Since Quinn and Basehart did not speak Italian, both were dubbed in the original release. Unhappy with the actor who initially dubbed Zampanò, Fellini remembered being impressed by the work done by Arnoldo Foà in dubbing the Toshiro Mifune character in the Italian version of Akira Kurosawa's Rashomon, and was able to secure Foà's services at the very last moment. Composer Michel Chion has observed that Fellini particularly exploited the tendency of Italian films of the post-war period to allow considerable freedom in the synching of voices to lip movements, especially in contrast to Hollywood's perceived \"obsessive fixation\" with the matching of voices to mouths: \"In Fellinian extremes, when all those post-synched voices float around bodies, we reach a point where voices--even if we continue to attribute them to the bodies they're assigned--begin to acquire a sort of autonomy, in a baroque and decentered fashion.\" In the Italian version of La Strada, there are even instances when a character is heard to speak while the actor's mouth is shut tight.
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Except for a few brief close-ups, the entire sequence of Bond, Jaws, and the pilot falling from the plane, with Bond and the pilot fighting for a single parachute, was shot in free fall. The seven-pound camera for these sequences was mounted on the helmet of another skydiver, and a few shots are of the cameraman's own arms and legs. Stuntmen Jake Lombard and B.J. Worth wore parachutes concealed within their suits. The \"parachute\" over which they fought, was actually a dummy chute, which had to be removed before the stuntman could use the real parachute underneath. Stuntman Jake Lombard would don and remove the dummy chute up to three times in a single jump. The actual parachutes used by the stuntmen had a main and reserve chute concealed within the suitcoats. A breakaway seam ran down the back, which allowed the parachute to be opened without the need to remove the coat. There were only sixty to seventy seconds of free fall time, between when the stunt performers exited the aircraft, and when they had to activate their chutes. After factoring in the time needed to get the performers and cameraman into position after leaving their plane, only a few seconds of film could be shot per jump. Therefore, the entire sequence required eighty-eight jumps, and five weeks to film, just to produce the two minutes of footage in the final movie. 076b4e4f54