I'd been a member of the... the BSC [The British Society of Cinematographers] since 1967 and in 1975 I was... I became president for two years which, you know, was a great honour but also quite a responsibility and... You know, the BSC was fashioned very much on the lines of the American Society of Cinematographers and we've kind of, based ourselves very much on their beliefs of, you know, enhancing the artistry and integrity of... of cinematography and trying to retain its role in filmmaking and I think it's important that, you know, future cinematographers do continue to make their presence known in moviemaking, and for us not to get overwhelmed by any new technology which involves electronics, because the, you know, the work has to originate... it has to originate I think through the vision of the director and cinematographer. I think we've got to be very careful that we... we retain a degree of control during these postproduction processes which are becoming so... so... well, so advanced and, you know, so... offering so many choices now to alter the image completely. I think that... that, you know, the BSC plays a very important role in... in doing that. Also I've made many friendships. We have a kind of camaraderie amongst ourselves, we... we don't mind sharing secrets. I remember when I first started, cameramen used to have secrets, they didn't... they didn’t used to like to talk about how they got a certain effect. All the while I've been working I've always found my colleagues to be very open in talking about how things were done and sharing their knowledge and kind of furthering the whole creation of moving images. What's the point in keeping something to yourself? If progress is going to be made it should be available to everybody.