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.
1:08:01
But the orchestra was playing
to drive the energy
1:08:04
to people to go to discover
where the criminal is.
1:08:07
Driving through the point where
the camera goes through the door.
1:08:10
And I continued the music
when the camera
1:08:12
panned to the window, playing it more.
1:08:15
He said, "If you stop the music
when the camera pans to the window
1:08:19
the silence will tell us
that it's empty - he's gone,
1:08:22
more emphatically, more powerfully
than any musical phrase."
1:08:27
And, of course, just the absence
of music at that point...
1:08:29
It was a wonderful lesson in where
to arrange the parts of the music
1:08:33
in any film, which we call
"spotting," incidentally.
1:08:35
That is to say,
the spots are where the music is.
1:08:37
So, he was a wily professional
who knew his business
1:08:41
and could be of great assistance
to a youngster
1:08:45
such as I was at that time.
1:08:58
I do think it's true that Hitchcock,
his own sensibility