Lindsay was editing a magazine called Sequence, Lindsay Anderson this is, together with Penelope Houston and Gavin Lambert and initially there was another person called Ericsson. And this was a, sort of, forerunner to Sight and Sound; it was a very good critical magazine with illustrations and everything, which Lindsay more or less financed himself, or they between them they financed it. And it wasn't sold on news-stands, it was sold by subscription and in film clubs and various... so we decided that they would give us a bit of publicity for making Saturday Night, and we would try and sell Sequence in the studios. So I went around... a certain period I went around to the studios selling... trying to sell Sequence, I never sold many copies because they weren't really interested, as there weren't any film buffs. And in one studio I didn't even get in the gate, because there was a big sign which said, 'No hawkers or trespassers'. So they wouldn't let me in. But in most of them I got in, I got a fairly friendly reception, I sold a few copies but not a lot. But all of this as you know the studios around London are quite some distance from the centre, so it's all busses and trains and... quite a business. But, that was my first contact with Lindsay really. Then it developed into... we made films together subsequently, several. But that was the... that was the first contact... was... was through Sequence.