:30:02
after I met several people
and they gave their blessing.
:30:08
The very first meeting was five weeks
:30:10
after I started working with him.
:30:12
And we went into production,
:30:14
and the first thing you do
were scout locations,
:30:17
and do a budget
and break down the script,
:30:19
but I needed to meet with the director.
:30:21
So every morning,
either through the production manager
:30:25
or even talking to Hilton Green
at times,
:30:28
but especially going to his assistant,
who was Sue Gauthier,
:30:32
I couldn't get to see Hitchcock.
:30:35
And I think the reason was
they were basically afraid
:30:39
to tell Hitchcock that somebody
wanted to meet with him
:30:41
and ask him questions about the film.
:30:44
Also, they were concerned
:30:46
that I was a very young
assistant director
:30:49
and that he might rebuke that.
:30:52
So, five weeks after
a great deal of frustration,
:30:55
I knew that every morning
when he arrived about 9:00,
:30:59
he had a cup of coffee
in his outer office
:31:02
with Sue Gauthier.
:31:05
And so one morning, I walked
into that room very quickly
:31:09
and started to say, "Sue, I need
to really see Mr Hitchcock."
:31:14
And there he was.
:31:16
And I introduced myself to him,
and we sat there for a few minutes.
:31:20
I told him who I was,
what I had done recently,
:31:24
and he then invited me into his office.
:31:27
And after that, it was every morning
at 9:00.
:31:34
Hitchcock several times
discussed with me what the theme
:31:37
of the movie was
and how it was structured.
:31:40
It was two separate stories
about two different pairs of people
:31:44
and how they eventually
crisscross and pass each other.
:31:47
And he was fascinated by that.
And that really is the movie.
:31:50
- Where ya goin'?
- Home to my own bed to get sleep.
:31:54
No. You're not.
:31:56
Blanche is that all
that you've ever got on your mind?
:31:59
What are you saving it for, a rainy day?