He wasn't, but producers are by definition annoying because they have a different agenda from you. They're trying to stop you spending money and you're trying to not spend money, but at the same time we're great artists.
When I joined Granada - which, you don't want to start crying about these things, but Granada was a very, very hot place to be, it was my good fortune to be there at that time - the BBC was firmly asleep.
Your great country is wonderful at stealing pieces of history and using it for its own purposes, so there didn't seem to be anything particularly unusual about it but the English were incredibly exercised about it.
I also know that in the second movie, the sequel, Eric made some huge advances with the robot suit. That just made it even better. You put the suit on and moved your arms then the robot's arms would move in sync with yours.
In our story logic which we're making up, if we're saying he's alive, then like a quadriplegic who's in bed he can move his head and shoulders, but he can't move his arms. If he could just turn on that power to his legs and arms, the nerves could get through and he could walk.
In this movie they took them up in space. They're floating around and doing zero gravity stuff. Well, they had to do it all on wires. All the wires had to be painted black against this black background. If you didn't light it properly you could see the wires. Drove them crazy!
Monofilament is what you use to go fishing. The line on your fishing rod is probably going to be black. You get to the end of the line and you tie on this clear plastic, thin thread called monofilament.
One thing I was thinking about the other day was you can't even conceive of the kinds of things you can do in movies today. The idea that you could draw, in a computer, dinosaurs and have them running around was totally impossible.
The personality problem is so tough when you're not able to pay people. It's bad enough when you can pay people, but, when you have people working for free, often their motivation is diminished considerably.
I look at the story, I look at the idea and just try to think of it in terms of that whole body of myth and see where the characters fit in and what they ought to be doing-all those archetypes are there to play with.