So a lot of younger would-be film directors started to come and hang out, because I had an office at Warner Brothers. I had directed Finian’s Rainbow when I was like 23 or something, and pretty soon all these kids — some of them my age, some of them a little younger — started hanging out with me. I had a little money, and I had a lot of ambition to set up a group, a company. So that’s when I met George Lucas, of course, who was younger, and then he had all his friends. Ultimately, it became kind of this gang of young filmmakers who really were friends and hung around together. The key thing about film students at that point is we all wanted to work in 35 millimeter. Film students were junkies for equipment. So suddenly I had penetrated the Hollywood studio, and due to very funny circumstances, which is that the company I was with, which was Seven Arts, had bought Warner Brothers. So for a while, no one knew who was running it, so I sort of had the keys of the whole studio, as though we suddenly had Warner Brothers. And we walked around and talked about, “We’re going to get animation going again.” Before I know it, there were all these guys coming there, and we’d talk about it, and that’s when I met people like Carroll Ballard, and George Lucas, and John Milius, and Phil Kaufman, I remember, and Brian Da Palma, and later, Marty Scorsese. They were all like a few years younger. Then we really decided we were going to be independent, we were all going to move to San Francisco, and we did. And that company produced some of those people’s first films, George’s films and what have you. I had always wanted to be part of that type of artistic scene like you hear about in Paris. What might have it been like to be there? There’s Hemingway in the Ritz Bar, and F. Scott Fitzgerald, or Sartre, and these wonderful people. When we were there (in San Francisco), broke, trying to figure out how to pay for anything, little did I realize that in effect, that’s what that was. That all those people were to go on and become wonderful artists and stuff. But then, it seemed like we were just a bunch of young people who wanted to take over the movie business. And in a way we did, but in a way we didn’t, because we really wanted better things for it than what really happened.