Truus had to quickly get used to being made up and going through wardrobe, then finding her place on the sets. She watched cameraman Carl Hoffmann (who had lit big hits like "Dr. Mabuse the Gambler" and "Die Nibelungen") and all the grips, riggers, plasterers, cable bashers, and set dressers bustling about their jobs. She learned that acting didn't just mean showing emotions and moving about, but demanded that she concentrate on staying within chalk marks on the floor so as not to stray outside the range of the lights or the camera's focus. Despite it all (and perhaps because of one particular scene in which Willy Fritsch kissed her), Truus loved the work.