Even though we had some near serious accidents, but fortunately everything worked, because I had a sliding helicopter port, and nobody had ever flown a helicopter on the inside of a building, you see, and so we didn't know what was going to happen, you know, were there were any counter currents or so on. And that same helicopter we had used in Japan and we were watching it fly into the crater of the set of… of the volcano that I eventually copied, and he disappeared, and we were standing and you think… and Cubby said, ‘Oh my God, have we lost this one?’

And he came out… he came up – it was a Brantly helicopter, a... not very powerful one – and he was caught in a down draft and had a hell of a job trying to get out of it, and it took him, I think, over six, seven minutes to get to the top of the volcano again, so… I'm only saying that because I was worried what would happen when he goes into my set, and what sort of currents is he going to encounter, but nothing happened. I mean, he came in beautifully and landed on this heliport which was on rails, so it could move, and all that worked... extremely well.

And also when you have, I don't know, 200 stuntmen abseiling from the top of the inside of the crater, you know, it was very dramatic, because people ask me ‘But couldn't you have done the whole thing with models?’ I said, ‘Well, I suppose I could have done it with a model, but you couldn't have had…’ – you know, I'm talking about the '60s – ‘... you couldn't have had 200, you know, people abseiling at the same time and all those sorts of things’, so it was really a worthwhile expenditure.