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]>