Carlotta used in the film. The rotating patterns in the title sequence were done by John Whitney, who used a mechanical computer called the M5 gun director, AKA the Kerrison Predictor, which was used during World War II to aim anti-aircraft cannons at moving targets. This made it possible to produce an animated version of shapes (known as Lissajous curves) based on graphs of parametric equations by mathematician Jules Lissajous. Costume design Hitchcock and costume designer Edith Head used color to heighten emotion. Grey was chosen for Madeleine's suit in an attempt to be psychologically jarring, as it is not usually a blonde's color. In contrast, Novak's character wore a white coat when she visited Scottie's apartment, which Head and Hitchcock considered more natural for a blonde to wear. Alternative ending A coda to the film was shot that showed Midge at her apartment, listening to a radio report (voiced by San Francisco TV reporter Dave McElhatton) describing the pursuit of Gavin Elster across Europe. Midge switches the radio off when Scottie enters the room. They then share a drink and look out of the window in silence. Contrary to reports that this scene was filmed to meet foreign censorship needs, this tag ending had originally been demanded by Geoffrey Shurlock of the U.S. Production Code Administration, who had noted: "It will, of course, be most important that the indication that Elster will be brought back for trial is sufficiently emphasized." Hitchcock finally succeeded in fending off most of Shurlock's demands (which included toning down erotic allusions) and had the alternative ending dropped. The footage was discovered in Los Angeles in May 1993, and was added as an alternative ending on the LaserDisc release, and later on DVD and Blu-ray releases. Music The score was written by Bernard Herrmann. It was conducted by Muir Mathieson and recorded in Europe because there was a musicians' strike in the U.S. In a 2004 special issue of the British Film Institute's (BFI) magazine Sight & Sound, director Martin Scorsese described the qualities of Herrmann's famous score: Hitchcock's film is about obsession, which means that it's about circling back to the same moment, again and again ... And the music is also built around spirals and circles, fulfillment and despair. Herrmann really understood what Hitchcock was going for — he wanted to penetrate to the heart of obsession. Graphic design Graphic designer Saul Bass