:03:02
owned by the ex-wife of J Paul Getty.
:03:05
The inside of the house was totally
created on a set.
:03:12
It was an amazing set,
and I'll tell you,
:03:16
one day I saw the cameraman
take some... it looked like pumice,
:03:23
like marble dust,
and he rubbed his hands
:03:27
and blew in front of the camera
:03:31
to give it a feeling that the corners
were a little dusty.
:03:37
That was the kind of detail that was
thought through by the film's creators.
:03:43
I was amazed.
:03:45
Wilder's camera style
is very interesting.
:03:47
He's often been said to favour
the screenplay over the image.
:03:52
He cared about his screenplays.
:03:55
His actors were never allowed
to change a word.
:03:58
We never deviated from that script.
There were no new lines.
:04:03
That was as tight a script
as I've ever worked on.
:04:07
What was fascinating, and
I've never seen any script like it,
:04:12
was that in the left column
would be all the camera direction.
:04:17
In other words, Billy,
in his writing, was directing.
:04:21
I've been at Paramount 72 years.
I started in 1928.
:04:26
Of all of the people on the lot - writers,
directors, producers, executives -
:04:31
no one has made such an impression
on me as Billy Wilder.
:04:36
He and Charlie Brackett
were writers on the lot.
:04:39
Wilder was a huge name in 1950.
:04:41
He'd won an Oscar
for "The Lost Weekend".
:04:44
He'd made "Double Indemnity"
and "The Major and The Minor".
:04:47
A series of successful films.
:04:50
You're Norma Desmond.
You were big in silent pictures.
:04:56
I am big.
It's the pictures that got small.