Well, you know, ultimately you look at these things. You look at these paths and these journeys you go on, and I think it’s up to you to find the value in them, ’cause there is value in all of them, even those that you would call, “Godsh, I shouldn’t have done that. I should’ve done that, I need to do that.” I did that, and I was there for three years. And it was an invaluable education. It was not a very glamorous one. It was a successful one, in that the show was successful for three years. It would’ve gone on, had I not begun to drag my feet so terribly and, you know, every night wish it ill. But what it did for me — besides learning a kind of facility with the craft of stepping in front of a camera, of learning dialogue, a facility that I didn’t have yet — is that I met Madeleine Sherwood, who was the actress who played Mother Superior. And I was so desperately unhappy. She said, “Come with me.” And at the end of the first year of The Flying Nun, she took me to the Actor’s Studio to meet Lee Strasberg, and that was a monumental change in my life. From then on, I would work in the daytime, in between The Flying Nun, and at night I would be at the Actor’s Studio in L.A., because Lee Strasberg would be, six months out of the year in L.A. I would be doing just outrageous material that I still didn’t quite understand. I was doing Sartre’s Respectful Prostitute, or whatever I could do that I thought was completely outside of what The Flying Nun was. But ultimately, I worked with Lee on and off for about ten years. And ultimately I learned a craft. I learned to hear my voice of what I really wanted to do. And finally, when I was given the opportunity to do the work, I really knew how to do it.