I had a marvellous camera operator called Jean Lépine, who was actually a DOP [Director of Photography], but when he worked as a DOP he also operated and he wanted to come on this picture, he was interested in the subject matter. And he operated nearly everything from a small crane arm on an Elemac, with a fluid head, and he'd adjust the camera according to where the actors were, so that actors didn't really have to worry too much about hitting their marks because he would just move the crane arm over so that if somebody was getting a bit masked, they would be revealed, or he could drop it and raise it, just by the strength of using his bodyweight and I think physically it was very demanding, but he'd perfected this technique over the years and it… it worked a dream. And he'd got a coordination with the grip that he got a signalling arrangement that if he wanted to widen a little bit, that the grip would track back a little. He always put the Elemac on a board so that the grip could move the dolly a little bit as well, and so there was a fluidity to the shots… I mean not only… we weren't using Steadicam but it was not unlike that, of being able to kind of drift around, according to where the… the actors finished up and… yeah he was a really very good operator and I'd never seen that technique used before.