1:25:01
He wanted the clothes to move
and have life.
1:25:05
He wanted to do something reminiscent
of certain painters of that period.
1:25:09
Stanley sent me to all kinds of
auction houses who were dealing. . .
1:25:14
. . .with period costumes, so we
were mixing some period costumes.
1:25:18
Stanley wanted beautiful materials,
as he quite rightly said:
1:25:22
"That's why in those paintings
they gave those wonderful lights. "
1:25:26
Everybody talks of Barry Lyndon...
1:25:29
. . .as a beautiful 1 8th-century movie.
1:25:31
It's because of the way he shot it,
the way he pushed us to do our work.
1:25:35
You know, as an artist. . .
1:25:38
. . .you very often instinctively
design. . .
1:25:42
. . .and to intellectually justify. . .
1:25:47
. . .your creativity. . .
1:25:51
. . .is very difficult.
1:25:53
I think the same applies to actors.
1:25:56
Though he knew and respected,
I'm sure, the actors. . .
1:26:00
. . .he would
permutate their performances. . .
1:26:05
. . .almost to the breaking point.
1:26:07
I remember. . .
1:26:11
. . .going on the set one day and there
were a thousand candles burning.
1:26:15
Outside there was a huge storm. . .
1:26:17
. . .and there were men outside, who,
because of the storm had to hold. . .
1:26:23
. . .the big lamps.
1:26:24
There was a huge gale in Dublin
and the rain was icy cold.
1:26:29
I thought "I hope they don't
have to do it too long. "
1:26:32
And then the candles are burning down
very gradually.
1:26:35
Stanley's just sitting there
with Hardy Krüger. . .
1:26:40
. . .discussing a problem
Hardy had and he's just saying:
1:26:44
"Well, Hardy, I think we should. . . . "
1:26:46
Krüger, I think, was getting
also in a state.
1:26:49
It was interesting, never getting
flustered, never raising his voice.
1:26:54
He was great working with
actors because it was one-to-one.
1:26:57
You had a relationship
with the director.