Wiene filmed a test scene to demonstrate Warm, Reimann and Röhrig's theories, and it so impressed the producers that the artists were given free rein. Pommer later said he was responsible for placing Warm, Reimann and Röhrig in charge of the sets, but Warm has claimed that, although Pommer was in charge of production at Decla when "Caligari" was made, he was not actually a producer on the film itself. Instead, he says Meinert was the film's true producer, and that it was he who gave Warm the manuscript. Warm claimed Meinert produced the film "despite the opposition of a part of the management of Decla". Meinert said Pommer had "not sanctioned" the film's abstract visual style. Nevertheless, Pommer claimed to have supervised "Caligari", and that the film's Expressionistic style was chosen in part to differentiate it from competing Hollywood films. The predominant attitude at the time was that artistic achievement led to success in exports to foreign film markets. The dominance of Hollywood at the time, coupled with a period of inflation and currency devaluation, forced German film studios to seek projects that could be made inexpensively, with a combination of realistic and artistic elements so the films would be accessible to American audiences, yet also distinctive from Hollywood films. Pommer has claimed while Mayer and Janowitz expressed a desire for artistic experimentation in the film, his decision to use painted canvases as scenery was primarily a commercial one, as they would be a significant financial saving over building sets.