The interesting aspect of it was that we had this war room, which was a complete fabrication, even though when Reagan was President of the United States, when he became the president he asked his chief of staff if he could look at the war room, you know. And that’s true, you know. So that worked, complete... fabrication, whereas the interior of the B-52 bomber, meaning the cockpit which was on two levels, was complete copy, to such an extent – also the instrumentation – that I got a memo from... after some American Air Force personnel came to... were invited to the set, next day, I got a memo from Stanley, saying, he hopes I can justify where I got all my material from otherwise we may be investigated by the CIA, or something like that. It was considered, you know, at that time, slightly... a slightly anti-American picture.

So war room, complete fabrication. Inside of the B-52 complete copy, of course, it didn’t fly, but Stanley used God knows how many Polaroid stills to balance the interior with the exterior, which was shot over the Arctic Circle, from an... old bomber, and so on. And then we had that completely realistic attack on Ripper’s office, which Stanley shot himself with a hand held Arriflex, and these three elements worked and made a fantastic film. So it’s interesting, you see, the complete fabrication, a studio set and the attack, which Stanley, with an Arriflex, shot himself. The three elements worked together and made, in my opinion, a brilliant film.