For the interiors I unearthed a very old fashioned light which came into... it came into popularity, again, for colour films later, a version of it, because it was called a cone light. And it was a large circular container, hood, as it were, and inside the hood was a 5-kilowatt bulb facing inwards. It had a shield behind it so no direct light came out. The light was thrown into the cone, which was painted white, and then reflected back out. So it's an early form of soft light. And this light I found thrown away, virtually, in a junkyard. There was a studio which had closed down, but which still had certain facilities. We had certain equipment available. But this light had actually been thrown out and I discovered it by accident, lying outside in the landscape somewhere. The studio had been a dancing centre, an entertainment centre, and was in turn a studio and then it stopped altogether. But that light was the principle light source for the interior scenes. It was ideal for the scenes where I wanted to have an interior room with the shutters closed and just a little light filtering through the shutters, creating a soft, virtually sourceless, light. So this cone light was ideally suited to produce that kind of atmosphere, and I added a couple of small spots, like 500 watt spots to it and all the interiors are shot like that, in this one house in Athens which we used for the interiors of the house where the heroine lives in Hydra. We only shot exteriors there, but the interiors we shot in this house in Athens, in the second half of the shoot. The first half was on the island, the second half was, was in Athens.