Shoot and protect. That's a system which arose at that kind of period where, if a film is intended basically for the cinema but eventually is going to be shown on television, like all films, they're eventually going to be shown on television. Then they often ask you to operate a system called shoot and protect, which means that you shoot for the 1:66 central area, but you protect the top and the bottom by not having microphones in them or tracks, or whatever. And this is time-consuming. It's not cheap. The people think well... The lawyers put a clause in the contract that say you mustn't mask the gate because it will hinder the sale to television. I said, it should be pointed to these guys that this is not a free lunch. It takes time, and sometimes it really prevents you having the best image. Because you can't get the lights necessarily in the best position, close to the edge of frame, because the edge of frame is not one edge of frame, it's two edges of frame. And you don't know which... You have to keep them out of the outer edge of frame, so it's awkward. Anyway that system is known as shoot and protect. And my reaction to that has always been, what I think you should do, you should protect the cameraman and you should shoot the people that want you to do that.