engineers, who found him to be unprecedented among contemporary filmmakers". For Barry Lyndon he also used a specially adapted high-speed (f/0.7) Zeiss camera lens, originally developed for NASA, to shoot numerous scenes lit only with candlelight. Actor Steven Berkoff recalls that Kubrick wanted scenes to be shot using "pure candlelight", and in doing so Kubrick "made a unique contribution to the art of filmmaking going back to painting ... You almost posed like for portraits." LoBrutto notes that cinematographers all over the world wanted to know about Kubrick's "magic lens" and that he became a "legend" among cameramen around the world. Editing and music Kubrick spent extensive hours editing, often working seven days a week, and more hours a day as he got closer to deadlines. For Kubrick, written dialogue was one element to be put in balance with mise en scène (set arrangements), music, and especially, editing. Inspired by Pudovkin's treatise on film editing, Kubrick realized that one could create a performance in the editing room and often "re-direct" a film, and he remarked: "I love editing. I think I like it more than any other phase of filmmaking ... Editing is the only unique aspect of filmmaking which does not resemble any other art form—a point so important it cannot be overstressed ... It can make or break a film". Biographer John Baxter stated that "Instead of finding the intellectual spine of a film in the script before starting work, Kubrick felt his way towards the final version of a film by shooting each scene from many angles and demanding scores of takes on each line. Then over months ... he arranged and rearranged the tens of thousands of scraps of film to fit a vision that really only began to emerge during editing". Kubrick's attention to music was an aspect of what many referred to as his "perfectionism" and extreme attention to minute details, which his wife Christiane attributed to an addiction to music. In his last six films, Kubrick usually chose music from existing sources, especially classical compositions. He preferred selecting recorded music over having it composed for a film, believing that no hired composer could do as well as the public domain classical composers. He also felt that building scenes from great music often created the "most memorable scenes" in the best films. In one instance, for a scene in Barry Lyndon which was written