Both men opposed the change; Lyne in particular felt that the studio's suggestions would have robbed the film of any drama: By the end, you're physically and emotionally shattered. But she's sympathetic, and I think so many sexy women tend to be tough and hard at the same time. All that money spent, all that talent wasted, all that time gone forever, and for what? Whether it's her initial half-distrustful tentativeness, her later sensual abandon or her never-ending ambivalence, Lane's Constance seems to be actually living the role in a way no one else matches, a way we can all connect to. The director also preferred shooting practical interiors on location so that the actors could "feel an intimate sense of belonging", Biziou recalls. During the windstorm sequence where Connie first meets Paul, it rained and Lyne used the overcast weather conditions for the street scenes. His character was portrayed as French once Martinez was cast. We had a special doctor who was there almost all the time who was shooting people up with antibiotics for bronchial infections". Lyne said, "I think it helps one understand how Connie might have leapt into this affair—he's very beguiling, doing even ordinary things. In particular, he wanted Gere to gain 30 pounds and left donuts in the actor's trailer every morning. Principal photography started on March 22, and wrapped on June 1, with Lyne shooting in continuity whenever possible. According to the actor and to director Lyne, the studio wanted to change the storyline so that the Sumners had a bad marriage with no sex, to create greater sympathy for Connie. Lane said that Lyne would often shoot a whole magazine of film, "so one take was as long as five takes. In a scene taking place in an office, the director pumped it full of smoke, an effect that "makes the colors less contrasty, more muted". That screenplay helps to ground a film whose visual imagination hovers somewhere between soap opera and a portentous pop surrealism. It gave Connie some justification for having an affair.