1984, Klimov was able to start filming without having compromised to any censorship at all. The only change became the name of the film itself, to Come and See from the original, Kill Hitler (Klimov also says this in the 2006 UK DVD release). The film was shot in chronological order over a period of nine months. Kravchenko said that he underwent "the most debilitating fatigue and hunger. I kept a most severe diet, and after the filming was over I returned to school not only thin, but grey-haired." Contrary to what some rumors suggest, though, Kravchenko's hair did not turn permanently grey. In fact, a special Silber Interference Grease-Paint, alongside a thin layer of actual silver, was used to dye his hair. This made it difficult to get it back to normal, so Kravchenko had to live with his hair like this for some time after shooting the film. To prepare the 14-year-old Kravchenko for the role, Klimov called a hypnotist with autogenic training. "[Kravchenko's acting] could have had a very sad ending. He could have landed in an insane asylum," Klimov said. "I realized I had to inject him with content which he did not possess," "This is an age when a boy does not know what true hatred is, what true love is." "In the end, Mr. Kravchenko was able to concentrate so intensely that it seemed as if he had hypnotized himself for the role." To create the maximum sense of immediacy, realism, hyperrealism, and surrealism operating in equal measure, Klimov and his cameraman Aleksei Rodionov employed naturalistic colors, widescreen and lots of Steadicam shots; the film is full of extreme close-ups of faces, does not flinch from the unpleasant details of burnt flesh and bloodied corpses, and the guns were often loaded with live ammunition as opposed to blanks. Kravchenko mentioned in interviews that bullets sometimes passed just 4 inches (10 centimeters) above his head (such as in the cow scene). Very little protection was provided on the set. When the dive bombs were detonated the camera crew only had a concrete slab 1.5 meters tall and 5 meters wide to protect them. At the same time the mise-en-scène is fragmentary and disjointed: there are discontinuities between shots as characters appear in close up and then disappear off camera. Klimov employs a range of techniques that draw attention to the camera. The extreme close-ups of