The rest was exteriors and some interiors in an actual villa which actually is... it's another castle... at the foot of the hill where the magnificent castle stands is another castle. One is called Neuschwanstein and the one is called Hohenschwangau. We shot in that other castle, which... quite a lot of shooting took place in the other castle, which was very natural interiors. Then there's a lake and there's a big scene of boats on the lake. She throws a big party. It's quite an extensive... quite an elaborate film. It was made with relatively small means, as far as equipment goes, but perfectly adequate.

We had a very good German support crew. I had my English assistants with me, or some of them. We had a German support crew, and the Germans, I discovered, very often wore several hats. The chief electrician might also be the grip, and... not the dolly grip because that's a special job. But they overlapped a lot and if somebody was needed to hold the boom for one scene, it might have two microphones or something, then, of course, they stepped in. They did the carpentry. They did the... They did everything. And they worked as a team and I think they were paid... the team was paid and they shared it out among themselves. It was a very, very successful arrangement. I found, working in Germany generally, that the German crews and the German transport particularly, was very compact. The crews were small and the transport was compact. Whereas, in America, I've often been told, how can you make a movie without a 40-footer, which is this ginormous articulated truck. In Germany they do the same thing with two Volkswagen buses.