scene in which her character sings "Makin' Whoopee" on top of Jack's grand piano. Fearing audiences would find her laughable, she attempted to talk her way out of the scene the day before it was shot, but Kloves persisted. The sequence was choreographed by Peggy Holmes, her first solo choreographing job. Pfeiffer received only one choreography lesson in preparation for the musical number, and wore knee and elbow pads during rehearsals. The scene ultimately required six hours to film; trying to appear graceful atop the slippery piano surface proved challenging for Pfeiffer, particularly when she steps down from the piano onto its keys without looking down at her feet. Wanting Susie's wardrobe to accurately depict clothes she could realistically afford, costume designer Lisa Jensen sourced most of Pfeiffer's costumes from discount and vintage clothing stores throughout California, for less than $100 each. Although Pfeiffer's character is intended to appear sexy, Jensen opted not to simply rely on revealing clothing but rather play "hide and seek" with her body, explaining that Susie avoids clothes that are "obviously sexy". Pfeiffer's red evening gown worn during the "Makin' Whoopee" scene was the only dress Jensen designed herself. Fashion designer Ronaldus Shamask designed the black cocktail dress purchased for Susie's first performance, which Jensen tailored to appear skin-tight on Pfeiffer. Kloves told cinematographer Michael Ballhaus that, aesthetically, he had envisioned the film as an Edward Hopper painting: "I always saw the movie in terms of the burnished red of the booths, a kind of dark crimson with amber light and a slightly threadbare quality, like the surroundings are all going to seed a bit." Ballhaus also helped determine the actors' blocking for certain scenes. Ballhaus claims Kloves allowed him "complete freedom" over filming because Kloves does not consider himself to be a visual director. Ballhaus decided to use "deliberately ugly" lighting during the film's early scenes in undesirable venues and gradually improve the lighting by the time the characters arrive at the resort. Kloves and Ballhaus also favored simple camera movements and opted to reserve dramatic camera movements for stand-out scenes that required higher energy, such as "Makin' Whoopee". Having developed a reputation for filming women, Ballhaus incorporated his signature 360-degree camera rotation into Pfeiffer's scene, which he had envisioned upon first reading the script due to its sexually suggestive nature. Feeling the scene warranted a firmer, stronger appearance from Pfeiffer, the cinematographer also