indicated that "the original three-part story conclude with a section set in the future (1985). My original idea in the script was to write an obsessive love where transcended the normal strictures of time." De Palma said "It made Schrader very unhappy: he thought I'd truncated his masterpiece. He's never been the same since." Schrader stated that "the future section was cut from the script for budgetary reasons"; however rumor had it that Bernard Herrmann suggested the cuts when he was working on the score for the film because he felt the last third set in the future didn't work. In 2011, Schrader's full three-part script was released as part of the Arrow Video Blu-ray. After the film was completed, Bernard Herrmann considered it the finest film in his musical career. Columbia executives expressed unease over the incest theme, especially as it was portrayed in such a heavily romanticized manner. Consequently, a few minor changes were made to a pivotal sequence between Robertson and Bujold, in which dissolves and visual "ripples" were inserted over the wedding and post-wedding scenes to suggest that the consummation of their marriage only took place in a dream sequence. Paul Hirsch, the film's editor, agreed with the decision to obscure the incest theme, noting "I thought it was a mistake to drag incest into what was basically a romantic mystery, so I suggested to Brian 'What if it never happened? What if instead of having them get married, Michael only dreams of getting married? We have this shot of Cliff Robertson asleep. We could use that and then cut to the wedding sequence.' And that's what we did. It became a projection of his desires rather than actual fact." In the documentary De Palma, the director indicated that he felt the major flaw of the film was in casting Cliff Robertson. De Palma felt that Robertson couldn't play the anguish of the character, and was frequently difficult on-set. De Palma was effusive in his praise of Bujold who he felt had the more difficult role, which she played admirably, giving the film the emotional resonance needed for the project. Reception The film was an unexpected financial success. Columbia held on to the movie for almost a year before sending it into theaters in late August, traditionally the "dog days" of movie attendance. Obsession had managed to obtain enough positive critical notices to spark interest, and