I had two... I had three cameras actually, so that they were always ready, I had Louis Brigante and Ed Emshwiller to load the cameras and I did it non-stop, just a change of camera. And what I did, what, it was a little bit intentional also, though they thought it was accidental, but I knew that I will be, since I don't know what's coming, since I don't know where each of the actors will be going next, I was very often disrupting, I was in their way and they had to immediately, to re-think and improvise within there because I was constantly where I should not be, but where I was interested they had to go, but I'm there in front of them, shooting close-up their face, or whatever. So, that added to the reality and intensity of the... and it was not filming the production, not filming the play, but it was like filming my reactions to it. So, it was a completely like different thing, so when... and since I had everything on film, in real time, I developed the next day, and like 24 hours later at the Bridge Theatre, I invited Julian and Melina and the cast, here it is, take a look. And that was 24 hours later. And Andy heard about it and he came. Andy was there, too. And of course, you know, it was... it changed the lives of... and work of, for Andy was totally taken by it, really you can do that, and with the camera with sound. I considered that was my negative contribution to Andy's work because, I think, what is really work was in cinema was the silent films. And now he wanted, he immediately, his next reel was already sound. He had to do it. He, it was, that was my negative influence. But it worked very well and Melina said, yes, but, oh yes, they saw as is, as was then I thought there was too much of melodrama, there were also periods when they were, it was nonsense, sort of melodramatic nonsense, it's between the action. So, from the two hours I reduced, I put my brother to eliminate all the melodrama, I reduced it to 63 minutes and it became very intense - just noise and violence and activity they're going. So, then I showed it again to the... to Judith and Julian. 'No, no! No, this is not our play! This is... no, you have to, you have to re-shoot it! You have to add...' I said, no, this is how it will be.