Donald Sutherland was cast rather... three-quarters of the way into the picture he was cast, rather across type, as a... as an English lord, and he devised for himself, a very interesting accent, which was somewhere between the English and the Canadian, and it worked... it worked beautifully. And he came with us to Morocco. There's a lovely scene that we played in Morocco on the beach with the sunset which was happening, which was largely improvised and I was getting more and more worried because I was thinking sooner or later he's going to say, cut, and he didn't say cut and the camera kept rolling, and the light kept changing. I thought, you know, how's this going to be... how am I going to inter-cut this with the close-ups and with the other angle. But it all worked out... all worked out in the end.

And then, the film went to Cannes. And at the end of the film, the heroine leaves London after her many adventures, and she leans out of the window and she waves to whoever, and she says, 'Don't worry, I'll be back'. And the Cannes audience rose out of their seats and shouted, 'Jamais!' 'Never!' It has rather a nice ending actually there, Joanna. She leaves on the train and the boyfriend, the painter played by this German actor, Christopher... I can't remember, I'll look it up. Anyway the, the boyfriend is left behind and so she's waving to him, technically. And then the train goes out of sight, and suddenly he looks around and on the opposite platform is the entire cast assembled, and they sing and dance to one of the numbers that appears... because there's quite a few musical numbers in the film, and Joanna is there in her top hat and doing a dance, so that's the sort of credit sequence at the end. It was rather nicely... rather nicely done. And you see the camera crane and the operator and all that. But in Cannes they didn't reckon... she wasn't welcome back.