plates necessary for the car trip of the heroine.Hitchcock planned to stylize that sequence heavily,and the plan was to accomplish all of it by the process of rear projection. (By contrast, Hitchcock
s previous picture,
North by Northwest,
had requiredseveral hundred process shots and his next,
would require 412.) Simultaneously, a secondunit spent nearly a week on locations in Phoenix,Arizona. Four of those days were spent on attemptsto capture the helicopter shots approaching a hotelwindow that were to be used in the openingmoments of the film. According to a scribble foundon a production sheet, Hitchcock was amused by anotion of screenwriter Stefano to sweep theviewer
almost as if he were to become a fly on thewall
into the hotel room window to spy on Samand Marion, post-tryst.In a squib that appeared in
onDecember 27, 1959, Hitchcock boasted that the filmwould
open with the longest dolly shot ever attempted by helicopter,
thatwould even top the bravura dolly with which OrsonWelles opened
Touch of Evil.
However, the problems of the second-unit crew in capturing theaerial footage were extensive, and most
crew members concur that little of Hitchcock
soriginal intention was to come off in the finalmovie.
That was done before we ever had Tyler mounts or knew much about helicopter shots,
observed script supervisor Marshall Schlom.