So I'd asked for an Arriflex to film The Girl in Black and what arrived was the first brand new blimped Arriflex. It didn't exist before. And it was like a huge trunk, and it was like a monster. A huge camera. To me it was huge. It was relatively small, actually, for a blimped camera, but I said, 'I can't operate that!' So we deconstructed it. We searched Athens for somebody who had an old Arriflex because we needed a hood, which is different in the blimp, and a door which is different, and the motor is different. So we needed three items to turn the camera back into a hand-holdable camera. Then the film is filmed entirely with that camera. That's to say, entirely without sound. There isn't any sound, there isn't any dialogue, there isn't any guide track, it's filmed completely mute, and that was perfectly okay with Cacoyannis and perfectly okay with the actors, because they were extremely well used to post-synching their dialogue. So that didn't cause any problems whatsoever, and we ended up with a very manoeuvrable, light outfit. In Girl in Black there are two, or maybe three, hand-held sequences where there is a fight outside the house where she lives, the heroine, lives and then there's the main incident in the film where a lot of children are drowned by accident involving the main male character. And, for those sequences I used hand-holding, again, being very careful to start the hand-holding at the moment when the action turns violent, and to stop the hand-holding at the moment when the action stops being violent, and that is very effective way of doing it.