The film had some censorship problems because it contained a... a scene where they... what do they call that in English where you... a dare, a dare where people put their heads on a... on a... on a railway line and withdraw them at the very last minute. And when... we filmed that... again, with some quite interesting, not back projection, but blue-screen technique, which I discovered, that we just laid these people down on a blue surface, and all the rest was done in the lab. It was in the special effects, and they... you know, they produce the railway line and... and, by special effects, and they... it looks, in the film, as though they were lying on the railway line, when in fact, they were lying on a... on a blue background. But that sequence met with opposition from the censor who said, we're not going to encourage young people to play that kind of game. So they forced them to cut that whole sequence. And it was also the beginning of my cave period in that period... in that film, in Taste of Honey and in the first of the... one of the second Greek films. I had a... I had a cave shoot, so I look upon those years, '60, '61... '59, '60, '61, as my... my cave period because I had three shot... shoots in a cave. In different caves. And, I didn't mind that, but in my documentary days I'd always refused to go down the mine. Once or twice I was offered movies that were made down the mine, and I would never do that because I thought, I don't fancy that. That's something I... I thought was claustrophobic and undesirable, but caves are something else. And I learnt things again... interesting things like the... the temperature in caves all over the world is like +12° Centigrade, something... something like that.