I did a... I did a second picture with Guy Green called The Devil's Advocate from a novel by Morris West, with John Mills in the lead. It was lovely, and we shot half in Bavaria Studios and half in Italy and again, it was a tax shelter situation; the finance was this tax relief business and... it was a good picture but never got any proper distribution, which was a great disappointment. It was lovely working with Guy again and I remember I was using diffused light, shining through frames and so on, and he said to me one day; he said: ‘I think...’ he said, ‘I think this... this system of yours, this new system...’ he said, ‘It...’ he said, ’It works... I think it works well for... for day interiors’, he said, ‘I don't think it's so good for night interiors’. You know... you know o Guy, very politely saying to me that he thought that the harder light was still better for night interiors. But he was such a nice man to work with. And so, sadly, that film didn't get a great showing and... partly due, I think, to the fact that Morris West had the... had final cut. Guy didn't know this at the time and I think the cutting was not to its best. When you have somebody who's not really a filmmaker with the final say, it's not very good news.