The way I did it was I came in through production design, which is good because you’re thinking visually, and you’re very aware of the director’s problems in trying to tell a story, and how the environment is, you know, a manifestation of the narrative in some way. And you know, I sort of proved myself as a production designer in the scrappy, stay-all-night-for-15-days-in-a-row kind of independent filmmaking that was done at Roger Corman’s place. This was in the early ’80s. And when they see that you have the creativity and the stamina, and that you basically understand filmmaking, it’s not a ridiculous leap in that environment to say, “I now want to try my hand. I want to direct.”