CIS Hollywood contributed compositing work to the bar scene, which also required muzzle flashes, wire removal and some continuity fixes.

BD: Sounds like a nice throwback for you.

JD: Oh, yeah, Quentin was essentially making a film of that era. And, again, the great thing about Quentin is that if you can give him examples of what it is you're planning on doing, that's really what works best for him. Showing him a product or at least a product that's at least far enough along that he can see how it's going to work goes a long way in convincing him that that's the way you should do it. Once he's convinced, he gives you the latitude to structure the process the way you need to in order to get the final result. And that's done all with conversation. He understands the visual language enough that you don't have to do 20 different variations on a theme for him. He has a holographic understanding of what he wants to do with a scene: meaning, not only does he understand tactically what has to be done to achieve mechanical and dramatic results, but he also has a strategic overview -- on the fly.

Bill Desowitz is senior editor of AWN and VFXWorld.