D.A. So what happens, of course, is that Men in Black came out this past year, so suddenly somebody has done it already. And Men in Black is . . . How can I put this delicately? There were elements of it I found quite familiar, shall we say? And suddenly a comedy science-fiction movie that was very much in the same vein as Hitchhiker’s became one of the most successful movies ever made. So that kind of changed the landscape a little bit. Suddenly people kind of wanted it. The project with Michael . . . In the end, we hadn’t gotten it to take, so we parted company very good friends, and still are. I just hope that there will be other projects in the future that he and I will work on together, because I like him enormously and we got on very well together. And also, the more time I get to spend in Santa Fe, the better. So now the picture’s with Disney—or, more specifically, with Caravan, which is one of the major independent production companies, but it’s kind of joined at the hip to Disney. It’s been very frustrating not to have made it in the last fifteen years; nevertheless, I feel extremely buoyed by the fact that one can make a much, much, much better movie out of it now than one could have fifteen years ago. That’s in technical terms; in terms of how it will look and how it will work. Obviously the real quality of the picture is in the writing and the acting and the directing and so on and so forth, and those skills have neither risen nor sunk in fifteen years. But at least one substantial area, in how it can be made to look, has improved a great deal.

O. And Jay Roach [Austin Powers] is directing it, right?