We had other scenes, again in Newcastle where we had these wonderful old streets and old pubs, where Glenda Jackson is wandering around in this working class area with... where there was a pub with prostitutes hanging around and fights going on between the miners and she's really intrigued with all this... well this other world, and we did it... a night exterior and there was one scene where she walks through a tunnel — a tunnel under the railway — and there's a young couple there kissing, and I wet... I wetted the ground down and put a 10K right way back so that the whole of the... the roadway that goes under the railway tunnel was... had got this lovely shine to it with the cobbled stones, and in the foreground was this young couple kissing, very under lit and Glenda walks past and looks at them in a kind of curious way. Later in the film, in exactly the same location, she has a love scene with Oliver Reed and it was this kind of curiosity that she has to kind of explore her sexuality in a variety of different situations, not just in the comfort of a bedroom, but wherever it happened to be. And... and this, of course, is all from DH Lawrence and his sensuality, and Ken was the perfect person to explore this. The film is... I mean it's a very sensual film and a very tactile film, and it gave me all these chances to do such a variety of cinematography with... with different times of day and different filters.