: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.
:24:02
And there, from beginning to end,
:24:06
is the Statue of Liberty sequence.
:24:10
In all the film schools,
they talk about the fact
:24:14
that he always did all these
drawings and laid out the shots.
:24:18
It's not true.
:24:20
He did many. He did many.
:24:23
And he loved to draw.
He drew beautifully.
:24:26
The profile on the television show,
he drew.
:24:31
But this sequence
on the statue, he drew.
:24:34
For obvious reasons, he had to,
:24:36
because it involved some
very special technical work.
:24:42
They built the torch and arm
:24:46
of the statue to scale.
:24:48
lt was the same size as the statue.
:24:51
So, when l finally come out
on that balcony of the statue,
:24:57
and Bob Cummings was out there,
:24:58
he makes
this move which frightens me,