For me the most charming element of the script was the disarming sincerity of a young woman's internal monologues, since I did remember the external ones from my youth. Another interesting challenge, not only for me but also for Ilias and his camerawork were Liza's flashes and nightmares, because co-existing in Liza's real world, in her, wardrobe, furniture and walls, were all the colours of a flower shop, or rather the KODAK color patches. Responsible for the polychromatism called for in the script were the costume and the set designers, Vaso and Sofia respectively, who co-operated closely with the screenwriter in the absence of the director. Maybe it is of interest that I haven’t changed a single comma in the dialogue, which I always do in rehearsals with my own scripts. Since "Liza" is my only film that I didn't co-produce, I did not cut a single scene from the script before shooting, although the estimated running time of the script had shown an epic length of 136 mimutes. In the end, after pressure from the producers, I was forced to remove the group therapy and Angela’s explanatory commentary scene, which was probably the best, longest and most unnecessary sequence of the film, in order to reduce the total length from 110 to 105 minutes.* Those who are interested can also see this scene after Liza's comments and confessions about her job and love affairs.

* Movies are shown in video at 25 frames per second, but in the cinema at 24 fps, which adds 4% duration to the total length.