The film... when finally finished, the film went to London to be cut. Post-production happened in London and John Fletcher, in fact, did quite a bit of the editing together with Achtar. Some post-synching was done, not a lot. It was fairly simple to finish. A fairly simple film to finish. But it was in the cutting room for some weeks. It must have been in the cutting room six, seven weeks, something like that. I think there was also problems getting the negative shipped. We were worried about security because there wasn't any dupe negative or anything, so shipping the negative was a bit of a hairy problem. I can't remember how that was solved, but it wasn't the only time where I came across that problem. If it isn't cut and finished in the place where it was initially processed, then there comes a moment when you have to ship the negative, and supposing something happens to the negative. So that's always a problem. Then the film went to the Moscow Film Festival and won, I think it was second prize, the Silver Bear, and Kardar has this certificate. It wasn't the only festival. It went to several festivals. It won several prizes. It became... 20 years later when I made another film in West Pakistan, more than 20 years later, no, about 20 years later, that's right. By that time this film, [The] Day Shall Dawn had become the sort of Birth of a Nation of the Pakistani film industry. You shot Day Shall Dawn, my God!