of dying, asking in a voice of horror, "Elizabeth. What have I done to you? (beat) What have I done to you?" The camera was to then cut directly to Elizabeth's face trapped in the iron maiden. Corman decided to jettison the lines, believing that the film should remain purely visual at that point and dialogue would ruin the power of the scene. Filming The Pit and the Pendulum was announced in August 1960, and filming began the first week of January 1961. According to Lucy Chase Williams' book, The Complete Films of Vincent Price, the shooting schedule was fifteen days, and the film's budget was almost $1 million. Corman himself has said that the film's actual production cost was approximately $300,000. Corman has noted that making the film was a pleasurable experience: "I enjoyed The Pit and the Pendulum because I actually got the chance to experiment a bit with the movement of the camera. There was a lot of moving camera work and interesting cutting in the climax of the film." Filming went smoothly, and Corman attributed the ease of the production's shoot to the short but comprehensive pre-production planning he did with the major technicians: We achieved what we did on a low budget because we carefully planned the whole production in advance of starting the cameras. Thus, when we moved into the studio for fifteen days of scheduled shooting, we didn't have to start making decisions. Because of our pre-production conferences with director of photography Floyd Crosby and art director Daniel Haller, everyone knew exactly what to do, barring any last minute inspirations on the set. To create the flashbacks revealing Nicholas' traumatic experiences, Corman and Crosby attempted to shoot them in a manner that would convey to the audience the character's horror in dredging up nightmares trapped in his subconscious. Corman insisted on these images having a dream-like quality, "twisted and distorted because they were being experienced by someone on the rim of madness." Corman decided to film the flashbacks in monochrome, since he had read that some psychiatrists believe most people dream in "black-and white" imagery. Crosby used wide-angle lenses, violent camera movement, and tilted camera angles to represent the character's feeling of hysteria. The sequences were then printed on blue-tinted stock which was subsequently toned red during development, effectively producing a two-tone image. The highlights were blue, with the shadows rendered as red...producing