1:06:00
Some other composer, I don't know,
on a film that he made about a murder.
1:06:04
And he instructed the composer
to make the music light.
1:06:08
So, he said he went
to London to record the music,
1:06:10
and this composer had every
double bass and bassoon and timpani,
1:06:14
and every instrument
in the city of London
1:06:16
capable of making an ominous,
lugubrious sound.
1:06:19
Just the opposite of what
he wanted, so I said to him,
1:06:22
"Mr Hitchcock, seems like for a murder
that's very appropriate."
1:06:25
Put that thing away.
1:06:27
I always quote his exact words.
1:06:30
He said, "Mr Williams,
murder can be fun."
1:06:34
So, he had this idea
1:06:36
of irony and many sides
to the prism of what one sees.
1:06:41
- (Man) Where'd you put the diamond?
- (Woman) Where everyone can see it.
1:06:45
- You didn't.
- I did.
1:06:47
- Are you going to tell me where?
- You'll have to torture me first.
1:06:51
(Woman Giggling) Oh, I intend to...
in a few minutes.
1:07:00
(Williams) The specific details
of the music in that movie
1:07:04
was with the use of the voices
having to do with this psychic.
1:07:06
(Blanche) I feel a holding back.
1:07:10
What's the trouble, Henry?
1:07:12
And he did have an idea
of having voices.
1:07:15
He said, "It should be impressionistic
with the women's voices."
1:07:20
And also his ideas about music
were very closely linked
1:07:22
to a very methodical editorial process.
1:07:28
The precision of the editing reflected
the precision of the shooting.
1:07:32
I could tell you one
little anecdote, also, about
1:07:35
a scene in the film where
we didn't have a disagreement
1:07:38
about where the music
should play but a discussion.
1:07:45
There was a room where
the criminal had been,
1:07:47
and the camera pans
to the window, which is open.
1:07:51
And the curtains blow in the breeze,
1:07:53
and this reveal of the camera
tells us the criminal has escaped.
1:07:58
Good day and good luck.