Spaghetti Western Death Rides a Horse, and as the title character in Danger: Diabolik. For the role of the Black Queen, Southern recommended model Anita Pallenberg, the then-girlfriend of The Rolling Stones member Brian Jones; Southern had befriended her while working with the band on the film A Clockwork Orange. On the English-language prints of the film, Pallenberg's voice was dubbed by English actress Joan Greenwood. French mime Marcel Marceau had his first speaking role in the film as Professor Ping. Comparing Ping to his stage persona Bip the Clown and Harpo Marx, he said that he did not "forget the lines, but I have trouble organising them. It's a different way of making what's inside come out. It goes from the brain to the vocal chords, and not directly to the body." All costumes in the film, including Fonda's, were designed by French costume designer Jacques Fonteray and manufactured by Sartoria Farani, with Barbarella's costume in the final scenes being, as the credits put it, "inspired by ideas of" fashion designer Paco Rabanne. Barbarella's outfits were Fonteray's interpretation of Forest's vision, combining Orientalist and medieval aesthetics with samurai armors. Forest also worked on the film's production design, and was credited in the film as its "artistic consultant". In a 1985 interview, he said that during production he did not care about his original comic strip and was more interested in the film industry: "The Italian artists were incredible; they could build anything in an extremely short time. I saw all the daily rushes, an incredible amount of film. The choices that were made for the final cut from those images were not the ones I would have liked, but I was not the director. It wasn't my affair." Filming According to Law, Barbarella began shooting after production on Danger: Diabolik ended on 18 June 1967; sets such as Valmont's night club in Danger: Diabolik were used in both films. Barbarella was shot at Cinecittà in Rome. To film the striptease titles sequence, Fonda said that the set was turned upward to face the ceiling of the soundstage. A pane of thick glass was laid across the opening of the set, with the camera hung from the rafters above it. Fonda then climbed onto the glass to perform the scene. Other scenes involved hanging Fonda upside down in an enormous vat of oil and dry ice, and her stomach being