So this film called Rider was being prepared and it was going to be directed by Andrew Sinclair, with whom I'd worked indirectly on Malachi's Cove. He was the producer of that and Henry Herbert was the director. So I knew Andrew and he was a very nice man and preparations were going well until a major difficulty developed because the Greek side, represented by Mike Damalas who was standing in for Finos at that time, Finos was, was sort of getting ready to retire, so he left things to Damalas who became a sort of General Manager. But he was so suspicious that eventually the film collapsed. And the... and the... Because they talked so much about how the pudding was to be divided that they forgot to bake the pudding in the first place. Orson Welles had arrived and Oliver Reed had arrived and somebody else had arrived, we'd shot some second unit footage with a, a tiny, diminutive girl doubling for Oliver Reed in the stunt sequences because they'd brought this, this wall of death arena and put it up outside the new Finos studio, which is near where the new airport is. We shot for about a week on this... all the motor cycle riding bits with this tiny girl doubling, because on the motor cycle you can't tell. Then they all arrived and it turned out that the film wasn't going to be made. And, sets had been built and quite a lot of money had been spent. Orson Welles invited everybody to a great banquet, a great dinner, and then handed the production the bill and left. But he had every... you know, he was right. That was a great shame because it could've been... it could've been a very commercial film. It had a commercial script, it had a good idea, the Faust idea, you know, the Mephistopheles, Faust thing. It should've been... It's a great shame that it collapsed because it could've been a very commercial film, and a very good film. No reason why it shouldn't have been.