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In line with Bill Krohn's Hitchcock at Work, Bass's first declare to have directed the scene was in 1970, when he offered a journal with forty eight drawings used as storyboards as proof of his contribution. Krohn's analysis of the manufacturing, whereas rebutting Bass's claims for having directed the scene, notes that these storyboards did introduce key elements of the final scene-most notably, the truth that the killer appears as a silhouette, and details such because the shut-ups of the slashing knife, Leigh's desperate outstretched arm, the shower curtain being torn off its hooks, and the transition from the drain to Marion Crane's useless eye. The second one, over the score for Torn Curtain (1966), resulted ultimately of their skilled collaboration. Film composer Fred Steiner, in an evaluation of the rating to Psycho, factors out that string devices gave Herrmann entry to a wider range in tone, dynamics, and instrumental particular effects than some other single instrumental group would have. Bonus points for a beach or a sunset someplace in the background.
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