:48:01
but had worked as only
Hitch's operator in the past,
:48:06
not as a cameraman.
:48:08
Some of the other key positions
were new.
:48:10
But he liked to be comfortable.
:48:12
But even though he worked
with these people,
:48:15
there were very few
who talked to him.
:48:20
(Man) Hitch had wanted to shoot
in San Francisco.
:48:22
I had looked for two days
for this location,
:48:25
for this spooky house on a corner
:48:28
with a garage situation,
and the set was all lit.
:48:31
So, up drives Hitch
with his driver, Ole,
:48:34
and the window went down
just a little bit.
:48:39
Hitch says, W hat are we doing here?"
So, I says, this is the exterior, and so on.
:48:43
And he says,
Why are we doing it here?"
:48:46
I said, "Hitch,
you wanted to do it here."
:48:49
And he says, "Well, how do you
expect me to get a performance
:48:52
out of my actors in this cold weather?"
:48:55
And he said, "That's the trouble
with you young art directors."
:48:59
He says, "You have no imagination."
:49:02
"I think we'd better do it
back at the studio."
:49:04
With that, the window went up,
and the car drove off.
:49:08
So, the whole schedule changed.
:49:11
- Mr Adamson?
- Watch him.
:49:14
But anyway, we built the set,
and it was very nice.
:49:17
Now, comes to the time
to shoot the set.
:49:20
Hitch always drove
right on the stage with his car,
:49:23
took six or seven steps to his chair
:49:26
and now he says,
"This is more like it. This is nice."
:49:30
"Well, do you like it?"
He says, "It's beautiful."
:49:34
So I said, W ell, then, everything's
OK?" And he says, "Fine."
:49:37
Well, I never stay with the company,
and once Hitch says it's OK,
:49:41
or any director, I'm off, 'cause
I'm working ahead of the company.
:49:44
And I'd taken about ten steps,
and Hitch says,
:49:48
"Bummy, my friends
in San Francisco tell me
:49:53
that of all the corners in San Francisco,
:49:56
you picked the coldest."
:49:58
"How did you manage?"