Paris largely used for outdoor scenes, and stairs from Paris replicated in Vienna. Haneke said most of the filming likely took place in Vienna. It was the first film he made using high-definition video cameras; it also has no score, due to Haneke's belief that music conflicts with realism. For the scene in which a rooster is beheaded, a real chicken was used and actually killed. In the suicide scene, Haneke sought to create a realistic effect, remarking "if the suicide scene is not plausible then the entire film is spoiled". In the final scene, Lester Makedonsky and Walid Afkir are speaking dialogue Haneke scripted, but Haneke chose not to publish it and left it inaudible, and instructed the actors to never disclose it. Haneke chose a wide shot and positioned the extras so that viewers might not notice Makedonsky and Afkir. He described post-production as marked by arduous work on fixing the sound. Themes and interpretations Colonialism Themes of collective memory and guilt over colonialism run through Caché. When Majid commits suicide, Haneke connects "the personal and collective conscience", and how neither Georges nor his society has acknowledged the violence of colonialism, according to professor Ipek A. Celik. Scholar Susannah Radstone argues that while critics focused on the film as a statement on the Algerian War in particular, the story is generally about "the trauma of violence perpetuated upon the colonized and the guilt that now ought rightfully to be acknowledged by the colonial power". The French people refusing to accept the full truth of a moment of shame, the Paris massacre, underlines the scene where Georges tells Anne about Majid, according to academic Elsie Walker, with the pauses punctuating Georges's monologue belying the shame. After stating the date, Georges adds "Enough said", indicating the event was better-known by 2005, but also seemingly affirming silence about it; Walker points out that Georges ironically follows this with details. Professor Russell J.A. Kilbourn writes that Georges had suppressed his memories and his sense of guilt and that for Haneke, trauma is lived in the present through memory. Georges's dream, in which he sees young Majid kill the rooster, and then menace him with the ax, "presents a spectacle of real death in the place of any simulation or reconstruction of the events of October 1961", author Michael Lawrence writes. Present-day conflicts such as the Iraq War and the Israeli–Palestinian conflict are