whether any second unit filming took place in Israel. A June 8, 1958, report in The New York Times said second unit director Andrew Marton had roamed "up and down the countryside" filming footage. However, the American Film Institute claims the filming permit was revoked in Israel for religious reasons as well (although when is not clear), and no footage from the planned location shooting near Jerusalem appeared in the film. Principal photography began in Rome on May 18, 1958. The script was still unfinished when cinematography began, so that Wyler had only read the first 10 to 12 pages of it. Shooting lasted for 12 to 14 hours a day, six days a week. On Sundays, Wyler would meet with Fry and Zimbalist for story conferences. The pace of the film was so grueling that a doctor was brought onto the set to give a vitamin B complex injection to anyone who requested it (shots which Wyler and his family later suspected may have contained amphetamines). To speed things up, Wyler often kept principal actors on stand-by, in full costume and make-up, so that he could shoot pick-up scenes if the first unit slowed down. Actresses Martha Scott and Cathy O'Donnell spent almost the entire month of November 1958 in full leprosy make-up and costumes so that Wyler could shoot "leper scenes" when other shots did not go well. Wyler was unhappy with Heston's performances, feeling they did not make Judah Ben-Hur a plausible character, and Heston had to reshoot "I'm a Jew" 16 times. Shooting took nine months, which included three months for the chariot race scene alone. Principal photography ended on January 7, 1959, with filming of the crucifixion scene, which took four days to shoot. Production design Italy was MGM's top choice for hosting the production. However, a number of countries—including France, Mexico, Spain, and the United Kingdom—were also considered. Cinecittà Studios, a very large motion picture production facility constructed in 1937 on the outskirts of Rome, was identified early on as the primary shooting location. Zimbalist hired Wyler's long-term production supervisor, Henry Henigson, to oversee the film, and art directors William A. Horning and Edward Carfagno created the overall look of the film, relying on the more than five years of research which had already been completed for the production. A skeleton crew of studio technicians arrived in the summer of 1956 to begin preparing