The big difference between the film crews in studios now and then, was that the studios weren't filled with film buffs, with people who were terribly interested in film as a medium. They were there because it was a good job, it was well paid, it was sort of glamorous, but they were there because they had an uncle or a friend or a father in the business, and they just regarded it as a nice job. Because when... when I became a clapper boy, my salary jumped, in one jump, from £2/10 shillings to £10! My salary quadrupled, because as a... as an assistant in the... at Kinocrat I think I got, initially, £2/10 and then... which is £2.50 in today's terms, and then it went up to £3. I jumped from £3 to £10, just by becoming a clapper boy. But because... what I didn't realise was that the £2/10 job probably could've gone on for years, and the other one was an interval in between bouts of unemployment. That's why those salaries had to be a bit larger, because they weren't guaranteed in any way. But they weren't film buffs. If you'd mentioned to the assistant director or the assistant cameraman, or the focus puller, or any of those people, if you talked to them about Eisenstein or Jean Vigo, they'd say: who, what? Or even somebody like Busby Berkeley who is, after all, quite well known, the famous American choreographer, they wouldn't know who he was. They wouldn't know the names of directors in Europe and America. They wouldn't know any of that. And they wouldn't be interested. They were just interested in doing their job and going up the ladder, because that meant more money, not because it got you closer to being a DP.