: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?"
:50:00
So, what could I say?
I just said, "It wasn't easy, Hitch."
:50:04
You bestowed upon
your dear mother and father
:50:06
all the care, all the attention,
:50:10
patience and comfort that they needed
in the sunset of their lives.
:50:16
And those of us who are
left behind to grieve for you, Joseph...
:50:21
(Bumstead) Hitch always had two or
three things he was adamant about.
:50:25
In Family Plot, he was very adamant
about that high shot in the cemetery.
:50:34
You really followed
what he had in mind on those,
:50:37
and gave him
what he wanted, you know.
:50:41
(Kazanjian) One of the major scenes
of the picture was
:50:43
the cemetery scene which we shot
in Sierra Madre, California.
:50:46
And, of course, all of the tombstones
:50:50
that you read on screen
you have to supply.
:50:54
In those days, and probably today,
:50:56
you're not to reveal somebody's name
because somebody could call up and say,