wheel company, and we put in a planning application. we gradually got more and more exposure to the project, and we did a deal with british airways and we put a lot of our own money in, but we mortgaged the house and whatever, but then they gave us some serious money in order to be able to properly pay engineers. and so it kind of had a snowball effect, really, and because it was at that extraordinary time of the millennium, you know, ifeel that, you know, something extraordinary could happen. but it wasn't all plain sailing. there were still some people who were unconvinced. did anybody say, "listen, look at it, it's a horrible eyesore, it looks...it�*s ruining the skyline"? yes! no, they did, absolutely. so when we were doing the consultations, we went to the royal fine art commission, and the chairman of the royal fine art commission did not like it at all. he was apoplectically against it.