Editing Rear Window (section)

===Filming===
The film was shot entirely at stage 17 at [[Paramount Pictures#Studio tours|Paramount Studios]] which included an enormous indoor set to replicate a Greenwich Village courtyard, with the set stretching from the bottom of the basement storeroom to the top of the lighting grid in the ceiling.  The lighting was rigged with four interchangeable scene lighting arrangements: morning, afternoon, evening, and night-time.<ref>“''Rear Window'' Ethics” documentary extra on blu-ray and DVD release of the film</ref> Set designers [[Hal Pereira]] and Joseph MacMillan Johnson spent six weeks building the extremely detailed and complex set, which ended up being the largest of its kind at Paramount. One of the unique features of the set was its massive drainage system, constructed to accommodate the rain sequence in the film. They also built the set around a highly nuanced lighting system which was able to create natural-looking lighting effects for both the day and night scenes. Though the address given in the film is 125 W. Ninth Street in New York's Greenwich Village, the set was actually based on a real courtyard located at 125 [[Christopher Street]].<ref>{{cite web|url=https://www.villagepreservation.org/2018/08/07/the-greenwich-village-building-with-a-starring-role-in-hitchcocks-rear-window/|title=The Greenwich Village Building With a Starring Role in Hitchcock's Rear Window|website=www.villagepreservation.org|date=29 April 2024}}</ref>

In addition to the meticulous care and detail put into the set, careful attention was also given to sound, including the use of natural sounds and music that would drift across the courtyard and into Jefferies' apartment. At one point, the voice of [[Bing Crosby]] can be heard singing "To See You Is to Love You," originally from the 1952 Paramount film ''[[Road to Bali]]''. Also heard on the soundtrack are versions of songs popularized earlier in the decade by [[Nat King Cole]] ("[[Mona Lisa (Nat King Cole song)|Mona Lisa]]", 1950) and [[Dean Martin]] ("[[That's Amore]]", 1952), along with segments from [[Leonard Bernstein]]'s score for [[Jerome Robbins]]' ballet ''[[Fancy Free (ballet)|Fancy Free]]'' (1944), [[Richard Rodgers]]'s song "[[Lover (Rodgers and Hart song)|Lover]]" (1932), and "''M'appari tutt'amor''" from [[Friedrich von Flotow]]'s opera ''[[Martha (opera)|Martha]]'' (1844), most borrowed from Paramount's music publisher, [[Famous Music]].

Hitchcock used costume designer [[Edith Head]] on all of his Paramount films.