There’s this intentional fallacy that says a writer, an artist, has a set of ideas, and the story’s just a vehicle for delivering those preconceived ideas. And in fact, on the production end of it, my experience has been totally the opposite. You go in trying not to have any ideas of what you’re going to accomplish, praying that you’ll accomplish something, and then respecting the energy of the piece, and following it very, very closely. So, that’s kind of exhilarating but also kind of a very scary place. Because you think, ‘Well, I’m 54 years old, I teach writing, I should know what I’m doing.’ But, so much of the job is to kind of show up every day and say, ‘I really don’t know.’