Fontaine paused, perplexed and asked "I'm a little confused. When Mr. Lancaster was directing the scene, was it decided that I stop here - or should I go on?" In an October 1948 interview with Photoplay magazine, Lancaster mentioned the film's final scene with Fontaine as the most difficult one for which he had to get into character. The scene called for a complete change of heart and character from the role he was playing and Lancaster very much wanted it to be authentic. Shortly before production wrapped up, Lancaster called in Robert Siodmak, who was freshly back from filming Cry of the City, to shoot some last-minute scenes on Sound Stage 21. Despite a few setbacks, Norma Productions was able to complete shooting on May 14, 1948, only three days over schedule. Post-production Before filming had even begun, Lancaster approached two-time Oscar winner (with an additional six more nominations) Miklós Rózsa in early March 1948 to compose the score of the film. Rózsa had already worked on three previous Lancaster films: Desert Fury, Brute Force and The Killers (the last of which earned him an Oscar nomination). Rózsa was no stranger to the crime, thriller and film noir genre, with additional credits on The Naked City, A Woman's Vengeance, Secret Beyond the Door, A Double Life (which earned him an Oscar nomination), The Red House, The Strange Love of Martha Ivers, The Lost Weekend (which earned him an Oscar nomination), Spellbound (which won him an Oscar), Lady on a Train, Blood on the Sun, The Man in Half Moon Street, Dark Waters, The Hour Before the Dawn, Double Indemnity (which earned him an Oscar nomination), On the Night of the Fire, The Spy in Black, The Green Cockatoo, The Squeaker and Thunder in the City. Rózsa recorded the score in the middle of July with a seventy-five piece orchestra arranged by Eugene Zador. Milton Carruth, a long-time contract editor at Universal-International Pictures, was selected to edit the film in early April 1948. His work as editor on Alfred Hitchcock's personal favorite film, Shadow of a Doubt, made him a reputable editor, and he had also worked on notable mysteries, horrors and thrillers like The Lost Moment, Dead Man's Eyes, Weird Woman, The Mad Ghoul, Captive Wild Woman, The Mummy's Tomb, Night Monster, Mystery of Marie Roget, Dracula's Daughter, Werewolf of London, The Mummy, Afraid to Talk, Back Street, Murders