Everyone around me had basically said, “You stink. You suck. You don’t know what you’re doing.” And I just — and I accepted it but then a little voice kept saying, “I don’t think so. I don’t think it can be that bad. I remember doing some pretty cool stuff with the actors in this moment and that moment.” And I looked at it and it was fine. So then I thought, “You know what, I actually can do this, and I just fell in with a pack of, you know, thieves and whackos here.” But I also realized that I was going to have to get busy and create my own thing, and that nobody would hire me after that experience. Nobody would hire me and just put me on a film. I’d have to create my own thing and hang on tenaciously to that in order to be able to direct again, and that’s why I wrote The Terminator. I had many, many people trying to buy that script, but I wouldn’t sell the script to them unless I went with it as the director. Of course that was a turn-off for almost everybody, but we did find one low-budget producer who was willing to make the film. That was John Daly at Hemdale, and that’s how I got my real start.