:51:00
"You've shown my wife's tombstone
with her name on it. I'm upset."
:51:05
Actually, it did happen. Later, somebody
called up and I was brought in.
:51:09
I had to look at the film, and I said,
:51:12
"That may be somebody's name,
but we provided that tombstone."
:51:15
"It's not their tombstone."
:51:17
So, by coincidence,
there was somebody else buried
:51:20
in a California cemetery
with that name.
:51:23
But in providing those cemeteries,
Hitchcock had an idea.
:51:28
And when he had a press junket
arrive at the cemetery,
:51:31
many of the tombstones
had those people's names on it.
:51:35
It looks like Miss Tyler
needs some rest.
:51:43
Will you do as I say?
:51:47
(Black) I didn't know that Mr Hitchcock
drew everything and then shot it.
:51:52
Remember, I was from the '70s,
:51:54
where at that particular point
in the history of film
:51:57
people were throwing up a lot in films,
:51:59
and they were sweating and drooling
and improvising and walking off camera,
:52:03
and if things were blurry, that was OK,
and they were using a lot of zooms.
:52:06
So, his style was very different
from what I was used to.
:52:10
- (Tyres Screeching)
- (Crashing)
:52:18
(Blanche) George, are you alright?
:52:21
Mm-hmm. I think so.
:52:24
- How about you?
- I'm OK.
:52:27
(Kazanjian) Hitchcock had
long been known
:52:29
to be one of the early directors to
storyboard and do conceptual designs.
:52:33
And, of course, with the conceptual
designs that came from
:52:35
the production designer,
Henry Bumstead.
:52:37
- Should it go this way or this way?
- Doesn't matter, really.
:52:40
But Hitchcock, personally,
would do some of the storyboards,
:52:44
and then he'd commission
Tommy Wright
:52:46
to do a number
of the storyboards for him.
:52:50
And he would meet with Tommy
and tell him exactly how he saw it.
:52:54
He'd look at those drawings
and make adjustments.
:52:58
To pre-edit a scene, and then
shoot it the way you want to edit it