▁crew ▁met ▁for ▁a ▁short ▁med itation ▁and ▁a ▁chance ▁for ▁anyone ▁to ▁voice ▁concerns ▁they ▁had ▁with ▁the ▁production ▁process . ▁Many ▁of ▁the ▁scenes ▁were ▁impro vised , ▁so ▁Con nor ▁and ▁g af fer ▁David ▁April ▁lit ▁the ▁sets ▁in ▁such ▁a ▁way ▁that ▁the ▁actors ▁and ▁camera ▁could ▁freely ▁move ▁anywhere ▁without ▁a ▁light ▁being ▁in ▁the ▁shot . ▁The ▁visual ▁style ▁of ▁the ▁film ▁incorpor ated ▁camera ▁techniques ▁that ▁Con nor ▁and ▁De cker ▁had ▁discovered ▁working ▁on ▁previous ▁films ▁together . ▁Con nor ▁created ▁a ▁custom ▁camera ▁rig ▁that ▁allowed ▁her ▁to ▁manipulate ▁the ▁focus ▁in ▁new ▁ways , ▁which ▁Chris ▁O ' F alt ▁of ▁Ind iew ire ▁described ▁as ▁" an ▁almost ▁liquid - like ▁aspect ▁to ▁the ▁focus , ▁and ▁the ▁image ▁if ▁often ▁slightly ▁double d ▁or ▁war ped , ▁while ▁out - of - focus ▁transl uc ent ▁objects ▁come ▁into ▁the ▁edges ▁of ▁frame ▁to ▁cause ▁po ckets ▁of ▁soft , ▁sometimes ▁color ful ▁bl urr ing ." ▁ ▁Harrison ▁At kins ▁was ▁the ▁editor ▁for ▁the ▁first ▁four ▁months ▁of ▁post ▁production ▁and ▁made ▁over ▁a ▁hundred ▁different ▁cut s ▁of ▁the ▁movie ▁expl oring ▁various ▁ways ▁the ▁story ▁could ▁be ▁told , ▁but ▁when ▁he ▁had ▁to ▁leave ▁to ▁work ▁on ▁a ▁different ▁show , ▁De cker ▁took ▁on ▁the ▁editing ▁herself . ▁Six ▁months ▁went ▁by ▁and ▁she ▁still ▁wasn ' t ▁satisfied ▁with ▁the ▁film , ▁so ▁she ▁brought ▁on ▁producer ▁L iz ▁R ao ▁to ▁help