: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
:53:01
and then edit it is... insane,
because it's not possible.
:53:07
You never get a good scene that way.
But Hitchcock always did.
:53:12
What's exceptional,
really, isn't that he was so
:53:14
adamant and such a perfectionist.
:53:17
What's amazing is that it worked!
:53:19
Usually, you have in your mind a notion
of how this scene is going to look,
:53:23
how it's going to run,
how it's going to feel.
:53:25
And then you put it there
like you imagine it - it doesn't work!
:53:29
So, you have to re-edit, and then
you have to re-edit that.
:53:31
Then you have to re-edit that.
:53:33
But what he did was almost
supernatural when you think about it.
:53:37
He pre-thought it so thoroughly
:53:39
and with such an accurate imagination
:53:43
that when you cut it, it worked
:53:45
just the way he thought it would
:53:47
every time, every scene,
every movie!
:53:54
(Kazanjian) Hitchcock used to tell me
and show me films
:53:57
and explain his theory in chases.