to do for Carrie's sake,” he maintained. “As you know, Carrie isn't legally my child, and my legal adoption of Steven would really have her out on a limb if something were to happen to me—as the attorney once said—if someone were to question it.…”
Ashby's closing statement reveals just how extreme his feelings were about the situation: “If by the time I finish work on this film, you haven't sold the house or obtained a job of your own, or found some means of income, then let this be fair and adequate warning—I will blow everything. I will not work my life away just to have somebody drain what's left down the tubes. I'm more prepared to let all of my work during the past few years go straight down those tubes, but I'll do it of my own volition—no matter how painful it might be—and I'll find that beach somewhere in this world.”14
Having made his feelings known, Ashby retreated into the sanctuary of the editing room and threw himself into the cutting of The Thomas Crown Affair. He started off with the first three reels but could not put them together satisfactorily. The plan had been to create multiscreen sequences within the film, but as this idea had been conceived only a few weeks before filming began, there had been no storyboarding, and creating a sequence from scratch proved almost impossible. Fortunately, Ashby remembered that Pablo Ferro had worked with multiscreen on a commercial and invited him to take over that part of the editing. Ferro was not only a highly creative and unconventional artist but also a welcome ally in difficult times. He faced a huge challenge as he had only two Moviola editing desks and a sketch artist to mock up the multiples he was planning, but the now iconic robbery and polo sequences he created are arguably the most stylish parts of a film in which dash and panache are everything.
Another important element in the style offensive was the music: Ashby brought in Michel Legrand (whose score for The Umbrellas of Cherbourg [1964] he and Jewison both greatly admired) and had him write music in response to the film. Legrand composed eighty minutes of lush orchestral music that Ashby listened to as he cut, matching the music to the image where it fit best. Legrand's collaboration with Alan and Marilyn Bergman on the film's iconic theme song, “The Windmills of Your Mind,” added a further touch of style to the proceedings.
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