One thing that the general feeling of the show was, and is today, is that the characters play the space. So what does that mean? That means that they love the idea that whether you’re a firefighter or a person in trouble, you’re playing the environment. You go here, you jump here, you come over here, you do this, you do that. And so it forces an interesting scenario from a lighting aspect of, ‘Okay, how do I create that atmosphere of a sense of weight to it, and impending fear, but at the same time, allowing flexibility for the actress to start on this tabletop, then jump over here, then cross over here, and then do that all within the same shot, and lighting for that. So, you know, that’s the interesting thing that it sometimes becomes a bit of a Tetris mix of trying to go ‘Well, how do I do this? How do I light something pragmatically, but at the same time, it has a sense of feeling that is Lone Star?’ So, it does take a little bit here and there sometimes to wiggle around, and to work that out. But in some ways, you know, it’s a challenge that traditionally you wouldn’t have to normally do if you weren’t moving the camera as much.