Altman's schizophrenic heroine is reflected (often literally) in equally schizophrenic visuals, shot in Ireland by Vilmos Zsigmond: now idyllic, now prismatic, they mirror the almost continual state of hallucination in which Susannah York's Cathryn lives. The tension in this psychological thriller derives from never knowing what is actual and what is imagined-in visual terms, what is a mirror image, and what is "real" (the film is self-reflexive in more than its title)-as Cathryn concocts images of past lovers and systematically kills them off. Images' split personality invites the strangely dualistic score by John Williams. The opening music is as orchestrally romantic as the children's book which Cathryn is writing; by contrast "the sounds played by (Stomu) Yamashta on Baschet sculptures (glass tubes and prisms of stainless steel), both with mallets and by rubbing fingers on the tubes, are strikingly contemporary. In addition to the Baschet pieces, Williams' score utilizes Inca flute, Kabuki wooden percussion instruments, bells, wood chimes...Combined with avant-garde devices (slides, glissandos, blowing air through the flute) and magnified...through amplification, echo chamber and reverberation, the sounds are strange (and) exciting..." (Irwin Bazelon, Knowing the Score)