We tried very hard to make something out of it. I think it's a matter of having some sort of belief in your particular, not so much style, but presentation. It isn't so theatrical, and that runs through the performances, the editing style and the more classic sort of shots, style and the cast. So, in the end, if you can manage to imbue all the various parts with something that's fairly consistent, it can't be divided up or contaminated or corrupted. It's a complete thing. That's where I think that film has its worth. The script really lets the film down in the second half. It divides into two films, following a conspiracy thing. It doesn't really work. The focus on the odd couple in a workplace was working really well up until that point. Then the two elements fight each other for the rest of the film. Because of the delicate sort of storytelling and because it's slow, whatever action there is is really only in the climax. It doesn't particularly drive you along. It falls apart, I think, in the second half.〔("Interview with Brian McKenzie", ''Signet'', 18 September 1995 ) accessed 19 November 2012〕