That film contains the most effective, I would say, day for night sequence done by my system, which could not have been done... I can say quite categorically that that sequence could not have been done day for night other than in black and white. It could not have been done colour with any of the conventional ways. Well, there is only one conventional way really. It could not have been done that, because it's against the sky all the way. They escape. They make a run for it, at night. They wait till he's gone to bed, the lights go out in his house and they make a run for it. And they daub themselves with make-up to be dark. And there's a boat moored at the pier, and they make a run for this boat, and they untie it and they think they've got away, and then they discover that the boat has a second chain under the water, and they haven't managed to get away after all. But this... the basis of that sequence is a long tracking shot and panning shot where they run along from their house to the beach... to the... along the beach to the pier, and then along the pier and get into the boat. So you're going something, like, at least 180º across the back light, across the sun, basically, and it's very, very, believable moonlight. It's sort of very slightly... It's sort of steel blue, greyish blue and dark, and you have the black sky, but you can very clearly see all the figures. It looks to me, that is the most realistic moonlight that I've ever seen in any movie, and you're completely free to shoot against the sky. You couldn't have done that any other way. It's very successful.