:43:02
the one scene where
the bishop is kidnapped
:43:05
as well as other scenes
had to be retaken.
:43:08
Now, if there were
any shots in the sequence
:43:11
that didn't have Roy Thinnes in,
:43:13
then we only picked up those
shots to replace the actor.
:43:16
We didn't shoot - necessarily
shoot the entire scene over.
:43:22
(Devane) There's some shots
with Roy in the picture.
:43:24
Some of the longer shots
in San Francisco, actually,
:43:27
after the church sequence, when they
drag the body to the car, it's all Roy.
:43:34
I think I worked about six weeks on it,
out of a ten-week shoot.
:43:39
It was quite an experience cos you worked
9 to 5, like you were working in a bank.
:43:44
The trees are swaying
and the branches part!
:43:49
But there's no one there! Here.
:43:52
I see shadows falling!
The air's getting cold!
:43:54
The brightness dims. Goodbye, Henry.
:43:57
- Bye.
- (Devane) Hitch loved Barbara Harris.
:44:00
He just loved her and would tell
all these wonderful stories with her.
:44:05
I sat and heard these wonderful stories.
He never told the same story twice.
:44:08
The nice thing was that he understood
:44:11
the parent-child relationship,
director to actor.
:44:15
I also, again, was a novice.
I had very little film experience.
:44:23
(Kazanjian) One of the things he did
at the very last minute,
:44:25
which was quite unusual for Hitchcock,
:44:28
was to really take away the set
:44:31
that it was originally designed in,
or the period and location.
:44:35
Hitchcock had been famous
for travelling the world
:44:38
and really opening up
locations in film making.
:44:41
And he said to me,
"I want to take away anything
:44:45
that said Northern California."
:44:48
"I don't want any names on police cars.
I don't want names on badges."
:44:51
"I want you to investigate
every person's name in the screenplay
:44:55
and make sure that that person
really doesn't exist."
:44:59
"And if he does, change it."