many sculptures derived from his most famous works and images. In his later years other sculptures also appeared, often in large editions, whose authenticity has sometimes been questioned. Between 1941 and 1970, Dalí created an ensemble of 39 pieces of jewelry, many of which are intricate, some containing moving parts. The most famous assemblage, The Royal Heart, is made of gold and is encrusted with 46 rubies, 42 diamonds, and four emeralds, created in such a way that the center "beats" like a heart. Dalí ventured into industrial design in the 1970s with a 500-piece run of Suomi tableware by Timo Sarpaneva that Dalí decorated for the German Rosenthal porcelain maker's "Studio Linie". In 1969 he designed the Chupa Chups logo. He facilitated the design of the advertising campaign for the 1969 Eurovision Song Contest and created a large on-stage metal sculpture that stood at the Teatro Real in Madrid. Theater and film In theater, Dalí designed the scenery for Federico García Lorca's 1927 romantic play Mariana Pineda. For Bacchanale (1939), a ballet based on and set to the music of Richard Wagner's 1845 opera Tannhäuser, Dalí provided both the set design and the libretto. He executed designs for a number of other ballets including Labyrinth (1942), Sentimental Colloquy, Mad Tristan, The Cafe of Chinitas (all 1944) and The Three-Cornered Hat (1949). Dalí became interested in film when he was young, going to the theater most Sundays. By the late 1920s he was fascinated by the potential of film to reveal "the unlimited fantasy born of things themselves" and went on to collaborate with the director Luis Buñuel on two Surrealist films: the 17-minute short Un Chien Andalou (1929) and the feature film L'Age d'Or (1930). Dalí and Buñuel agree that they jointly developed the script and imagery of Un Chien Andalou, but there is controversy over the extent of Dalí's contribution to L'Age d'Or. Un Chien Andalou features a graphic opening scene of a human eyeball being slashed with a razor and develops surreal imagery and irrational discontinuities in time and space to produce a dreamlike quality. L'Age d'Or is more overtly anti-clerical and anti-establishment, and was banned after right-wing groups staged a riot in the Parisian theater where it was being shown. Summarizing the impact of these two films on the Surrealist film movement, one commentator has stated: "If Un Chien Andalou stands as the supreme record of