Although Associated-Rediffusion retained a number of rights, including approval of episode synopses, script approval, music approval, and viewing rights for the rushes and final cut, film scholars Jean-Pierre Berthomé and Francois Thomas argue that Welles remained in control much of the time, due to the fragmentary, piecemeal way in which much of the footage was shot, with the writer/director/presenter being the only person who could piece it all together. For instance, Welles shot most of his interviews with only one camera, focussed on the interviewee, and all of the reverse shots of him asking questions had to be shot later in a studio. Frequently, Welles's entire episodes would be heavily studio-dependent; his entire participation in an episode on bullfighting consisted of filming himself entering and sitting down at a bullfight, then filming the bullfight; and the reconstructing part of the audience seats in a studio, so he could record his bullfight commentary months after having watched it.