I met the whole avant garde world, and in England it was referred to as the “angry young men” period. In Europe it was avant-garde, and we were “theater of the absurd.” Put together, you saw, internationally, theater now being available to the proletarian, that anybody could be an actor. You didn’t have to have the elite family background of the Barrymores. The door was open for Marlon Brando, you know, real common man. When Marlon did his work, when he did his Stanley Kowalski, every truck driver in New York said, “Hey, I could do that! That’s me, I could do that!” And that was very important. It was a very, very important movement, the “I can do that” movement, you know. And I was a part of that, you know. So that included women could play men’s roles, and blacks could play white roles, and truck drivers could play Marlon Brando roles. And I think that’s what sort of opened life up for me, opened up that artistic life up for me.