Orson Welles did enough work behind the scenes that the production company offered him a producer credit, which he turned down. Welles' official reason for this is a belief that a person who is not directing the movie shouldn't be "just" a producer. The influence of Welles is very clear, with various actors from his company (Agnes Moorehead, Erskine Sanford, Edith Barrett) playing supporting roles and Bernard Herrmann, who Welles had introduced to films, composing the music. However, Welles had nothing to do with the employment of John Houseman, his former producing partner and arch-enemy, as one of the screenwriters on the film. What Welles did not mention in interviews was the widespread rumor that he had directed a few scenes, but there are a few very striking moments which are stylistically at odds with the rest of the film and which suggest his presence behind the camera - the very first scene in the film and, later, the scene which introduces Welles to the film in the role of Rochester.