[The raw material] used to come in the form of rushes directly from the camps, and I only wish I’d kept the continuity notes, because they were very, very explicit. The people, mostly Americans (this material was mostly from American units) couldn’t resist putting in their personal feelings. Normally, continuity notes are very matter-of-fact. But these were more than normal continuity sheets. They were really quite upsetting to read – almost as upsetting as the film. (…) The labs would not allow any young person (possibly under 18, or it may have been 21) to have anything to do with looking at the film. They had very young girls working on the coding or numbering of the film, and they took them off. Even though they couldn’t really see anything, they nevertheless put older people on to it. When we screened at Denham labs, the projectionists wouldn’t look at the film, and if it went out of rack or was out of focus we had the greatest difficulty in getting them to do anything about it.

Peter Tanner quoted in Elizabeth Sussex, Sight & Sound, Spring 1984