We were shooting Super 35; it was my only experience with Super 35 and I didn't like it very much because I didn't like having to compose just for the middle section of the frame, with the top and bottom going to waste, which might be used later on if it was presented on 12:9 television, because what you would... you... you shot with spherical lenses, you see, composed for the middle section, then you had to go to an optical squeeze to... to squeeze in that... that central section that you'd composed for and then when you projected it you had an anamorphic print, you had a squeezed print which was un-squeezed on the projector. And I didn't like it ‘cause you’re only using half the negative as against anamorphic, real anamorphic, which uses the... double the frame and also protecting the top and bottom. I just didn't like having all that waste there but that's the way the producer wanted to go. You've got to keep the lights out of the top... Yeah... yeah. And the tracks out of the bottom. Yeah, very difficult, with microphone and lights. And in the end I... I made a compromise: instead of shooting it dead centre, I shot it with a 1:8:5 headroom. Because also, they wanted the possibility of making flat prints 1:8:5, instead of anamorphic prints, so by having a 1:8:5 headroom at least that was taken care of.