used spiral motifs in both the title sequence and the movie poster, emphasizing what the documentary Obsessed with Vertigo calls, "Vertigos psychological vortex". Bass's unconventional framing of actress Audrey Lowell's facial features in the first images of the titles was indebted to Bauhaus photography. According to her 1997 Guardian interview Kim Novak wanted to do the opening title sequence but Harry Cohn insisted Hitchcock pay full rate for the single day's shooting and so another face was chosen. Release Vertigo premiered in San Francisco on May 9, 1958, at the Stage Door Theater at Mason and Geary (now the August Hall nightclub). While Vertigo did break even upon its original release, earning $3.2 million in North American distributor rentals against its $2,479,000 cost, it earned significantly less than other Hitchcock productions. Restoration and re-release In October 1983, Rear Window and Vertigo were the first two films reissued by Universal Pictures after the studio acquired the rights from Hitchcock's estate. These two films and three others – The Man Who Knew Too Much (1956), The Trouble with Harry (1955), and Rope (1948) – had been kept out of distribution by Hitchcock since 1968. Cleaning and restoration were performed on each film when new 35 mm prints were struck. In 1996, the film was given a lengthy and controversial restoration by Robert A. Harris and James C. Katz and re-released to theaters. The new print featured restored color and newly created audio, using modern sound effects mixed in DTS digital surround sound. In October 1996, the restored Vertigo premiered at the Castro Theatre in San Francisco, with Kim Novak and Patricia Hitchcock in person. At this screening, the film was exhibited for the first time in DTS and 70mm, a format with a similar frame size to the VistaVision system in which it was originally shot. Significant color correction was necessary because of the fading of original negatives. In some cases a new negative was created from the silver separation masters, but in many instances this was impossible because of differential separation shrinkage, and because the 1958 separations were poorly made. Separations used three individual films: one for each of the primary colors. In the case of Vertigo, these had shrunk in different and erratic proportions, making re-alignment impossible. As such, significant amounts of computer assisted coloration were necessary. Although the results are not noticeable on viewing the film, some elements were