You know, I barely had an agent who cared whether I lived or died. And what was bizarre is that that’s how it happened. That I’d worked so hard at the Actor’s Studio, that I started to get this kind of little underground reputation. It was also during this incredible time in American film in the ’70s when American film was changing. And at the Actor’s Studio was Ellen Burstyn and Jack Nicholson and things were changing. And I got in on an audition, not because of my agent, but because of someone who had worked with me at the Actor’s Studio and told someone that people thought they knew who I was, but I wasn’t that. And I came in on the audition. By then I knew how to audition. I knew that I couldn’t come in as Sally Field, this still rather unsophisticated person. I had to come in as the character. It was for a film called Stay Hungry. Bob Rafelson, a wonderful director certainly, at a really important time in American film. I had to come and convince him that I was this absolute floozy, this tart, this sleep-around kind of girl — uneducated, Southern, sleep-around little floozy girl. And I was uneducated, but I wasn’t any of the other things, but I knew how to be that character. I knew how to play the role. I also knew that an audition starts from the moment I started to get dressed and leave the house, and that the acting had to be…that he had to then believe that everything else I’d done to that point, Gidget and The Flying Nun, was an incredible acting job. I mean really I was just this absolute tart. And that’s what I did.