and in exchange Welles promised to write, produce and direct a film for Cohn for no further fee. As Welles told it, on the spur of the moment, he suggested the film be based on a book that he happened to see in front of him during his call with Cohn, one a girl in the theatre box office was reading at the time. Welles had never read it. However, according to the daughter of William Castle, it was her father who had purchased the film adaptation rights for the novel and who then asked Welles to pitch it to Cohn, with Castle hoping to receive the directoral assignment himself. She described her father as greatly respecting Welles' talents, but feeling nonetheless disappointed at being relegated to serve merely as Welles' assistant director on the film. The Lady from Shanghai began filming on 2 October 1946, and originally finished filming on 27 February 1947, with studio-ordered retakes continuing through March 1947—but it was not released in the U.S. until 9 June 1948. Cohn strongly disliked Welles' rough cut, particularly what he considered to be a confusing plot and lack of close-ups (Welles had deliberately avoided these, as a stylistic device), and was not in sympathy with Welles' Brechtian use of irony and black comedy, especially in a farcical courtroom scene. He also objected to the appearance of the film. Welles had aimed for documentary-style authenticity by shooting the film almost entirely on location (making it one of the first major Hollywood pictures to be shot in this way) in Acapulco, Pie de la Cuesta, Sausalito and San Francisco), and by using primarily long takes, while Cohn preferred the more tightly controlled look of footage lit and shot in a studio. The release of the film was delayed due to Cohn's order for extensive editing and reshoots. Whereas Welles had delivered his cut of the film on time and under budget, the reshoots Welles was ordered to do meant that the film ended up over budget by a third, contributing to the director's reputation for going over budget. Once the reshoots were over, the heavy editing ordered by Cohn took over a year to complete; editor Viola Lawrence cut about an hour from Welles' rough cut. Welles was appalled at the musical score, and he was particularly aggrieved by the cuts in the climactic confrontation scene in an amusement park funhouse