There was a... an incident when Ossie Morris, who was already preparing Tom Jones with... with Tony Richardson, came to visit us on the running track where we were doing some of the practice runs. And, and I was using... there were two cameras, again, in use and one- one of them was hand-held by me, the other one was operated on a little... a little... back of a little mini-van, I think, by... by my operator, Desmond Davis. And, Ossie Morris looked at the... the Arriflex, the hand-held Arriflex and he said, 'Ooh, I wouldn't know one end of those things from the other'. Which wasn't exactly true, but it did represent something of the mentality and something of the spirit which later, very, very soon afterwards, that led to the separation of Ossie from Tony, that... that Ossie was trying to... for Tom Jones, Ossie was trying to pull Tony back into a more or less studio-based, organised, conventional, you could say, set-up. And Tony resisted. And Ossie said, well you know Tom Jones is a big epic, it's in colour, you can't make that like you... like you made... with the same technique that you made Taste of Honey and Loneliness. And Tony kept thinking... well why not? So they parted company quite amicably, and I was persuaded to take on Tom Jones, which I, initially, didn't want to do.