I think you got to come with reality. You know, when you’re thinking like this, when you’re having — you got to make sure it’s right and it can be built. You got to make sure it’s budget conscious. I mean nobody knows this about Disney Hall, it cost $207 million. Period. That was the budget and we made it. When they talk about it, they add all the other costs that they screwed up in there over the years that it was mismanaged by people that the Philharmonic trusted. So, but the real budget was 207. And so I’m very budget conscious. That means a lot to me, to be able to look a client straight in the face and say, “Here’s what you asked me for. Here’s the money you told me you had. And here’s what it looks like.” Now in the period of design, they can add to it, I mean, or subtract and say, “No, I want it higher,” and that costs 20 million more, and you say, “Okay. Are you willing to do that?” That’s what happened in Australia. The building had X budget. I think it was $80 million. And it was a box. And I was getting excited about making it, and they said they needed a height, a high rater, and blah, blah, blah. And so that was a 20 million extra. We made models, showed it. They showed it to a donor. He gave them 30 million extra to build it that way and it’s built. That satisfied the needs of the client, but at least it was done respectfully in the process, and I really rely on that process so that we go through it, come out the other end and we’re still friends. And 98 percent of my clients and I are still friends. We talk to each other and trust each other. And so Bilbao was right on budget.