We had some day for night shooting when Alan Bates and Jennie Linden are talking about death, because this young girl has just drowned, and they're talking about death and love. And we had this scene in the forest, which I shot day for night and I took the 85 off and put on a filter that we used for black and white, which was a 3N5. The number three was a kind of yellowy-green filter, so by taking out the 85 and just putting in some yellow I kind of got a bluey-green look, which I thought was quite nice for day for night, and I under exposed it about a stop and a third or a stop and a half to get the darkness. And we set up a shot on a long lens, a 400mm lens, so that I could hold the two of them about chest height and we marked out a circle so that the two of them could walk in a circle and the camera panned with them for about half this circle, so that they maintained the same distance from us. I put dark leaves in the foreground and because we were on such a long-focus lens everything except the actors was out of focus, so it had this very strange moody quality and we passed... they passed behind dark tree trunks, and there were a lot of dark areas in the shot, a very dark shot scene. The only light I used was a Brute right over the top of the lens with a soft diffuser on it, just to get a bit of light into their eyes, because when you're shooting day for night, or when you're shooting any very low-key scene and your faces are dark, you... you do need that little bit of light in the eyes to really capture the expression and the feeling and the mood that the actors are expressing. So I had this lamp, which had to pan with the camera, and it just gave enough light to read everything and... so we'd gone from this magic hour into what appeared to be full night, but in fact was day for night.