free-fall from the latter's plane, one of Diabolik's legs appears to be unusually thin, as light from the bluescreen used bounced back onto the trouser leg. He also brings attention to the artificiality of two scenes in particular, one in which Diabolik uses multicolored smoke to distract Ginko and the police as he steals their Rolls-Royce, and another where Diabolik calls Valmont from a phone booth. In the former, the smoke is overlaid in a continuous pattern rather than changing with the editing of the action behind it, while the latter begins with an establishing shot that is too tightly framed on Diabolik to allow the audience to visually adjust to his location, and a zoom onto him in a later shot fails to correspond with the background matte. Lucas, however, notes that this artificiality is also in line with the composition of artwork in comic books. Swamp Thing artist Stephen R. Bissette notes that Bava's framing frequently serves to emulate comic book panels, such as filming action on rear-view mirrors and through bookcases and bed frames; he also considers Bava's use of depth, onscreen action and camera movement to be closer to the intended effect of a comic book upon a reader compared to other contemporary interpretations of the medium such as Barbarella, which Bissette feels placed its focus on combining elaborate costuming and art direction with static framing and action in a misguided attempt to replicate the flatness of the artwork. For scenes in which characters are dropped out of the trapdoor of Valmont's plane, G.I. Joe action figures were dressed in the style of the characters they were representing and dropped through a miniature recreation of the life-size plane set. Similarly, the shot depicting the destruction of the gold-carrying train used a model bridge with a toy train that was painted to match the engine depicted in the preceding sequences; a matte containing airbrushed clouds was used to mask the illusion. Although filmed with high-speed cameras, the on-set explosion of the bridge was deemed unsatisfactory, and was accented in post-production with an overlaid, animated explosion. Music Morricone's score for Danger: Diabolik, which was conducted by Bruno Nicolai, was the composer's only collaboration with Bava, and was influenced by his work with the avant-garde/free improvisation collective Gruppo di Improvvisazione Nuova Consonanza. It includes a title song, "Deep Down", featuring vocals sung by singer and actress Maria Cristina "Christy"