nothing about, you know, and go out, and i spent a number of -- wonderful years with, you know, barry diller, and michael eisner, katzenberg, a number of great people at the time, we had a great time. charlie bluehorn owned it. he was wonderful to deal with. then i went on and left there and said enough of that. louis mal became a great friend. i was editing one of his scripts once, and again, like being in the impeachment, i didn't know nothing. so he looks up at me and goes francis, and we became great friends. he said because i had no idea what i was doing. editing louis mal's script. but anyway, i loved it. and then i -- i lift, i said, this is wonderful. and headed out to australia, because there was a lot of young, interesting, dynamic filmmakers coming out of australia, and i thought it would be fun. and then woo came across a story, and i had to go get money, had to get financing, and i got money from from, it was still alive, guy named bob who was manager of the bee gees and others, and he produced saturday night fever, greece and all those and then the half he told me now go find t