3:24:00
- It was such a pleasure.
- It's great.
3:24:03
It's like you and your piano player.
3:24:05
You just give him a look and
he knows exactly where to go.
3:24:19
- Nobody shook.
- No, nobody.
3:24:28
- That wasn't written.
- That whole crossover?
3:24:31
That whole crossover,
that whole handshake shtick.
3:24:35
But because it's such a large set, the
camera just stays with that walkover.
3:24:40
Yeah.
3:24:47
This was one of my favourite sets
because it was very huge
3:24:52
and it afforded me an opportunity to
move people around much more easily
3:24:58
because the repertory company
in the film was seven people.
3:25:03
So you could put them in any area,
relight a section...
3:25:07
- Exactly.
- That's wonderful.
3:25:15
The unique part about this movie
is that
3:25:19
five of the key characters
directed in theatre.
3:25:27
They were directors in theatre.
3:25:29
- Peter Lorre.
- He was one. Everett Sloane the other.
3:25:33
Keenan Wynn the other.
3:25:41
The fourth director was Carradine,
John Carradine.
3:25:48
So there I sit in the middle of the stage,
talking down the shots.
3:25:53
I got four directors staring at me!
3:25:56
But nobody said anything to you because
they had regard for you as the director.