Unlike their earlier work for Hal Roach, and because of the war, the duo decided not to include "destructive" scenes - like pies in the face, smashing props, and so forth. Where it was necessary, they actually enforced a policy of "one take" to minimizes the destruction.
The train-berth scene is a reworking of Laurel & Hardy's short subject Berth Marks (1929). Laurel requested that the setting be changed to a turbulent plane, but producer Sol Wurtzel refused to accommodate him. At the end of the scene, you can hear the camera crew laughing in the background.