An interesting side note regarding the Herrmann/Hitchcock relationship:
in the invaluable Truffaut/Hitchcock dialogues, in which Truffaut
extensively interviewed Hitchcock about his directing career, Hitchcock
barely makes mention of Herrmann, save for a passing reference to
Herrmann's contribution to, of all things, "The Birds," which had no
musical score at all!  (Herrmann supervised the electronic modification of
the bird sounds).  Hitchcock's ironic omission on Herrmann's contribution
is both cruel and clever, but subtly points to a rift between the two that
likely went deeper than a disagreement over the score of "Torn Curtain."
Perhaps Hitchcock understood that a "Hitchcock film," at least those films
of his middle period, entailed the talents of two masters, himself and
Herrmann.  No doubt Hitchcock resented this.  Of course, Herrmann went on
to do terrific work with other directors after the fallout (indeed, "Taxi
Driver" is an extraordinary score) while Hitchcock's desultory output was
merely mediocre.  Hitchcock had terrific instincts, but they weren't
unerring.  His genius failed him when failing to acknowledge the genius
of another.  A misstep born of auteur vanity!

"Chris L Beckwith" <[log in to unmask]>