Tashlin uses a less traditional version of classical editing in two outdoor sequences, one at the airport, the other in front of Tony Randall's home. These combine depth staging, with closer in shots of the characters. Editing is clearly used, because Tashlin needs to get in closer to his characters. Here, Tashlin executes a steady, rapid succession of cuts, each one progressively closer to Tony Randall's face. This stylistic device will show up later in music videos.
Depth staging occasionally occurs.
One memorable shot has Tony Randall, dazed after an encounter with Jayne Mansfield, walking from the back of the shot directly towards the camera, and eventually, past it. Both take place in ultra modern office environments, whose sterile but clean and fresh backgrounds form omnipresent environments for the characters. Both satirize their settings, but with an underlying sympathy and lack of malice. Both directors use long takes, and both keep their characters in motion. Tashlin was a hero to early auteurist critics, such as Godard and Peter Bogdanovich.