ðˌoʊ ʃiː sˈiːmz tə hæv mˌeɪd ðə mˈoʊst əv ðɪs ɛkspˈændᵻd fˈɔːɹmæt, ʃiː dɪsɐpɹˈuːvd ʌv ɪt hɜːsˈɛlf ænd ɹᵻtˈɜːnd tə mˈɑːnoʊkɹˌoʊm fˈɪlmz fɔːɹ mˈoʊst əv hɜː ɹᵻmˈeɪnɪŋ kɚɹˈɪɹ, pɚhˈæps fˈaɪndɪŋ ɐn ɐksˈɛptəbəl mˈɪdəl ɡɹˈaʊnd wɪð ˈɔːkɐsˌɪn ˈɛt nˌɪkoʊlˈɛt ˈɔːkɐsˌɪn ænd nˌɪkoʊlˈɛt, nˈaɪntiːnhˈʌndɹɪd sˈɛvənti sˈɪks, wˌɪtʃ jˈuːzd ɐ mˈoːɹ ɹᵻstɹˈeɪnd kˈʌlɚ pˈælət fɔːɹ ɪts bˈækɡɹaʊndz wˌɪtʃ wɜː bˈɪlt ˌaʊɾəv pˈiːsᵻz ʌv tɹænslˈuːsənt plˈæstɪk.
Though she seems to have made the most of this expanded format, she disapproved of it herself and returned to monochrome films for most of her remaining career, perhaps finding an acceptable middle ground with  Aucassin et Nicolette (Aucassin and Nicolette, 1976), which used a more restrained colour palette for its backgrounds (which were built out of pieces of translucent plastic).