wished he had had more time to work on the free-fall scene. The Moving Picture Company created the climactic hotel sequence. The fire effects were supervised by Chris Corbould, and post-production MPC had to enhance the sequence by making the smoke look closer to the actors, so it would look more dangerous. A full-scale replica of the building's exterior was used for the exploding part Bond and Camille escape from. The boat chase was another scene that required very little CGI. Machine FX worked on replacing a few shots of visible stuntmen with a digital version of Craig's head, and recreated the boats Bond jumps over on his motorcycle to make it look more dangerous. Crowd creation was done for the Tosca scene by Machine FX, to make the performance look like it had sold out. Forster edited the opera scene to resemble The Man Who Knew Too Much. In total, there are 900+ visual effects shots in Quantum of Solace. Music David Arnold, who composed the scores for the previous four Bond films, returned for Quantum of Solace. He said that Forster likes to work very closely with his composers and that, in comparison to the accelerated schedule he was tied to on Casino Royale, the intention was to spend a long time scoring the film to "really work it out." He also said he would be "taking a different approach" with the score. Arnold composed the music based on impressions from reading the script, and Forster edited those into the film. As with Casino Royale, Arnold kept use of the "James Bond Theme" to a minimum. Arnold collaborated with Kieran Hebden for "Crawl, End Crawl," a remix of the score played during the end credits. Jack White of The White Stripes and Alicia Keys collaborated on "Another Way to Die," the first Bond music duet. They had wanted to work together for two years beforehand. The song was recorded in Nashville, Tennessee; White played the drums while Keys performed on the piano. The Memphis Horns also contributed to the track. White's favourite Bond theme is John Barry's instrumental piece for On Her Majesty's Secret Service, and he watched various opening credit sequences from the series for inspiration while mixing the track. Mark Ronson and Amy Winehouse had recorded a demo track for the film, but Ronson explained Winehouse's well-publicised legal issues in the preceding weeks made her "not