I finished my work on DECAMERON: ANGELS & VIRGINS since the film had gone over-schedule by 6 weeks or so and it was running into dates I had made previously to participate in CAMPUS 2006 at the Berlin Festival. So I had to leave before the final mix of the film, which I was reluctant about simply because the director, David Leland, might feel let down. He had remarked that we were "joined at the hip" on this one. It's not always like that. I wonder just how much director's should rely on their editors? In the old days they didn't even come into the cutting room - I often wondered if they knew where we hid - in any case, if they did come, they couldn't see much on the teeny-tiny screens we used. I cut a black & white Cinemascope film, THE INNOCENTS, now something of a classic, on an old Acmiola, the UK version of the American Moviola. So, by the very geographic nature of things, we didn't get close to our directors. In fact it was not until I worked with John Schlesinger that I had that experience - John loved the cutting rooms and we had a lot of fun together as we worked (on many films), though always protecting the movie and ganging up on interfering producers. But that's another area which must wait for a further edition....