1:01:00
but once we got there
and saw the density of the bug life,
1:01:07
we realised that it would not be possible
for Nastassia to be naked out there.
1:01:15
So when she exits this shot
1:01:20
she will exit Louisiana
1:01:24
because there's no way
we could have shot it.
1:01:27
In fact, I'm surprised
we even got this much done
1:01:30
because everyone around her was
covered head to toe for the mosquitoes.
1:01:37
So where we are now
is in the botanical garden
1:01:42
in Los Angeles.
1:01:47
At that time, I wanted to do
a kind of a cat vision,
1:01:52
whereby she saw the animals
differently than how they were.
1:01:58
Today you'd do it all digital.
1:02:00
A man named Robert Blalack came up
with a technique we finally used.
1:02:06
One thing that Scarfiotti said
when he first saw the film
1:02:09
was one of the things he liked a lot
about Nastassia's body
1:02:14
was that it didn't look like an American
body, it looked like a European body.
1:02:20
And I think that's true.
1:02:28
In this upcoming sequence
1:02:32
what we did was we dyed the rabbit,
1:02:37
I think a kind of orange colour,
1:02:40
and the snake,
1:02:42
so we were able then to manipulate
the colour in the printing process.
1:02:50
Today it's a common technique -
all done digitally.
1:02:53
The whole image can be black and white
and the snake any colour you want.
1:02:58
But back then you had to dye
the animals certain colours