After the job at Riverside collapsed, I became, willy-nilly, a freelance which we all had to do, and I looked for work as... mainly on documentaries. And for the next two years, more or less, I worked, off and on, as camera assistant on documentaries and focus puller on second units of features, and, in between there were also times when I couldn't even find work in those capacities. It wasn't easy. I had a spell... a whole summer, as developer and printer of pictures they used to take at the seaside. In those days you had little men going round the seaside with their Leicas, taking, or even pretending to take, a snapshot and saying: look I've taken your picture and you can have it for so much, 5/- and it'll be ready tomorrow. And we used to develop these things and we had... there was a lot of it. We had... we had 45 Leica rolls per day, which were all developed in little tanks. And on Mondays we had 90 because of the whole of the weekend. And then they were developed and they were printed there, and sent out to the various people who sent them in. So I did that for a whole summer. And I was also a film repairer in a 16mm film library and also a projectionist for a while, in two different cinemas. Because, even getting... even getting... temporary, you know, getting work as focus puller or as clapper boy - no, clapper boy I didn't do. Focus puller or camera assistant on documentaries, even getting that kind of work was... it was patchy, distinctly patchy.