replaced with Gilbert Roland. Cervi and Holt's schedule required 29 days of interiors to be shot at De Laurentiis' sound stages at "Dinocittà", 17 days on location in Spain, two weeks on location in the United States, and an additional week in Spain. Filming halted again on November 13; having viewed Holt's dailies, De Laurentiis temporarily aborted the film's production, stating that the footage "was of a level so low, both from an artistic and commercial point of view, as to make us clearly understand that to continue on that path meant heading toward disaster." In a 1969 interview, Holt said the film "didn't get stopped, it ran out of money. [...] It was mismanaged and so the film came to an end and everybody went home. Everybody is suing everybody. I got paid actually because I knew the Italian scene." Dino De Laurentiis and Mario Bava De Laurentiis felt that the only way to save the film was to restart production with a new script and director. The other production companies were not content with De Laurentiis stopping production, which led Les Films Marceau-Cocinor to terminate its contract with Italy Film. A.S. Film Produccion confiscated the footage and took cameras, costumes, and weapons that had been rented by Italy Film, which nearly bankrupted the company. During the interim, De Laurentiis capitalized on his newfound rights to the fumetti by including Diabolik among several comic book characters in "An Evening Like the Others", Vittorio De Sica's segment of the anthology film The Witches starring Silvana Mangano and Clint Eastwood; here, Diabolik was portrayed by actor Gianni Gori. Director Umberto Lenzi unsuccessfully attempted to buy the rights to Diabolik from De Laurentiis, prompting him to instead make Kriminal, based on Magnus and Max Bunker's fumetti neri of the same name. Deciding to make the film as an ancillary project complimenting his upcoming production of Barbarella — which was also an adaptation of a comic series — De Laurentiis restarted production with financial backing for both projects from Paramount Pictures, set up a two-film co-production deal with French producer Henri Michaud of Marianne Productions, and hired Mario Bava as director. Bava was reportedly suggested to De Laurentiis and the Giussanis by Farina, who was a fan of the director's giallo films, and informed the producer of Bava's popularity with cinephiles and intellectuals. Bava was also deemed by De Laurentiis to be a