with his script pages for the action sequence being "not a very detailed thing", but the idea developed while he was prepping to direct the episode. The shot took several days to film, with the production waiting anytime a cloud was visible to keep a consistently cloudless sky. The sequence was carefully planned to match the timing of the running actors, live explosions, and future visual effects. Music When first meeting with composer Jeff Russo about the series, Hawley told Russo that he wanted the series to sound like Pink Floyd's The Dark Side of the Moon, explaining "that album more than anything is really the soundscape of mental illness to some degree". With the pilot's release, Russo stated that the through line of the series is the relationship between Haller and Barrett, and said that a love story "lends itself to musical moments. It allows it to underscore the character." The opening montage is set to "Happy Jack" by The Who, and the love story montage plays to "She's a Rainbow" by The Rolling Stones. Despite initially choreographing the Bollywood dance sequence to an actual Bollywood song, Hawley ultimately set the sequence to Serge Gainsbourg's "Pauvre Lola" which "added to the surreal-ness of it ... [the song] has a Bollywood feel, but is not what you would expect. Haller's prison break sequence plays to "Up the Beach" by Jane's Addiction. Visual effects Folks VFX provided visual effects for the episode, including creating digital environments and stunt doubles and showing mutant abilities during the climactic action sequence. Visual effects supervisor John Ross, collaborating with Hawley again after Fargo, noted that though "hundreds of thousands of dollars" was spent on major visual effect sequences for the show, "we don't dwell on that aspect. There's a jeep that gets slammed down [in the episode], which the characters hide behind before it gets flung back into the building, but we pan off it, just throwing it away, because the destruction isn't the point of the scene." For the kitchen sequence, visual effects were used to layer the different images of debris over Stevens' performance. This transitions to all the circling around Haller, which was created digitally. Rotoscoping was used to have the digital debris moving behind and in front of the character as it spins around him. A knife that flies past Haller's face was also added digitally. The visual effects for this