were simulated by filming the actress (Hayley Mills) as she stood at the left of the frame facing right, then filming her again, standing at the right and facing left. The negative of the first action was placed into a printer and copied onto another negative, the composite, but this other negative was masked so that only the right part of the original picture is copied. Then the composite was rewound and the negative of the second action was copied onto the right side of each frame. On this second pass, the left side was masked to prevent double exposure. This technique is then carefully hidden by background lines, such as windows, doors, etc. to disguise the split. In Indiscreet (1958), the technique was famously used to bypass the censors and allow Cary Grant and Ingrid Bergman to be in bed together, and even to appear to pat her on the bottom. Several studio-made films in the 1960s popularized the use of split screen. They include John Frankenheimer's Grand Prix (1966), Richard Fleischer's The Boston Strangler (1968), and Norman Jewison's The Thomas Crown Affair (1968). In the 1970s, usage continued in films like Airport (1970), Woodstock (1970), The Andromeda Strain (1971), Sisters (1972), Carrie (1976) and More American Graffiti (1979). Title sequence designer Saul Bass lamented the popularity of split screen in the 1960s. Although he used it extensively in his work for Grand Prix, he later claimed that it had been artistically exhausted from excessive use. According to Bass: Hans Canosa's 2005 film Conversations with Other Women made extensive use of split screens. Conversations juxtaposed shot and reverse shot of two actors in the same take, captured with two cameras, for the entire movie. The film was designed to enlist the audience as perceptual editors, as they can choose to watch either character act and react in real time. While the shot/reverse shot function of split screen comprises most of the running time of the film, the filmmakers also used split screen for other spatial, temporal and emotional effects. Conversations''' split screen sometimes showed flashbacks of the recent or distant past juxtaposed with the present; moments imagined or hoped by the characters juxtaposed with present reality; present experience fractured into more than one emotion for a given line or action, showing an actor performing the same moment in different ways; and present and near future actions juxtaposed to accelerate