I think a lot of one’s autobiography and one’s memories are really fiction. I think you re-invent or invent your past with snippets on the whole, of course, you do it to your own advantage. You make yourself come out as a decent, honourable person, amazingly creative, amazingly intelligent, all these different things, but most of it is fiction, to be honest, you know. But I certainly have always tried to have new ideas and to, I don’t say succeed, but, you know, to try to write things and think of things and make jokes and so on, that’s perfectly true. And I think it was partly from my father but I also think it was partly a way of rebelling against him because he was a very authoritarian character so this is a paradox, isn’t it, that one’s father, who was an incredibly dominating factor in one’s early life, I think all fathers are, certainly in my case, my father rather than my mother actually who was completely different, inspire one partly to be the opposite of what they are. It’s not that you follow them so much. Now, I think my early background was really a mixture of being a bit dominated by my father even rather afraid of him, and actually trying to have ideas that he hadn’t thought of, and we might get to this later but the idea, one of the ideas I’m most fond of actually, is my system for reducing the effects of atmospheric turbulence in telescopes and, to be honest, I think part of the fun of that when I first thought of it was that my father hadn’t thought of it, and he was an astronomer, you know what I mean? It’s a dreadful thing to say but I think one’s parents set one up in their image and in a way one breaks the image as you grow up, I think, and I found this with my grandson. He doesn’t always do what I want him to do and I think he’s exactly the same; he’s really rebelling against me, his grandfather, and possibly his father at some stage, wanting to be his own thing. So this is a problem about education or bringing up in a family, isn’t it, that you both absorb the values of the family or the school and at the same time you say to yourself, that’s the last thing I want to be, I want to be something completely different. So I think creativity, in a way, comes from this sort of conflict but to be effectively creative, you’ve absolutely got to have optimal confidence or, if you like, optimal arrogance, over arrogance and you’re completely useless. If you don’t have any arrogance, you don’t do anything. You’re not alive really, mentally. So I think this is it. And I think my school was very good actually for giving one optimal arrogance.