the scenes shot in the U.S. after he was unable to gain an H-1B visa and because local trade unions blocked him from doing work on the film. The film encountered similar problems with trade unions in the United Kingdom, and had to hire a separate British crew and pay British actors enrolled in Equity at Screen Actors Guild-rate salaries in order to allow American actors to film scenes in the U.K. These trade disputes caused the film to run heavily over budget, but the studio ultimately recouped its costs after financing the film with a low-interest loan from Barclays Bank as part of a tax-shelter plan. Actress Maureen Stapleton was due to begin shooting her scenes in London in November 1979, but she refused to take a plane because of a fear of flying. Because it was the wrong season for ocean liner travel, the production had to arrange for Stapleton to travel on a tramp steamer, which broke down in the North Atlantic and had to be towed to Amsterdam. This caused another unwelcome delay. Beatty would also not stop the camera between takes, letting it roll continuously, and insisted on a large number of takes. Paul Sorvino said he did as many as 70 takes for one scene; Stapleton had to do 80 takes of one scene, which caused her to say to Beatty, "Are you out of your fucking mind?" Beatty and Keaton's romantic relationship also began to deteriorate during filming. Peter Biskind wrote about the making of Reds, "Beatty's relationship with Keaton barely survived the shoot. It is always a dicey proposition when an actress works with a star or director—both, in this case—with whom she has an offscreen relationship. Keaton appeared in more scenes than any other actor save Beatty, and many of them were difficult ones, where she had to assay a wide range of feelings, from romantic passion to anger, and deliver several lengthy, complex, emotional speeches." George Plimpton once observed, "Diane almost got broken. I thought [Beatty] was trying to break her into what Louise Bryant had been like with John Reed." Executive producer Simon Relph adds, "It must have been a strain on their relationship because he was completely obsessive, relentless." Post-production The editing process began in early 1980, with as many as 65 people working on editing down and going over approximately 2.5 million feet of film. Post-production ended