:22:00
had caught fire
:22:03
and had capsized
:22:05
onto it's side
:22:08
in it's pier,
:22:11
way over on the west side of
New York where all of the piers were,
:22:15
for the liners
that would be going to Europe.
:22:18
The Normandie had been
commissioned to be a troop transport.
:22:22
And Hitch ordered Universal Newsreel
:22:26
to get all the footage
they could of that.
:22:29
And when the stuff arrived,
he ordered a mock-up,
:22:32
that is a fake taxi, and put me in it
:22:36
and had me supposedly riding down
the west side highway ,
:22:42
and on cue, l just looked over,
and he cut to the Normandie.
:22:49
Many people say that was one of
the most telling moments of the film.
:22:55
That look that I gave to the...
:22:59
Normandie.
:23:02
But, you know, I didn't do anything.
:23:05
This is Hitch's great thing
about montage.
:23:08
He's talked about it a great deal.
:23:10
Just put them together and
it's no acting at all, the film does it.
:23:25
The Statue of Liberty sequence is one
of Hitchcock's most famous sequences.
:23:32
He said to me one day,
about two weeks before we shot it,
:23:36
he said, "Would you like to see
the Statue of Liberty sequence?"
:23:40
And l, fresh from the theatre,
and we hadn't shot it, you see,
:23:44
l said, "Well, we haven't done it. ''
:23:47
Arrives a young man with a scroll.
:23:52
The kind of thing
you open out this way.
:23:54
It's rolled up in two parts, you know,
:23:56
and you open out as if it's a great...
the Magna Carta or something.