and moves very freely in my private life. >> Having to be a bit more careful about that now >> is a bit difficult for me. For example, I experienced an example of this at Trabzon Airport. An airline company delayed the flight once, then again. Arguments are happening there. We see it, we don't go. I generally >> if a bus driver or someone is unfair to someone, I can't stand it. I don't even think about myself. I immediately find myself there without even realizing it. I specifically don't go. Then I went, and I said, "I have something to ask. Why? Can you tell me the reason?" While they were explaining about the conditions, the airline company next door was preparing for departure. >> Uh-huh. The airline company next door is saying, "We're preparing for departure." I said, "They're in the same place. Our captain decided this." I said, "I have something to ask. Why are you acting like we're not the victims?" Then that lady reacted in such a way that, as I was saying this, I turned around because I said. >> Were they filming you at that moment? >> I wasn't aware. And I said to myself, "Finish the sentence. If this story is going to be left to me." I turned around. Just as I was about to say that, they had filmed it and posted it as "He really got angry yesterday." But thankfully, I don't think anyone perceived me that way. >> But, you know, there's that disadvantage. And I think >> in the life we live, of course, it's a bad thing to be angry and try to get something from people. But >> friends, we can object, we can talk about something that is rightfully ours, both for myself and for you. Now, when it's normal, or rather, when it's not so visible, it's not a problem, but when it's visible, all these things can be manipulated, you have to be able to do that. >> Not just that, but your posture, how you sit, how you joke with your friends, the way you joke, all of it can be transformed into something else. That makes me a bit, you know. And it bothers me a bit. It shouldn't be like that. >> Aytek, thank you very much for participating. It's over. Congratulations. >> Look, I think the first program went well. >> I think so too. >> Lively. Honestly, [laughter] thank you. >> It was very good. It felt like the 100th program. >> After that. >> I'm experienced in conversation. >> Honestly, thank you for coming. I hope many more good projects will come. >> Our paths will cross. >> I'll definitely be waiting for you in the second season too. >> Thank you very much. It was a pleasure to meet you again. >> Me too. >> We wish everyone a good weekend. [music]