From American Cinematographer, Cinematic Glory by David E. Williams (March 1998)
"CinemaScope lenses also couldn't focus very close, but Jack wanted the camera to be in tight with the actors. We had to use a lot of light to build up the stop and increase depth of field. We had a huge garden set built on the stage at Shepperton Studios, and we couldn't get nearly enough light on it for the stops we wanted, so I had the art department paint one side of the foliage silver and white to create a false highlight. That way, our fill could be what our key would have been. We had to do all kinds of tricks like that."
- Freddi Francis, BSC