of the time emphasized mood over emotion, he wanted his script to be equal parts abstraction and narrative. Florey wrote it in precise detail, describing each shot relative to the length of film required (a budget necessity, due to the expense of film stock). Development Florey did not own a camera at the time, and his efforts to obtain one were unsuccessful until he met Vorkapić. Florey recalled, "I say to Slav, 'Slav, I have an idea but not much money. You have a camera and are a clever painter. Let's make the picture in collaboration and we split the benefit. According to Vorkapić, he said: "Florey, you get me $100 and I'll make you a picture in my own kitchen." Vorkapić allowed Florey to borrow a small box camera which he had bought with the proceeds from the sale of one of his oil paintings. It was a DeVry camera with one lens, a type which Florey said was sold as a "toy". Florey had trouble obtaining film, since he found it too expensive to purchase negative and positive film from film laboratories. Florey knew that film ends (scraps of leftover, unexposed film stock) were often discarded after shooting on big-budget Hollywood films, however, and he tried to persuade filmmakers to give them to him. Camerawork had just been completed on The Gaucho (1927), a film starring Douglas Fairbanks, and Florey obtained more than 1,000 feet of film from the production in 10- and 20-foot strips. He then spliced the film ends together by hand (a process he found time-consuming and frustrating), which resulted in the equivalent of a full reel of negative film. Fairbanks (who had employed Florey to handle his European public relations) provided financial assistance, gave Florey access to his editing rooms, and helped provide him with film ends. The film was shot by Gregg Toland (credited simply as "Gregg"), who was also working as an assistant to cinematographer George Barnes at the Samuel Goldwyn Studio. It was one of Toland's first films, and the cinematographer was later acclaimed for his work on The Grapes of Wrath (1939) and Citizen Kane (1941). The Life and Death of 9413: a Hollywood Extra cost $97 ($ today) to make, paid entirely by Florey. The budget consisted of $55 ($ today) for development and printing, $25 ($ today) for negatives, $14 ($ today) for transportation, and $3 ($ today)