Whilst I was shooting On Golden Pond in New Hampshire preparations were... were going on for the shooting of Gandhi. And because I wasn’t available, my gaffer, Alan Martin had to go to India to do a recce and research how much lighting equipment we'd need. And apparently he came back with a list, presented it to Terry Clegg the production controller who looked at it and said: ’We can't afford all this, you can only have half’. So we took half of what was estimated. So when I got back from... from New Hampshire I was able to spend a little bit of time preparing camera equipment and so on at Samuelsons. And we took a generator which was 1000A, very similar to the one I'd used in... in New England. And it was split, 50% DC — because I had two arcs and you need direct current for arcs — and... and the rest was AC which would... which would burn HMI’s or... or tungsten lighting. So the genny was shipped well in advance and I said, ‘Well, could I have a Chapman crane?’ Having used it previously, particularly in Mexico on Eagle's Wing. And it... it's a... just a great... a great tool. And Dickie Attenborough said, ‘No’, he said: ’We... we can't afford to... to ship the Chapman, because it's going to take several weeks on... on a ship and we're going to be paying for it all this time. And in any case there's a new crane come out, a newly designed piece of equipment called the Louma crane, with a remote head which you operate separately from the camera by watching a monitor. And this new piece of equipment has... has just been designed in France and we're going to be the first people to use it on a major movie’.