Goddard agreed to make one more film together in their divorce settlement, the idea never materialized. In the years after, Chaplin worked on the script in increments, "adding a bit here, cutting a bit there." In 1963, a friend of Chaplin suggested to him Sophia Loren for the lead role of Natascha, the Russian princess. For the character of Ogden, he originally wanted Rex Harrison or Cary Grant to play the role, but eventually Marlon Brando was cast. By 1965, both Brando and Sophia Loren committed to the film without reading a script. Tippi Hedren, who broke with Alfred Hitchcock, also signed on for the film without reading the script, and was disappointed to learn the insignificance of her role. Although Chaplin tried to accommodate her, he could not, as the story mostly takes place on a ship that Hedren's character boards near the end of the film. In the end, she remained in the film and later said that it was a pleasure working for him. Chaplin cast his son Sydney in a supporting role, as well as his three eldest daughters in cameo appearances: Geraldine (at minutes 46 and 65), Josephine and Victoria Chaplin (at minute 92). Production began on 25 January 1966 at Pinewood Studios in Buckinghamshire, just outside London. The film was the second of Universal's European unit, following Fahrenheit 451. Production was frequently interrupted by Brando arriving late and then being hospitalized with appendicitis; Chaplin and Brando having the flu; and Loren marrying Carlo Ponti. Hedren described Chaplin's directorial technique in the following way: "Chaplin’s method was to act out all our different roles, which was brilliant to watch. Instead of directing, he’d get out there on set and say: 'OK, do this,' and show us how. He’d become Sophia Loren. He’d become me and Marlon. It was really unusual and I’d never seen it happen before." Although many members of the cast appreciated Chaplin's approach, Marlon Brando felt insulted and wanted to quit before Chaplin was able to persuade him to finish the picture. Brando came to consider Chaplin a "fearsomely cruel man", claiming that Chaplin: "was an egotistical tyrant and a penny-pincher. He harassed people when they were late, and scolded them unmercifully to work faster." Brando was particularly angered by what he regarded as the cruel way that Chaplin treated his son Sydney, who had a supporting role in the picture: "Chaplin