of me. So screw you. Take your money back." [Laughter.] I returned the money given to me by my parents! I was like, "I've got other people in the community who are actually putting money into this movie and they believe in this project, unlike you guys who are doing this out of guilt or something." So yeah, it was like a really weird relationship with filmmaking. Finally when I did Terminal, U.S.A. , my big budget project, they were passing through San Francisco and this was a turning point because that was my only movie where I actually had a crew of lots of people, Panavision equipment, and I invited them to the set for an evening. They saw everybody there. They saw I was running the show. They have completely chilled out ever since then. I've tried to give them the impression that all my movies have been shot that way since. They haven't but, yeah, they're off my case now and it's cool. But they haven't offered me any more money like that, envelopes with cash. I don't know if that even really happened, it's so surreal. Araki: It's great for the myth, the legend, of Jon Moritsugu. Hu: So Gregg, tell us about what your family thought? Araki: My whole family and my parents in particular have always been super supportive of me. They don't necessarily understand my films. I usually recommend that they don't watch them. [Laughter.] I always tell my family not to watch