Inside the igloo in... in the studio I'd got day scenes to do which I lit assuming that there was a window of ice, so I had a certain amount of top light and I could push a certain amount of light through the sides which revealed a kind of pattern of the layers of... of frozen snow — it’s a bit like brickwork — and so I was able to push a little bit of light through there, to give the feeling of the exterior light. So it was principally coming from the top when we were shooting days scenes; now, when we came to the night scenes the... the only light source is from this little flame which burns on the outside wall which illuminates and both cook... and also cooks the food, so I had to kind of try and fake this as the only light source, which was a bit tricky. And it was very difficult shooting in the igloo... we had like cut-out igloos in the stage, and the problem was with so much white, was kind of, retaining any sense of shape. It... it was... it was difficult to handle.