the background so they would not show on camera was difficult on The Exorcist because of the changes in background. "We had to practically paint them frame by frame", he told the magazine. While most directors would have been satisfied to use editing to smooth out the scene, Friedkin wanted it in longer takes. Roizman's painting was so effective that it was unnecessary to apply any digital editing to that scene to prepare it for optical media release in the late 2000s. Friedkin decided that he did not want any scenes in the movie to have "any kind of spooky lights that you typically saw in horror films", so all the lights in the bedroom come from a visible source. This was challenging because at one point one of the lamps lighting it falls on the floor, changing the way it had to be lit to preserve the impression of available light. At other times they flicker and dim, supposedly due to Pazuzu's influence. Lastly, at the end of the sequence, Friedkin wanted the lighting's mood to change, to "have an ethereal quality—a very soft, glowing, cool sort of thing" without any apparent change in its sources. "We tried, at that point, to work with absolutely no shadows in the room, using just bounce light—and I think we achieved the correct overall effect." Since it was so necessary to hide the lights with such a small room and so many people in it both on and off camera, Roizman and his crew mostly used "inkies", small incandescent bulb lights usually used to accentuate objects within the frame, "hidden wherever we could find a place for one. We were constantly controlling them with dimmers, so that if someone got too close to one, we'd take it down." He recalls his gaffer at one point controlling four of them; as a joke he put sheet music in front of the man one day. Due to the low light used, it was necessary to use wide aperture settings in most of the interiors, not just Regan's room. "I shot 90 percent of the picture wide open, as usual." The room's color scheme also worked to create the impression of black and white. The walls were a gray taupe, Regan's bedding a neutral beige, and the priests wore black. White, according to Roizman, would have been too dominant. "In toning everything down like this,