We did use the mechanics of movie-making with... shamelessly; I mean, we just... if there was something we could do, we did it, you know. That famous steadicam shot that goes up and then... goes up and up, on a crane and rises up... we did everything we could think of; everything that seemed appropriate to do; and we did... yes, we did everything we could think of doing, and we had... by that time in our careers, we had a command of a lot of the mechanics of movie-making at our fingers – we knew what to do and how to do it; there was no question. I don't mean to denigrate that at all; I think in this case the mechanics of movie-making were in the service of... of a really sophisticated idea and therefore not... though they were self-conscious perhaps they were not self-conscious in a bad way. It was... it was perhaps mannerism rather than renaissance, but there's nothing wrong with mannerism; it's just that you have to understand it's a mannerism. And so we did it, you know, and it was... I must say for myself, of the two of them I prefer Taxi Driver. Taxi Driver seems more immediate and more disturbing and... and closer to the bone somehow, but as a great piece of mannerist film making, it's hard to do better, and I am delighted that I got a chance to do it. I'm delighted I got a chance to do the black and white, and everything about it was fun.