different languages to them and was pretty offensivevery demanding. I suppose he'd worked out that if you bullied actors, you didn't get the best from them whereas, to hell with the technicians. They had to do as they were told, and pretty quick." A scene depicting the assassination of King Richard II, originally intended to open the film, was cut. Post-production Keith Baxter said that the film's soundtrack was post-dubbed months after filming was completed, and that actors Fernando Rey and Marina Vlady were dubbed by different actors because of their heavy accents. Baxter also stated that he, Welles and Michael Aldridge recorded voices for several characters in post-production. Mistress Quickly's speech after Falstaff's death, which was disrupted by the audible hum of a power generator, used the original version of the soundtrack because Welles liked Margaret Rutherford's performance enough to keep it. The score was composed by Angelo Francesco Lavagnino, who had worked with Welles on Othello; it is notable for its prominent use of actual medieval monophonic dance tunes (and some later “early music,” such as several of Antony Holborne's Elizabethan consort pieces) at a time when this was anything but common. The score was recorded in an Italian studio, which paid Lavagnino for his work on the film in exchange for the rights to the music, and later released a soundtrack album in Italy and the UK. During the editing, Welles showed a rough cut to the visiting head of the Cannes Film Festival, who immediately wanted to include the film in the festival, and Welles had to finish the editing more quickly than he preferred. Style Cinematography Welles had originally wanted the entire film to use high-contrast cinematography, resembling engravings of the Middle Ages; only the opening title sequence uses this technique. The film's most famous sequence is the Battle of Shrewsbury; only about 180 extras were available and Welles used editing techniques to give the appearance of armies of thousands. Welles filmed all of the battle scenes in long takes, but cut the shots into fragments to create the effect that he wanted. It took ten days to shoot the scenes and six weeks to edit what became a six-minute sequence. In filming the sequence, Welles often used hand-held cameras, wide-angle lenses, slow motion and speed up shots, static shots, swish pans and constant rapid movement of the characters to create a kinetic and chaotic