she first watched the film "how vulnerable and defenseless one is". Before production, Leigh and Hitchcock fully discussed what the scene meant: Film theorist Robin Wood also discusses how the shower washes "away her guilt". He comments upon the "alienation effect" of killing off the "apparent center of the film" with which spectators had identified. The scene was the subject of Alexandre O. Philippe's 2017 documentary 78/52: Hitchcock's Shower Scene, the title of which references the putative number of cuts and set-ups, respectively, that Hitchcock used to shoot it. Soundtrack Score Hitchcock insisted that Bernard Herrmann write the score for Psycho despite the composer's refusal to accept a reduced fee for the film's lower budget. The resulting score, according to Christopher Palmer in The Composer in Hollywood (1990) is "perhaps Herrmann's most spectacular Hitchcock achievement". Hitchcock was pleased with the tension and drama the score added to the film, later remarking "33% of the effect of Psycho was due to the music" and that "Psycho depended heavily on Herrmann's music for its tension and sense of pervading doom". Herrmann used the lowered music budget to his advantage by writing for a string orchestra rather than a full symphonic ensemble, contrary to Hitchcock's request for a jazz score. He thought of the single tone color of the all-string soundtrack as a way of reflecting the black-and-white cinematography of the film. The strings play con sordini (muted) for all the music other than the shower scene, creating a darker and more intense effect. Film composer Fred Steiner, in an analysis of the score to Psycho, points out that string instruments gave Herrmann access to a wider range in tone, dynamics, and instrumental special effects than any other single instrumental group would have. The main title music, a tense, hurtling piece, sets the tone of impending violence, and returns three times on the soundtrack. Though nothing shocking occurs during the first 15–20 minutes of the film, the title music remains in the audience's mind, lending tension to these early scenes. Herrmann also maintains tension through the slower moments in the film through the use of ostinato. There were rumors that Herrmann had used electronic means, including amplified bird screeches to achieve the shocking effect of the music in the shower scene. The effect was achieved, however, only with violins in a "screeching, stabbing sound-motion of extraordinary viciousness". The only electronic amplification employed was