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Arguing that British crews were ‘put through the mill’, Cain suggested that, unused to working with large budgets, he and his colleagues would exert themselves to produce effective images at the lowest possible cost.

The American graphic designer, Robert Brownjohn (1925-70), came to London in 1961 at the suggestion of Bob Gill.

Brownjohn, who had trained at the Chicago Institute, had already enjoyed a certain amount of success as a partner in the New York design group, BCG.

American talent or investment played an important role in a large part of post-war British film production.

Alexander Walker has argued that in the mid 1950s, because of falling domestic audiences, British film-makers were forced to concentrate on foreign markets and had become ‘more akin to exporters than producers’.

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