South Park. Boyle included "Icarus" in the name of the ship to continue a theme of bleakness, opining that no American would give their craft such an ill-fated name. According to the director, "They'd call it Spirit of Hope or Ship of Destiny. They'd call it something optimistic ... in America they would sacrifice all plausibility, because there would be hope." The ship's exterior was designed to look like an oil tanker. The ship's interior was influenced by the design of a nuclear submarine that filmmakers had visited in Scotland, though the space was larger due to NASA's advice that smaller quarters would adversely affect the crewmembers' sanity. The corpses of burn victims in the film were modelled on the Pompeii victims from the Mount Vesuvius eruption. Cinematographer Alwin H. Küchler provided an idea to render the interior of the ship in the colours of grey, blue, and green, with no reference to orange, red, or yellow. Scenes were intended to be shot inside the ship at long intervals, and when the shot changed to the outside, yellow-starved audiences would be "penetrated" by sunlight. The visual effects of the sunlight were based on photographs from the Solar and Heliospheric Observatory project. Boyle also sought to pursue inexpensive methods in filming sequences involving actors and visual effects. In a scene where Cillian Murphy's character dreams of falling into the Sun, the actor was placed in a gantry around which 20 assistants rotated an assembly of bright lights. In another scene in which a character dies from solar exposure among the ashes from cremated bodies, massive wind turbines propelled biodegradable dust at the actor in the director's attempt to have the computer-generated effects follow the actor instead of vice versa. Boyle commented on his approach to using effects, "There is part of our brain where we admire the effect, but we put it in a side compartment of our experience because you know there's no way an actor can live through that, or be there in that moment." During the post-production process, Boyle hired one visual effects company, London's Moving Picture Company, to work on the film's 750 visual effects. The assignment of a single company was contrary to the industry trend of hiring multiple vendors to work on a film's effects. Boyle chose one company for ease of quality control, though the decision resulted in a prolonged post-production process. Music and