I am very organized. I don’t sit around and do little dots and drawings. When you first start directing — the very first job I ever got, which was a stock job, directing — you do little drawings of where you want your actors to go in the scenery. The first play was Angel Street. You know. Gaslight, I think the movie was called. And then you go in and you start to rehearse the actors, and then the actors, one of them says, “I would love to try going in that direction instead,” and there is your whole job gone. Somebody who goes somewhere you didn’t want them to go, what about all the rest of those people? So preparation is another kind of thing. Preparation is getting everything you need to know of a sensory nature about the characters, where the story is taking place, all those things. I mean what things smell like, taste like, sound like, and so on. That is an exercise you share with your designer as well. Boris Aronson taught me that years ago.