Coppola chose to invest a significant amount of the budget in costumes in order to showcase the actors, whom he considered the "jewels" of the feature. He had an artist storyboard the entire film in advance to carefully illustrate each planned shot, a process which created around a thousand images. He turned the drawings into a choppy animated film and added music, then spliced in scenes from the French version of "Beauty and the Beast" that Jean Cocteau directed in 1946 along with paintings by Gustav Klimt and other symbolist artists. He showed the animated film to his designers to give them an idea of the mood and theme he was aiming for. Coppola also asked the set costume designers to simply bring him designs which were "weird". "'Weird' became a code word for 'Let's not do formula,'" he later recalled. "'Give me something that either comes from the research or that comes from your own nightmares.' I gave them paintings, and I gave them drawings, and I talked to them about how I thought the imagery could work."<br>