I first met Ismail Merchant and James Ivory on the stage of the London Coliseum where the BFI, the British Film Institute, used to hold an annual Christmas party. That year they held it on the stage of the Coliseum. I was aware of their work, which up to that time comprised some four movies. The best one of which, or the best known, of which is Shakespeare Wallah of course. And, we had a chat and there was a lot of people there, so it didn't lead to anything immediately. But we established contact. And very shortly afterwards they asked me if I would like to make a documentary for... like to make a documentary with them. And, because by that time I was an established cinematographer, so people like Merchant Ivory and some others, they were a bit reluctant to ask because they thought they're not in my league, you know. They can't pay the sort of salary that they imagined I was getting, which wasn't necessarily the truth. But, I've always put it about the lot of, please don't hesitate to ask, because, generally speaking, I don't... I'm not a stickler for getting my... the salary that I got on the last big feature. So we got together and they proposed me the subject of... which was finally called Adventures of a Brown Man in Search of Civilisation, which is the... nice title. Which is the... It's a study of the Indian poet and writer, Nirad Chaudhuri who was, by then, close to 90. I think he lived to a hundred and something, subsequently. And he was a neat dresser and a little gentleman who had studied in Oxford and who was living, currently, in Oxford. And we went to Oxford and we did some interviews with him and we showed him going about his business and giving dinner parties, and generally going about... getting on with his life. That was made, I believe, for the BBC, I'm not sure. It was a television film; it was made on 16 mm. That then was the beginning of my 20-year-long collaboration with Merchant Ivory.