months, Harris sent complimentary letters, cables and offers for a screen test to Lerner, Logan and Jack Warner indicating his interest in the role. Logan refused his offer due to his lack of singing abilities. When Logan returned to the Dorchester after having his morning jog, Harris ambushed him about the role, in which Logan finally relented as he offered to pay for his own screen test. Harris later hired cinematographer Nicolas Roeg to direct his screen test, which impressed Logan and Warner, who both agreed to hire him. For the role of Guenevere, Julie Andrews, Audrey Hepburn and Julie Christie were on the studio's shortlist while Jack Warner separately considered Polly Bergen, Ann-Margret and Mitzi Gaynor. Andrews had learned of the movie adaptation while filming Hawaii, but she declined. However, Logan desperately wanted to cast Vanessa Redgrave after watching her performance in Morgan – A Suitable Case for Treatment (1966). At the time, Redgrave was performing in the stage play The Prime of Miss Jean Brodie so Logan had to wait several months for her availability. Despite Redgrave not being a traditional singer, Logan was impressed by her renditions of folk songs that he listened to. The studio was initially reluctant due to her left-wing activism, but Logan negotiated for her casting until after she fulfilled her stage commitments. Redgrave was signed in November 1966 for $200,000 and permitted to do her own singing. Although the studio initially sought a Frenchman, Italian actor Franco Nero was cast as Lancelot based on the recommendation from Harris and John Huston who worked with Nero on The Bible: In the Beginning... (1966). Although Logan was aware of Nero's thick Italian accent, he initially permitted him to do his own singing. The first scene shot was his performance of the musical number "C'est Moi", by which Logan found Nero's singing voice incompatible with the song's musical arrangement. His singing voice was dubbed by Gene Merlino while Nero was given a speech coach to help improve his English. Filming Richard H. Kline came to the attention of Logan after he had watched footage from Chamber of Horrors (1966), which contained medieval castle doors with a carriage drawn by a team of gray horses rolling through a bricked courtyard that had been shot with muted colors of the woods and mist. Impressed, Logan hired Kline as cinematographer. For Camelot, Kline wanted to shoot the film