Crane) hitting the light bulb, and a lens flare, which proved to be difficult. Hitchcock forced retakes until all three elements were effected to his satisfaction. According to Hitchcock, a series of shots with Arbogast going up the stairs in the Bates house before he is stabbed were done by assistant director Hilton A. Green, working with storyboard artist Saul Bass' drawings only while Hitchcock was incapacitated with the common cold. However, upon viewing the dailies of the shots, Hitchcock was forced to scrap them. He claimed they were "no good" because they did not portray "an innocent person but a sinister man who was going up those stairs". Hitchcock later re-shot the scene, though a little of the cut footage made its way into the film. Filming the murder of Arbogast proved problematic, owing to the overhead camera angle necessary to hide the film's twist. A camera track constructed on pulleys alongside the stairway together with a chairlike device had to be constructed and thoroughly tested over a period of weeks. Alfred Hitchcock's cameo is a signature occurrence in most of his films. In Psycho, he can be seen through a window—wearing a Stetson hat—standing outside Marion Crane's office. Wardrobe mistress Rita Riggs has said that Hitchcock chose this scene for his cameo so that he could be in a scene with his daughter, who played one of Marion's colleagues. Others have suggested that he chose this early appearance in the film in order to avoid distracting the audience. Shower scene The murder of Leigh's character in the shower is the film's pivotal scene and one of the best-known in all of cinema. As such, it spawned numerous myths and legends. It was shot from December 17–23, 1959, after Leigh had twice postponed the filming, first because of a cold and then because of her period. The finished scene runs some three minutes, and its flurry of action and edits has produced contradictory attempts to count its parts. Hitchcock himself contributed to this pattern, telling Truffaut that "there were seventy camera setups for forty-five seconds of footage", and maintaining to other interviewers that there were "seventy-eight pieces of film". The 2017 documentary 78/52: Hitchcock's Shower Scene, by director Alexandre O. Philippe, latches onto this last figure for the production's tagline, '78 Shots & 52 Cuts That Changed Cinema Forever'. But in his careful description of the shower scene, film