I did a little short with Joan Littlewood once, which was to promote her Fun Palace. She was... she had a scheme going that what Londoners needed badly was a Fun Palace, so we made this little promotional film with her. It showed things like stripteases and the penny... Pyramid of Pennies in a pub and people doing stunts riding on top of an aircraft, a double winged aircraft, firing at balloo... all sorts of weird things. But in the end the film proved that Londoners were having a wonderful time. The last thing they needed was a Fun Palace. That led... proved to be counterproductive.

Of course, I made a number of documentaries with Lindsay, which I've already mentioned, with Tony the one, with Karel. Then there was the lovely man... a lovely man named Michael Gill with whom I worked many times, at great intervals. I shot a film with him called Peaches... The Peaches, which won the top prize for fiction at the Oberhausen Festival in 60-something. Then I continued to work with Michael, and for Michael I made a series of documentaries for television... I photographed a series of documentaries for television, which were the story of the garden, which were called Nature Perfected. First of all there were six, then they expanded it to 12, and of those 12, I photographed four, parts of four, or even five. And I directed three myself, directed and photographed. The one in Japan... in China I directed, the one in India I directed, and the one in... there was one in France which I directed, which focussed on Versailles and some of the Loire Chateaux. I always liked that kind of work. It's sort of leisurely, but it's interesting and it's a one-man operation, basically, where you have... usually it's 16 mm, you have an assistant. It's a small-scale operation but the results are normally pleasing, which is not always the case with the features. You must have all noticed by now that it's not always all that pleasing on the features. You take pot luck.