The other scene, I would say, that's caused the most comment afterwards was the eating scene, which was not in the script as such. In the script it was just that they become amorous towards each other and they're having a meal together and become amorous. That's really all that was written. I don't remember any dialogue being written, as indeed there isn't any dialogue in the scene. And, Albert and Joyce Redman developed that as they went along. It was lovely. It was very, very effective. It was very quickly done and it was entirely in the hands of the actors, you could say. Tony just set the scene, as he often did. Tony, Tony's method of working was really to get the actors together, to say we're doing this and this scene this morning. Show me what... how are you going to do it? You know... what do you want to do? So the actors would show him the scene. In cases where we were in studio conditions, like interiors, very often they were still in their street clothes and they just played the scene roughly. And then they changed into their costumes and I lit the set, and the operator discussed with, Desmond Davis, discussed with Tony whether they're going to be travelling or what, with me just lending an ear. It's often like that in England, and I imagine in America, but more in England, that the operator plays quite a large part in the decoupage, in the blocking. And it's very convenient... it's very often convenient, if the DP is so inclined, to let the operator do that. That I have no fixed ideas that I absolutely want to do a tracking shot here. If the director can decide that with the operator, all is well, just as well, and I can spend, can concentrate on the lighting. So often it happened like that. On films where I had an operator, particularly in England, it often happened like that. The American operators aren't quite so used to doing that. They're more like the right hand of the cameraman, but they don't often work so directly with the director, as they do in England. And the actors also are involved because experienced actors... think Susannah York talked about this once in some interview, where she says that, at the end of the scene, if she wanted to know if she was okay, she'd go to the operator, because he's the one that's looking through the lens, and they develop a relationship. Very often the artists develop a relationship with the operator, as well as having a good relationship, hopefully, with the others, but it's the operator they'll turn to if they want to know some... you know... I did something, did you see that, was it okay? You know, some little detail. So... I think that's a very effective way. It's very practical. Very efficient way of working.