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94 THE CINEMA
Camera shooting from viewpoint of window where Maria is standing.
maria : She was frightfully injured.
louis (reflectively) : That was a good idea ...
maria: Idea?
louis: Using first aid. A perfect cover. You've got what it takes, Maria.
When the script was written, no one knew the exact nature of Nora's dance or of the musical clown's act. In the casting of Nora, should we use an actress whose dancing would have to be supplied by a double or could we find someone capable both of dancing and of acting the whole range of Nora's character? We were fortunate to find in Audrey Hepburn an actress sufficiently endowed with both qualities, so that we could set our cameras close to her for acting and dancing. As for the musical clowns, we were again fortunate in finding in Charlie Cairoli and Paul an act both highly skilled and generously co-operative. Being never idle, they were available only on a Sunday, and we captured their performance on two cameras between nine in the morning and four in the afternoon, and this with an act which we had not studied or even seen before.
All the material for this flashback was shot in less than three days. Problems of weather and organizational costs demanded that we should stage it indoors and not on location as the script indicates. Therefore the area covered by the set was four times less than the extent of the location. So Maria's movements in the garden had to be greatly restricted. And in the cramped area of action the credibility of the placing of the bomb became a considerable problem. The silver case proved to be too conspicuous. This was met by slipping the bomb into a cigarette carton.
The selected material took some forty minutes to project on the screen ; the Gairolis' act alone ran for more than half of that time. It was the editor, Peter Tanner's, problem to find out my intention and to whittle and order the sequence into its final length. He began by cutting the story action and the dance at their full extent. Then separately he made all the shots of the clowns into one continuous act. From that point to the end of his