and wildflowers" which had been demolished shortly before the shooting began. Ulla Bergryd, who was cast as Eve, later recalled, "Paradise was, in fact, an old botanical garden on the outskirts of Rome." There were five reproductions of Noah's Ark built for the film. The largest reproduction, which stood on the backlot of the De Laurentiis Film Center, was 200 feet long, 64 feet wide, and 50 feet high; it was used for the long shot of Noah loading the animals. The interior reproduction, which was one of the "largest interior sets ever designed and constructed," was 150 feet long and 58 feet high and had "three decks, divided into a hundred pens" and a ramp that ran "clear around the ark from top to bottom." The third reproduction was a "skeleton" ark, built for the scenes depicting Noah and his sons constructing the Ark. The fourth reproduction was "placed at the foot of a dam" for the inundation sequences and the fifth reproduction was a miniature for the storm sequences. The cost of building the five reproductions was more than $1 million. The building took months and more than 500 workers were employed. The animals were delivered from a zoo in Germany. The whole segment of Noah's Ark had a total budget of $3 million. The opening Creation sequence was shot by renowned photographer Ernst Haas. Release The Bible: In the Beginning... premiered at New York City's Loew's State Theatre on 28 September 1966. The day after the premiere, Ava Gardner remarked, "It's the only time in my life I actually enjoyed working—making that picture." Critical reception Philip K. Scheuer of the Los Angeles Times wrote, "Director John Huston and his associates have wrought a motion picture that is not only magnificent almost beyond cinematic belief but that is also powerful, quaint, funny, thought-provoking and of course, this being the Old Testament, filled with portents of doom." Variety noted that "the world's oldest story—the origins of Mankind, as told in the Book of Genesis—is put upon the screen by director John Huston and producer Dino De Laurentiis with consummate skill, taste and reverence." It also commended the "lavish, but always tasteful production [that] assaults and rewards the eye and ear with awe-inspiring realism." Other reviews were less positive. Bosley Crowther of The New York Times wrote that the film had "extraordinary special effects" but was lacking "a galvanizing feeling