What is most important, if you can possibly manage it, if you're... if you're shooting on a... on a location, particularly a location remote from backup, it's most important to have a reliable guy at the labs who is not prepared to... to speak out. No, he's not prepared to give you an opinion. Only a senior person is prepared to do that. Generally speaking, they will not take it upon themselves to say, this scratch is so bad that you have to retake. They'll say: it's a bad scratch, and they'll say, it's 10 cm to the left, or 3 cm from the top, or it goes right through the artist's face or not, but they will not say... if you say, 'Is it a bad scratch?' They'll say, well, that is a value judgement which we're not prepared to make. It's up to you. So, as I say, in the end it turned out to be perfectly okay. But very often you're at the end of the telephone... excuse me one minute. Very often you find yourself at the end of the phone, from some remote place in Marrakesh, or in India, or in where... have... you, and you're asking somebody, 'Look, how bad is this? Do we need to re-shoot?' And it's very, very nice to have somebody at the other end who can give you a sensible answer, which doesn't go according to the book. Because according to the book, the lab will not make a judgement as to whether something needs a re-shoot or not. That is your problem. So, I had this guy called Les Ostinelli whom I followed from one lab to the next lab and to the third lab. He started off with Humphrey's, then he moved to Rank Denham, then he moved to Technicolor, and I always followed him, in the sense that I put my negative to be developed in the lab where he was there, because it was very valuable to have his opinion.