I’ve discovered that most critics themselves are cinematically illiterate. They don’t really know much about movies. They don’t know the history. They don’t know the technology. They don’t know anything. So for them to try to analyze it, they’re lost. But your friends usually know what they’re doing and they can critique the technical side of things to say, “This doesn’t work. You know, you’re putting the cart before the horse.” This kind of stuff. And then the rest of it is what you like, you know. It’s personal, you know. It’s in the eye of the beholder. You know, “I like this movie. I don’t like this movie.” There are a lot of movies that are badly made that I love, and there are a lot of movies that are just beautifully made but I don’t like them. And critics have a tendency – that’s all they focus on, which is, “I like it. I don’t like it. It’s good. It’s bad.” And it doesn’t work that way, and so you really have to not deal with that part of what happens. It’s the same thing with the audience. You know, I’ve made some movies that have — ten people have gone to see. Nobody wanted to go see the movie. And some films that the people went and saw them didn’t like it. Probably, you know, maybe a half a dozen of us actually liked the movies, but that’s fine. If I like it, then I’m happy with it. And you have to sort of accept that no matter what. If nobody else likes it. You’re not going to stay in business, the business of making movies very long because you need the resources in order to keep going. So you have to try and find a niche audience or some kind of audience that has the same likes, dislikes and aesthetic sensibilities that you have.