his scouting to an assistant, who Dreyer instructed to find "a factory in ruins, a chopped up phantom, worthy of the imagination of Edgar Allan Poe. Somewhere in Paris. We can't travel far." In the original script, the village doctor was intended to flee the village and get trapped in a swamp. On looking for a suitable mire, the crew found a mill where they saw white shadows around the windows and doors. After seeing this place, they changed the film's ending to take place at this mill where the doctor dies by suffocating under the milled plaster (the mill is a Plaster Mill). Filming Vampyr was filmed between 1930 and 1931. Everything being shot on location, as Dreyer believed it would be beneficial by lending the dream-like ghost world of the film as well as allowing them to save money by not having to rent studio space. Dreyer originally wanted Vampyr to be a silent film, as it uses many elements of the silent era such as title cards to explain the story. Dialogue in the film was kept to a minimum. For the scenes with dialogue, the actors mouthed their lines in French, German and English so their lip movements would correspond to the voices that were going to be recorded in post-production. There is no record of the English version being completed. The scenes in the chateau were shot in April and May 1930. The chateau also acted as housing for the cast and crew during the filming. Life in the chateau was unpleasant for them as it was cold and infested with rats. The church yard scenes were shot in August 1930. The church was not an actual church, but a barn with a number of tombstones placed around it. This set was designed by the art director Hermann Warm. Critic and writer Kim Newman described Vampyrs style as closer to the experimental features such as Un Chien Andalou (1929) than a "quickie horror film" made after the release of Dracula (1931). Dreyer originally was going to film Vampyr in what he described as a "heavy style" but changed direction after cinematographer Maté showed him one shot that came out fuzzy and blurred. This washed out look was an effect Dreyer desired, and he had Maté shoot the film through a piece of gauze held three feet (.9 m) away from the camera to re-create this