Joe DiMaggio. Einstein was also never called to testify before the House Un-American Activities Committee, "but," he said, "had it gone on longer, I can see that as having been a big possibility. He was there in spirit, as it were." Roeg saw the play and felt it "might be a tool to use. An incident came up in my own life and I thought, 'Good God, nobody knows a damn thing about anyone.' That was the premise that started me thinking about the piece again." Roeg notes that Insignificance is usually talked about as a meeting between Marilyn Monroe and Albert Einstein, but what moved him was the pain of the problems between The Actress and The Ballplayer, who are married but seem to know nothing about each other. Insignificance would become his first film adapted from a play. Roeg asked Johnson to work on the screenplay, which at first meant simply reducing the play to approximately 90 minutes as opposed to two hours, but then Roeg began making suggestions which would expand the screenplay and include flashbacks to the characters' histories, and flash-forwards of imagination. His suggestions inspired Johnson to focus on a deeper development of the characters, while Roeg himself began to imagine how the film could open the play spatially as well as laterally. "He opened it backwards," Johnson said. Filming All of the interiors for Insignificance as well as the Seven Year Itch scene, were shot at Lee Studios in Wembley Park, England, with second-unit exteriors shot in New York City. Mise-en-scène was created through the use of Pablo Picasso's post-cubism painting Woman and Child on the Seashore which underscores The Actress' pain about her childlessness, while the fractured structure of the narrative was mirrored in the splintered image of Theresa Russell used as a nude calendar shot of The Actress. Created by photographer-collagist David Hockney, the image is, according to film critic Chuck Stephens, "a pinup in a hundred pieces, a centerfold sent through a centrifuge..." and is a reflection of The Actress. With "her much-exposed and famously exploited psyche already splintered into jagged, mingled shards of kittenish innocence, movie business cunning, overwhelming erotic appeal, and abject inner terror, Monroe was post-cubism's quintessential glittering star...perfectly pieced together and seen prismatically all at once..." The image is also a metaphor for Roeg's non-linear filmmaking, Stephens notes that "for a cine-cubist like Roeg, two entirely disparate