It’s like an editor, you know.  You don’t just hand out the 16 or, let’s say — I don’t know, it’s way more — 300 hours of footage.  You edit it, and you re-edit it and you re-edit it, and you check with your editor and you check with other viewers to see how your original idea is being translated.  And I think that can be a really scary process for artists, because it’s like birthing this thing that nobody knew existed in the first place.  So, how can you tell me if it’s not good enough?  But there’s also this inner viewer, this inner more objective viewer that, if we’re willing to give it a voice, helps us become better editors and better refiners.  And that, to me, is part of follow-through. Part of follow-through is taking it as far as you can take it and saying, “Ooh. Is that what it wants to be?” and sometimes it’s yes.  Sometimes it’s no.  Knowing the difference, and being willing to do the next stage of work, the next level of work.  And it’s really annoying, but it’s the — I feel like — the most rewarding part of being an “artist.”  It’s like nobody can tell you it’s done or it’s over.  It’s never over.  The process is never over.  Art is never over.  And you’re never over, because through your art you’re continually reinventing yourself and regenerating yourself. I mean, “What is an idea?  What is the creative spark?”  Well, either you can take the approach that it’s something out there in the universe that we capture, or it comes from the residue of what we are and our experiences.  Either way, it’s a piece of yourself.  So we get this luxury of having permission to constantly refine and redefine ourselves, which is a luxury that actually everybody’s afforded, but I think most people don’t give themselves room to do that, you know.