So, if we're dealing with the industry, and then you have the industry, and then you have the outside, the outside animators, you know? The thing is that inside the industry, the majority of the animators don't know anything about experimental animation. Or don't know anything about people who... even Oskar Fischinger, who's really been on the scene many times. They saw him in magazines, they saw him in books, whatever. Maybe some will get something out of it. But in general, the majority of the people in the industry are not interested in Oskar Fischinger. Because they're interested in making a living. And the only living is that they're going to work for the studio and get a salary. And the fact that, when we had UPA, with the Gerald McBoing Boing, Madeleine, Frankie and Johnny, Unicorn in the Garden and all that stuff. That was a dream, it wasn't even real, it was so far out and away from what the industry is about, that it doesn't exist. So you don't have them and us or they, you really don't have that. Because the majority of the people in the industry, they come there at 08:30 and leave at 17:00 and that's it. You see? So when you're dealing with these other people like Fischinger, you really have to be a little bit special in working... you have to work because you have to make a living. So that's normal, that's normal. It's not necessarily normal that they should fall in love with Oskar Fischinger, you know? But if he falls in love with Oskar Fischinger and he brings that to the studio where he works... and the guys might say, 'What the hell you showing this to me?' I mean he might get an answer out of question like that. 'What the hell this guy got to do with me?' You see, it's another world. It's another world. The only people that maybe have a tentacle out for all these other things are the directors. Maybe they are this other level of people that are in the industry, you know? But in the industry, it's just... gotta make a living.
