Janet Leigh

Right.

Well, that's why he was so... You know, Tony Perkins was just so brilliant because almost you wanted to mother him in a way.

You know, you felt sorry, and yet he had that undertone of where there would be a spark of something that would set him off, and you could see...

It wasn't quite right, and yet you could never identify what was wrong.

And that's why it was so beautifully done by him.

Well, the overview was the actual drawings of each shot.

And so he showed us the overhead shot.

He showed us this shot.

He showed us the close-up there.

He showed us, you know, it was all planned.

Because if it was looking at my navel, I could wear a bra and pants.

In other words, I dressed according to where the shot was or undressed according to where the shot was.

That's not exactly true because it's amazing how your body has a tone, has a, I don't know, a reaction to it.

I can't explain it, but if you're just bland, your body's going to be bland.

But if you're feeling the terror and the effect of the blows and whatever, your body shows that.

I don't think that you can sort of separate it.

A big, long butcher knife.

No, no, it didn't retract.

It wasn't steel, however.

I mean, it looked like steel, but believe me, it wasn't.