James Rosenquist: Sometimes a title might occur to me. And a title will just stick out in my mind. And then I will think in terms, everything I think of I will think in terms of that title. For instance, I did a painting called Four New Clear Women. It meant, if women became powerful, and they are, like women who own large stock in the stock market, or become president like Golda Meir or Margaret Thatcher or Indira Gandhi, will they be “New Clear Women” or “Nuclear Women?” Will they blow us up, or are they smart? Something like that. So, then I met — there was this actress named Liv Ullmann, and she started painting. And she said, “Oh, what are you going to do next?” And I said, “I’m going to do The Persistence of Electrical Nymphs in Space.” And she said, “Oh, what’s that about?” and I said, “Well, that’s the sound of all the souls after the earth blows up.” And she says, “Oh, yeah.” That was very… she probably talked with Ingmar Bergman about that. But that was great. So those are titles that I would think about, before I would start working. Then, to think about how young people want to live in the future, too, is another interesting thing. People are animals, and still have all the vestigial… I mean still have all the vestiges. I mean they have claws, fangs, ears, noses, just like animals you see running around here. And then you go to New York, I see beautiful girls that have claws, fangs, noses, everything. And I see they are very sophisticated, and they smell nice, but they are still animals. So I wonder, how will a young person like to live, in a really high-tech environment, like say in a rocket ship, or in an apartment, or a business place like that, or would they prefer to live a pastoral life, like little lambs in a meadow? Would they like that? So I think that’s curious, what the future generations will select as an environment.