for location shooting. Shortly after their arrival in the country, Marcello Caetano succeeded the incapacitated António de Oliveira Salazar as prime minister. Parrish was concerned that this political instability might hold up the shoot, so reduced the filming schedule from one month to two weeks. To create an illusion of a mirror Earth, the crew reversed the film negatives using a process called "flop-over". This technique spared the production considerable time and money building specially "reversed" props and sets and organising road closures to film cars driving on the "wrong" side of the road. However, it meant that scenes set on the Counter-Earth required careful planning and rehearsal with the cast and crew. It also resulted in a number of continuity errors: for example, the "Heart-Lung-Kidney" machines aboard Phoenix are first shown connected to Ross and Kane's left wrists, then their right. The crew had difficulty creating a scene in which the EUROSEC board hold an international videoconference on high-resolution viewing monitors. Due to the high cost of colour TV at the time of production and the need to avoid black and white to reflect the film's futuristic setting, instead of using real viewing monitors the crew cut screen-sized gaps in a wall and positioned the actors playing the conference delegates behind them. Silver paper was added to reflect the studio lights and simulate a high-resolution image, with altered eyelines creating the illusion that each delegate is looking into a camera. Archer and Hearn praise this scene as an example of how Anderson "proved once again that his productions were ahead of their time". As filming progressed, Anderson and Parrish came into conflict. Anderson said that Kanter was brought in more than once to mediate between them: "[Sylvia and I] both knew how important the picture was to our careers, and we both desperately wanted to be in the big time". At one point, Parrish refused to film a number of scenes, saying that he would only end up deleting them. According to Anderson, when he reminded Parrish of his contractual obligations, the director loudly announced to the cast and crew: "Hell, you heard the producer. If I don't shoot these scenes which I don't really want, don't need and will cut out anyway, I'll be in breach of contract. So what we'll do is shoot those scenes next!" In his biography, Anderson stated that his one regret about the