means as easy as it sounds. He should be willing to be used and wholly integrated into the picture by the director and the camera. He must allow the camera to determine the proper emphasis and the most effective dramatic highlights." Writing, storyboards and production Hitchcock planned his scripts in detail with his writers. In Writing with Hitchcock (2001), Steven DeRosa noted that Hitchcock supervised them through every draft, asking that they tell the story visually. Hitchcock told Roger Ebert in 1969: Hitchcock's films were extensively storyboarded to the finest detail. He was reported to have never even bothered looking through the viewfinder, since he did not need to, although in publicity photos he was shown doing so. He also used this as an excuse to never have to change his films from his initial vision. If a studio asked him to change a film, he would claim that it was already shot in a single way, and that there were no alternative takes to consider. This view of Hitchcock as a director who relied more on pre-production than on the actual production itself has been challenged by Bill Krohn, the American correspondent of French film magazine Cahiers du Cinéma, in his book Hitchcock at Work. After investigating script revisions, notes to other production personnel written by or to Hitchcock, and other production material, Krohn observed that Hitchcock's work often deviated from how the screenplay was written or how the film was originally envisioned. He noted that the myth of storyboards in relation to Hitchcock, often regurgitated by generations of commentators on his films, was to a great degree perpetuated by Hitchcock himself or the publicity arm of the studios. For example, the celebrated crop-spraying sequence of North by Northwest was not storyboarded at all. After the scene was filmed, the publicity department asked Hitchcock to make storyboards to promote the film, and Hitchcock in turn hired an artist to match the scenes in detail. Even when storyboards were made, scenes that were shot differed from them significantly. Krohn's analysis of the production of Hitchcock classics like Notorious reveals that Hitchcock was flexible enough to change a film's conception during its production. Another example Krohn notes is the American remake of The Man Who Knew Too Much, whose shooting schedule commenced without a finished script and moreover went over schedule, something that, as Krohn notes, was not an uncommon occurrence