<P> Norma's friends who come to play bridge with her, described in the script as "the waxworks", were Swanson's contemporaries Buster Keaton, Anna Q. Nilsson and H.B. Warner, who, like DeMille, played themselves . Hedda Hopper also played herself, reporting on Norma Desmond's downfall in the film's final scenes . </P> <P> The film's dark, shadowy black - and - white, film noir cinematography was the work of John F. Seitz . Wilder had worked with him on several projects before, and trusted his judgment, allowing him to make his own decisions . Seitz recalled asking Wilder what he required for the pet chimpanzee's funeral scene . Wilder replied, "you know, just your standard monkey funeral shot ." For some interior shots, Seitz sprinkled dust in front of the camera before filming to suggest "mustiness," a trick he had also used for Double Indemnity (1944). </P> <P> Wilder was adamant that the corpse of Joe Gillis be seen from the bottom of the pool, but creating the effect was difficult . The camera was placed inside a specially constructed box and lowered underwater, but the result disappointed Wilder, who insisted on further experiments . The shot was finally achieved by placing a mirror on the bottom of the pool and filming Holden's reflection from above with the distorted image of the policemen standing around the pool and forming a backdrop . </P> <P> Film historian Tom Stempel writes, "In both Double Indemnity and Sunset Boulevard, Seitz does something that has always impressed me . Both are films noir, and he finesses the fact that both are set in the sunniest of locales, Los Angeles...he brings together the light and the dark in the same film without any seams showing...he brings together the realistic lighting of Joe Gillis out in the real world with the gothic look of Norma Desmond's mansion . Again with no seams showing ." </P>

All right mr. demille i'm ready for my close-up