It was not the sort of thing I... I wanted ever to go through and, you know. You have a complete breakdown, you think you can't do anything anymore and you really have to start your life again, and what was wonderful that as the next director I had was an Italian called Tinto Brass, who made this film, Salon Kitty, or Madame Kitty, which was almost porn, because Tinto always liked to have a porn element. But he was an unbelievably talented director, and I worked with him in Rome, and in Berlin too for several months, and I got my… but normally I do big... big sketches like that, but I only did small sketches, you know, and he kept all my sketches too, because they were very pretty, but it wasn't the way I normally try to express myself. But I was very lucky that I met Tinto.

And then after that did another picture called The Seven-Per-Cent Solution, which was Sherlock Holmes, which was then back to the big picture-making. And then by that time I was more in Hollywood, in any case, and so I'd lost contact with Stanley, except he used to ring me when he wanted to know something, and we kept a very friendly atmosphere, and also when I came back, and so on. And he always said to me, 'Your Bond sets are fantastic, but I only wish I could photograph them', you know.