Toshiaki Ozawa (Toshie) and I ended up on poor terms. I was clueless. I was the first one to admit my limitations as a film director but I also had a serious responsibility to my father. He had anted up $90,000 dollars for this enterprise, and I was going to get this film in the can, no matter what it looked like. Remember, this was pre-digital days, shooting on Super 16. There are AD directors and DP directors—those that will “make their day” at the expense of the film’s look, vs. those that will give the DP as much time as necessary to light the shot, making the schedule second to the shot. The key, obviously, is to find the happy middle where you’re making your day and shooting everything you’re supposed to, while coming away with the best possible coverage and film look, making both the DP and AD happy. That didn’t happen with Jane Doe.