We were shooting this at Elstree... it was an EMI picture, one of the few pictures that they were financing, and the studio was full, all the big stages were full; the only stage we had left was the scene dock, which was just over 20ft  high, and we needed the biggest stage possible. I think it was about 100 by 120, which was quite a big area... area, but we didn't have the height, so in order to get the height, the production designer hung gauzes like you would in the theatre — theatrical gauzes — and painted cloud formations on the gauzes and because the stage had a pitched roof, we were able to take these gauzes up to about 35ft, right up into the roof... all my lighting was actually, you know, just a foot off the roof, and because of this clever idea of... of putting clouds on gauze — I had two layers of them — and by working with dimmers, I got the feeling of the dawn coming up, so throughout the whole of this pull back across the sea, it was getting lighter and the colour of the light was changing from blue to gold and first sunrise and... so it's got a really, almost magical quality about it.