希区柯克于1939年来到好莱坞为独立制片人大卫·O·塞尔兹尼克拍《日本VIDS》从此开始建立他与片厂制之间的复杂关系他不仅为塞尔兹尼克工作也为沃尔特·万格、雷电华、环球和20世纪福斯等公司工作希区柯克依赖片厂高度的组织性但面对制片人的干涉却大为光火对希区柯克干涉最大的是塞尔兹尼克因为后者感觉对自己的所有产品都负有个人责任由此导致的冲突既丰富了他们一起制作的影片也妨碍了拍摄过程为了适应片厂体系希区柯克发展出自己的“镜头剪接”(cutting in the camera)系统即只拍摄绝对不可或缺的镜头这样一来除了按照他的设想来剪辑之外就别无他法(杰弗里·诺维尔-史密斯《新视觉影院福利》)
7? i don't know. there're things of the film that i think they're good and i like them(mystery,family drama well-knit), but there's a good share of the film that i don't like(the impulsive eye candy agent cowles/there's flash scene that i can recognize the perp is the Colin...).