Soho pub within the span of two days. Studio space at Elstree Studios and LH2 Studios were also utilized for the London shoot. Cinematographer Don Burgess stated that all of the more complex scenes for the film were mapped out prior to filming using a style of virtual cinematography, a technique they had used for 2004's The Polar Express. Burgess and Zemeckis elected to break the film down into six specific visual appearances to match the changing tone and settings for the film. In May 2016 scenes set in Casablanca were shot in Gran Canaria, Canary Islands. Freeman stated that filming in the Canary Islands happened as finding locations in Morocco proved a challenge due to the architecture of cities like Casablanca and Tangiers changing significantly since the time period the film is set in. The airfield scenes were shot at RAF Halton that was decorated to look like RAF Hendon during World War II. For when his character spoke French in the film, Pitt worked with Cotillard to help develop his accent. Cotillard took firearm training for the film, but was never fully comfortable holding the weapon. Filming of the assassination scene was interrupted when Cotillard "freaked out" while handling the weapon. To help with her discomfort, Zemeckis instructed her to put the lock on the machine gun she would use. Costume design Designer and frequent Zemeckis collaborator Joanna Johnston provided the costume design on the film, and was given free rein by Zemeckis on the designs. Due to the quick process of the pre-production, little more than two weeks were available to Johnston for research. She described in an interview that she sought to give the costumes a polished, glossy look. For influence, Johnston paid visits to the Imperial War Museum in London, a practice she had also done when working on other war set films such as Saving Private Ryan, Valkyrie and War Horse; looked at the wardrobes of Golden Age actresses Lauren Bacall, Barbara Stanwyck and Katharine Hepburn, as well as the wardrobes utilized in the films Casablanca and Now, Voyager. Johnston shaped the style of the costumes around the characters, and particular focus was on Marianne, whose clothing altered with the development of the plot. "I wanted her to look very assured in the first part of the film, in Casablanca.", said Johnston, "I looked at a lot of French style and fashion plates from