1 00:00:05,240 --> 00:00:06,719 Hi. I'm Laurent Bouzereau, 2 00:00:06,879 --> 00:00:09,393 producer of this exciting DVD presentation 3 00:00:09,559 --> 00:00:11,470 of Alfred Hitchcock's Frenzy. 4 00:00:11,639 --> 00:00:14,312 For those of you familiar with the trailer of Frenzy, 5 00:00:14,479 --> 00:00:17,152 Alfred Hitchcock was shown floating on the River Thames. 6 00:00:17,320 --> 00:00:20,517 As you can see, | settled for something a little more simple. 7 00:00:20,679 --> 00:00:23,068 Yet, since | traveled all the way to London 8 00:00:23,240 --> 00:00:25,037 to meet with the screenwriter of Frenzy, 9 00:00:25,199 --> 00:00:27,838 Anthony Shaffer, and the cast members from the film, 10 00:00:27,999 --> 00:00:32,197 I've decided to introduce this exciting documentary from the famous Tower Bridge, 11 00:00:32,360 --> 00:00:34,237 where the movie begins. 12 00:00:35,160 --> 00:00:39,631 So here are some very exciting stories about the making of Alfred Hitchcock's Frenzy. 13 00:00:39,799 --> 00:00:42,472 And for those of you wondering what happened to my tie, 14 00:00:42,640 --> 00:00:46,189 well, some very suspicious fellow borrowed it from me last night. 15 00:00:46,360 --> 00:00:48,555 How do you like my tie? 16 00:00:49,920 --> 00:00:52,718 My God! The tie! 17 00:00:52,879 --> 00:00:54,551 (Screaming) 18 00:00:56,440 --> 00:00:59,637 (Woman) Frenzy was one of those movies where 19 00:00:59,800 --> 00:01:01,870 the Hitchcock touch came back. 20 00:01:02,039 --> 00:01:04,314 Now, do | look like a sex murderer to you? 21 00:01:04,479 --> 00:01:09,997 \{Man) This was just a good, rumbustious Hitchcock with a few scary bits in it. 22 00:01:10,159 --> 00:01:12,036 You strangled her like all the others! 23 00:01:12,400 --> 00:01:15,597 He wanted to become more explicitly violent. 24 00:01:17,280 --> 00:01:20,431 There's a texture which you can get by using humour 25 00:01:20,600 --> 00:01:23,956 and giving it to the blackest character in the piece. 26 00:01:30,119 --> 00:01:32,235 (Woman) Hitch made a lovely atmosphere on the set. 27 00:01:32,400 --> 00:01:34,436 You got the whole of your life ahead of you. 28 00:01:34,600 --> 00:01:36,909 It was good fun. Good ironic fun. 29 00:01:37,080 --> 00:01:39,514 - (Spitting) - That man must be 30 00:01:39,680 --> 00:01:41,272 a sexual maniac. 31 00:01:41,440 --> 00:01:44,432 - The beast. - | haven't murdered anyone. 32 00:01:45,159 --> 00:01:47,389 Really, the world has become 33 00:01:47,560 --> 00:01:50,632 darker than ever in Frenzy. 34 00:01:50,799 --> 00:01:52,790 | wonder what the rest of the day has in store. 35 00:01:52,960 --> 00:01:54,996 \{Woman Screaming) 36 00:02:02,399 --> 00:02:04,788 (Man) | had just done Sleuth on Broadway, 37 00:02:04,960 --> 00:02:06,359 and we had received a notice 38 00:02:06,960 --> 00:02:11,351 like the Second Coming, which was very gratifying. 39 00:02:11,519 --> 00:02:16,593 And Hitch, you know, always used successful writers. 40 00:02:16,759 --> 00:02:19,432 And | had had that success, 41 00:02:19,600 --> 00:02:24,151 and therefore | was not completely surprised that Hitch got in touch with me. 42 00:02:24,320 --> 00:02:26,550 Mind you, it's such an honour to be invited, 43 00:02:26,719 --> 00:02:29,631 because he was such an incredible legend. 44 00:02:29,800 --> 00:02:30,915 At first, I thought it was a bit of a hoax, 45 00:02:31,079 --> 00:02:33,547 because this happened on New Year's Eve, 46 00:02:33,719 --> 00:02:36,279 Someone, you know, answered the phone for me and said, 47 00:02:36,440 --> 00:02:37,998 "It's Alfred Hitchcock on the line.” | said, "Yeah." 48 00:02:38,160 --> 00:02:39,912 | thought it was one of my mates in New York. 49 00:02:40,079 --> 00:02:42,639 | said, "It's time to come out and have a drink." 50 00:02:42,799 --> 00:02:45,711 (Shaffer) A few minutes later, the actual book arrived, 51 00:02:45,879 --> 00:02:48,757 which was the book from which the film was derived. 52 00:02:48,920 --> 00:02:51,639 A book by a writer called Arthur La Bern 53 00:02:51,800 --> 00:02:54,837 called Goodbye Piccadilly, Farewell Leicester Square. 54 00:02:54,999 --> 00:02:59,436 This tended to convince me this was not a hoax, and we took it from there. 55 00:02:59,599 --> 00:03:01,715 And that's how that started. 56 00:03:06,920 --> 00:03:11,436 (Shaffer) Alma was, of course, his wife, and she was a tiny little lady. 57 00:03:11,599 --> 00:03:14,875 And whilst we were here trapping Frenzy, 58 00:03:15,679 --> 00:03:17,670 she had a heart attack. 59 00:03:17,840 --> 00:03:21,435 Not he. He had a pacemaker, you know. 60 00:03:21,600 --> 00:03:24,478 But the one who had the heart attack was Alma. 61 00:03:24,639 --> 00:03:29,269 It slightly affected the work necessary for doing the picture, 62 00:03:29,439 --> 00:03:31,714 but, um, she recovered very quickly, 63 00:03:31,880 --> 00:03:33,029 and, in fact, survived him. 64 00:03:47,519 --> 00:03:49,350 (Man) In this particular shot 65 00:03:49,519 --> 00:03:52,875 is a helicopter coming along the river, 66 00:03:53,040 --> 00:03:57,318 and turning around onto you all listening to the speech. 67 00:03:57,479 --> 00:04:00,516 Albeit, you're not sort of aware of the helicopter at all. 68 00:04:00,679 --> 00:04:02,351 It's purely a camera shot. 69 00:04:05,080 --> 00:04:06,433 (Man) Nobody looks at the helicopter. 70 00:04:06,600 --> 00:04:10,275 You're all looking at the minister, listening to his speech. OK? 71 00:04:11,280 --> 00:04:13,840 (Man) Alright, back around. And, action. 72 00:04:13,999 --> 00:04:18,436 All the water above this point will soon be clear. 73 00:04:18,600 --> 00:04:21,034 Clear of industrial effluent. 74 00:04:21,199 --> 00:04:23,110 Clear of detergents. 75 00:04:23,280 --> 00:04:26,033 Clear of the waste products of our society 76 00:04:26,199 --> 00:04:30,078 with which for so long we have poisoned our rivers and canals. 77 00:04:33,840 --> 00:04:36,798 (Shaffer) He was very strange about those cameo appearances. 78 00:04:36,959 --> 00:04:38,790 They were always very modest, weren't they? 79 00:04:38,959 --> 00:04:42,429 He wouldn't use makeup or make himself look in any way... 80 00:04:42,600 --> 00:04:44,750 fanciful or ridiculous. 81 00:04:44,919 --> 00:04:48,548 He was very shy of doing things like that. 82 00:04:48,720 --> 00:04:52,269 He would be himself, but he wouldn't be anybody else. Do you see what I'm saying? 83 00:04:52,440 --> 00:04:55,398 And he elects to do that on the Embankment. 84 00:04:55,559 --> 00:04:59,837 There are actually two shots of him looking fairly lugubrious under a bowler hat. 85 00:05:00,120 --> 00:05:02,998 - It's another necktie murder. - What are the police doing about it? 86 00:05:03,160 --> 00:05:04,479 Why can't they find him? 87 00:05:04,639 --> 00:05:08,712 - He's a regular Jack the Ripper. - Not on your life. He used to carve 'em up. 88 00:05:08,879 --> 00:05:12,110 Sent a bird's kidney to Scotland Yard once, wrapped in bit of violet writing paper. 89 00:05:12,280 --> 00:05:15,113 That'll do. I'm quite sure the lady doesn't want to hear any more about it. 90 00:05:15,280 --> 00:05:18,238 (Shaffer) We did research into the serial killer. 91 00:05:19,079 --> 00:05:24,312 In 1970, | don't think it was so prevalent a crime, 92 00:05:24,479 --> 00:05:29,712 and these serial killers are what are called “aggressive sexual psychopaths.” 93 00:05:30,800 --> 00:05:34,076 There are a lot of passive sexual psychopaths about. 94 00:05:34,239 --> 00:05:36,070 It's the aggressive ones you have to worry about, 95 00:05:36,240 --> 00:05:40,392 because they simply cannot control that impulse when it comes upon them. 96 00:05:40,560 --> 00:05:43,597 It was a very interesting character because little had been written 97 00:05:43,759 --> 00:05:47,149 about that kind of a character at the time. 98 00:05:47,319 --> 00:05:50,038 He fascinates us. He still does. 99 00:05:54,840 --> 00:05:57,195 (Man) Cheers, Squadron Leader. 100 00:05:57,959 --> 00:06:00,678 - Chin-chin. - Morning. 101 00:06:01,479 --> 00:06:04,357 It may come as something of a surprise to you, Blaney, but in this pub 102 00:06:04,520 --> 00:06:06,954 we sell liquor, we don't give it away. 103 00:06:07,120 --> 00:06:09,315 Still less do we expect our employees to steal it. 104 00:06:09,479 --> 00:06:11,754 - | was going to pay for it. - Oh, yeah, I'm sure you were. 105 00:06:11,919 --> 00:06:14,308 That's the last drink you're getting on this house. Get out. 106 00:06:14,480 --> 00:06:18,029 | told you | was going to pay for it. | always pay for my drinks. 107 00:06:18,199 --> 00:06:20,793 \{Man) | think why Hitchcock asked me to play it was, 108 00:06:20,959 --> 00:06:24,315 at that moment, I hadn't had a big film released, 109 00:06:24,480 --> 00:06:28,189 but I'd just finished Macbeth for Roman Polanski, 110 00:06:28,360 --> 00:06:29,679 which was big news at the time. 111 00:06:30,400 --> 00:06:34,632 Hadn't opened. And, of course, | was gonna be cheap, you see. 112 00:06:34,800 --> 00:06:36,597 Now, it was a very cheap film, Frenzy. 113 00:06:36,759 --> 00:06:38,078 They didn't spend a lot of money. 114 00:06:38,240 --> 00:06:43,360 They didn't, for example, provide cars for anybody to go to the set or go to the studio. 115 00:06:43,520 --> 00:06:47,354 You just got your own taxi or you came on a bike or whatever you did. 116 00:06:47,520 --> 00:06:50,512 So, anyway, they asked me- just asked me to do it, see? 117 00:06:50,679 --> 00:06:52,510 They go through a book. You know, you got a casting director. 118 00:06:52,680 --> 00:06:56,355 Casting directors don't do a lot. | mean, there's not much they can do. 119 00:06:56,520 --> 00:06:59,080 But they say, "Well, this so-and-so. How about him?" 120 00:06:59,240 --> 00:07:02,391 And Hitchcock presumably said, "Yeah, | think he looks alright.” 121 00:07:02,560 --> 00:07:04,471 "What's he doing at the moment?” 122 00:07:04,640 --> 00:07:08,713 So suddenly my agent went, "Oh, yeah. Would you like, I'll get Roman Polanski?” 123 00:07:08,879 --> 00:07:11,074 Roman's doing everything down in Shepperton. 124 00:07:11,240 --> 00:07:14,073 He's saying, "I'l do anything. You wanna see the film?" 125 00:07:14,239 --> 00:07:16,833 "I'l show you rough cuts. I'll do this and do that." 126 00:07:16,999 --> 00:07:18,352 Hitchcock didn't want to see a frame. 127 00:07:18,520 --> 00:07:22,672 Nothing. But he said, "I've got to see whether he can act 128 00:07:22,840 --> 00:07:24,398 and what he looks like on film.” 129 00:07:24,560 --> 00:07:29,395 And my agent got a television movie that I'd done - simple thing shot in black and white 130 00:07:29,560 --> 00:07:31,676 in '69, 1 think it was - 131 00:07:31,999 --> 00:07:33,318 and showed it to him. 132 00:07:33,480 --> 00:07:35,232 So he said, "Yeah, he'll do." 133 00:07:35,400 --> 00:07:38,756 So | came to see him around the corner from the Dorchester, 134 00:07:38,919 --> 00:07:41,194 which is where we are now, 135 00:07:41,359 --> 00:07:43,919 and he said, "Jon, nice to see you." 136 00:07:44,079 --> 00:07:48,311 Ba-ba-ba-bom. I was, you know, like half in shock seeing the man anyway. 137 00:07:48,480 --> 00:07:51,836 ‘Do you like the script?” | said, "Yes, of course.” You know, as you do. 138 00:07:51,999 --> 00:07:56,993 And, uh, so he said, "I've seen the film that your agent showed me." 139 00:07:57,159 --> 00:08:00,310 "You can act. That's good. Would you like to do it?” 140 00:08:00,480 --> 00:08:03,916 "Yes, | would.” "0K. Let's go and have lunch.” 141 00:08:04,080 --> 00:08:05,672 And that was it. So it was done. 142 00:08:05,840 --> 00:08:08,593 And, |, you know - Of course | couldn't believe it. 143 00:08:08,760 --> 00:08:10,591 | was stunned. Absolutely stunned. 144 00:08:11,439 --> 00:08:14,397 - Don't let him talk to you like that. - | know. 145 00:08:14,560 --> 00:08:16,710 What are you gonna do, luv? 146 00:08:16,879 --> 00:08:19,313 | don't know. Another pub, perhaps. 147 00:08:19,480 --> 00:08:23,393 Are you alright? | mean, you just gave him back the ten quid you borrowed. 148 00:08:23,560 --> 00:08:28,429 | had to. He didn't think | had it. Don't worry. I've got a bit left. 149 00:08:28,600 --> 00:08:32,434 This is Covent Garden, not the garden of love. How 'bout starting work? 150 00:08:32,600 --> 00:08:34,192 Oh, get stuffed. 151 00:08:35,160 --> 00:08:38,869 (Woman) | went up, in fact, for the part of the secretary. 152 00:08:39,040 --> 00:08:41,076 I didn’t go up for Babs. 153 00:08:41,239 --> 00:08:43,548 And we went into this huge - 154 00:08:43,719 --> 00:08:48,076 | went alone - into this huge room in Piccadilly where he was doing the auditions. 155 00:08:49,480 --> 00:08:52,040 And he sat behind this desk. | sat down. 156 00:08:52,200 --> 00:08:54,668 And he started talking about deep refrigeration 157 00:08:54,840 --> 00:08:56,637 and how to make batter. 158 00:08:56,799 --> 00:09:00,838 There was this huge room he said he had in his house which was his fridge, 159 00:09:00,999 --> 00:09:04,514 and he told me how he made batter for batter pudding, 160 00:09:04,680 --> 00:09:07,433 and he kept it in this vast fridge. 161 00:09:07,600 --> 00:09:10,876 So | was completely mesmerised by this. Then he started talking about this barmaid. 162 00:09:11,040 --> 00:09:12,712 | was totally confused by this time, 163 00:09:12,879 --> 00:09:15,712 ‘cause he hadn't asked me to read for the secretary or anything. 164 00:09:15,879 --> 00:09:20,157 Anyway, this barmaid had to be quite short, 165 00:09:20,319 --> 00:09:21,877 and | found myself taking my shoes off. 166 00:09:22,040 --> 00:09:24,474 | don't know why, because | wasn't up for the barmaid. 167 00:09:24,639 --> 00:09:26,470 | was up for the secretary. 168 00:09:27,199 --> 00:09:29,474 Anyway, when I got up to go - I'd forgotten I'd taken my shoes off, 169 00:09:29,640 --> 00:09:33,679 so | had to put my shoes on - and he didn't say whether he wanted me or not. 170 00:09:33,840 --> 00:09:35,796 Nothing, and no script was given. 171 00:09:35,960 --> 00:09:41,080 And the next day, my agent rang, and said, "He wants you for the Cockney barmaid, Babs.” 172 00:09:41,239 --> 00:09:42,991 | said, "This is amazing." 173 00:09:43,160 --> 00:09:46,596 So | said, "Yes" to work with Hitchcock, of course. "Count me in.” 174 00:09:55,359 --> 00:09:56,712 - Hello, Dick. - Hello, Bob. 175 00:09:56,879 --> 00:09:58,995 | was just coming over for a quick one. 176 00:09:59,159 --> 00:10:01,753 Why aren't you polishing the sausages and watering the gin, 177 00:10:01,920 --> 00:10:04,957 or whatever it is you do there before opening time? 178 00:10:05,120 --> 00:10:07,509 | have just been given the push. 179 00:10:08,439 --> 00:10:11,749 What for? You weren't pissing in the beer again? 180 00:10:13,679 --> 00:10:17,957 \{Man) I'd had a couple of successes in the West End on stage, 181 00:10:18,119 --> 00:10:22,829 and | was doing a play by David Mercer at the Criterion 182 00:10:22,999 --> 00:10:24,955 called After Haggerty, 183 00:10:25,720 --> 00:10:27,950 uh, with Billie Whitelaw. 184 00:10:29,480 --> 00:10:33,837 Someone said, "Oh, Alfred Hitchcock's in tonight.” 185 00:10:34,000 --> 00:10:35,513 "Oh, really. Mm-hmm." 186 00:10:35,679 --> 00:10:38,796 Uh, next morning, my agent said, 187 00:10:38,959 --> 00:10:42,315 ‘Mr Hitchcock would like to meet you at 100 Piccadilly.” 188 00:10:42,480 --> 00:10:48,112 So, along | went. He said, I'm making this picture about a murderer.” 189 00:10:48,280 --> 00:10:53,115 I'd like you to take the script away and tell me if you'd like to play it” 190 00:10:54,280 --> 00:10:56,748 So, well, the short story is 191 00:10:56,920 --> 00:11:01,869 he sent for a couple of books about a pretty well-known murderer we bad over here 192 00:11:02,040 --> 00:11:06,909 called Neville Clevely Heath, who masqueraded as a squadron leader. 193 00:11:07,720 --> 00:11:10,188 And | went off on a short holiday 194 00:11:10,359 --> 00:11:12,714 to read and came back and made the picture, 195 00:11:12,879 --> 00:11:16,792 and | always thought, when people asked, "How on earth did you get the part?” 196 00:11:16,960 --> 00:11:18,871 I said, "Well, he came to see the play.” 197 00:11:19,040 --> 00:11:21,270 It was halfway through shooting the picture. 198 00:11:21,439 --> 00:11:26,877 | was talking with his personal assistant, Peggy Robertson, 199 00:11:27,040 --> 00:11:31,909 and she said, "Oh, no, no, no. That isn't how you got the part.” 200 00:11:32,080 --> 00:11:35,914 Um, what happened was that I'd made a film a few years earlier 201 00:11:36,079 --> 00:11:38,673 called Twisted Nerve. 202 00:11:38,839 --> 00:11:41,034 Again with Billie Whitelaw. 203 00:11:41,200 --> 00:11:44,033 And this picture, in almost all the notices, 204 00:11:44,199 --> 00:11:47,714 they referred to it as sort of having 205 00:11:47,880 --> 00:11:49,791 a Hitchcock flavour to it, 206 00:11:49,959 --> 00:11:53,395 and, apparently, seeing me in the part | played in that, 207 00:11:53,559 --> 00:11:57,996 that decided him | would be OK for Bob Rusk in Frenzy. 208 00:11:58,160 --> 00:12:03,234 So, that's how wrong you can be about, uh, where you got where you did. 209 00:12:03,879 --> 00:12:06,871 Here you are. Take one of these back to your girlfriend Babs. 210 00:12:07,040 --> 00:12:10,669 Get her to peel you one. "Beulah, peel me a grape.” 211 00:12:10,840 --> 00:12:13,149 That's what my ol' mum used to say when | was a kid. 212 00:12:13,319 --> 00:12:15,549 - Well, at least you won't starve to death. - \{Chuckles\} 213 00:12:16,079 --> 00:12:18,798 (Shaffer) Food is continuously used in the movie. 214 00:12:18,959 --> 00:12:22,998 Look at the package of grapes that he is given at the beginning of the picture. 215 00:12:23,160 --> 00:12:28,712 He is completely broke, he cannot back the horse that Rusk has tipped him, 216 00:12:28,880 --> 00:12:32,270 and so he takes it out on the grapes. 217 00:12:32,440 --> 00:12:34,590 Twenty to one! 218 00:12:34,760 --> 00:12:37,354 Twenty to bloody one! Christ! 219 00:12:37,720 --> 00:12:39,312 Damn it to hell! 220 00:12:46,119 --> 00:12:49,475 (Man) Now turn. Go. 221 00:12:50,799 --> 00:12:53,233 - Better go faster than me, Paul. - Now, he's pretty furious. 222 00:12:53,400 --> 00:12:56,312 He's just flung the grapes on the floor previously. 223 00:13:00,999 --> 00:13:03,308 (Finch) He'd say, "Do you want to run the jokes?” 224 00:13:03,480 --> 00:13:06,995 Which is an old English way of saying, "Do you want to rehearse?” 225 00:13:07,160 --> 00:13:10,232 He'd say, "Does Jon want to run the jokes?” 226 00:13:10,400 --> 00:13:12,516 "| think he wants to run - Do you want to run the jokes, Jon?" 227 00:13:12,679 --> 00:13:16,228 I'd say, "I wouldn't mind." It does help, you know, get through, 228 00:13:16,400 --> 00:13:18,311 especially in, maybe, a bit of a wide shot, 229 00:13:18,480 --> 00:13:22,075 you know, where you've got more than two lines of dialogue. 230 00:13:22,240 --> 00:13:25,596 You're new here, aren't you? 231 00:13:25,759 --> 00:13:28,034 I've been here for over a year now. 232 00:13:28,199 --> 00:13:30,667 - What can | do for you, sir? - You can inform Mrs Blaney 233 00:13:30,840 --> 00:13:34,355 that one of her less successful exercises in matrimony has come to see her. 234 00:13:34,519 --> 00:13:37,795 - And who shall | say is calling? - Mr Blaney. 235 00:13:37,959 --> 00:13:40,553 So you do it. They say, "Right?" You say, "Yeah, of course.” 236 00:13:40,720 --> 00:13:43,792 "Alright." Shoot it. Bang. You just do it like that. 237 00:13:43,960 --> 00:13:46,076 But, of course, because it was Hitchcock, 238 00:13:46,239 --> 00:13:48,309 you didn't worry about it that much. 239 00:13:48,879 --> 00:13:52,394 - What's the matter? - Oh, I'm sorry. 240 00:13:52,559 --> 00:13:55,835 I've had a bad day, that's all. | lost my job. 241 00:13:56,999 --> 00:13:58,637 How? 242 00:13:58,799 --> 00:14:01,359 | got fired, that's how. What do you think, | mislaid it? 243 00:14:01,920 --> 00:14:06,471 He hired the actors the same way he hired the stage carpenter - 244 00:14:06,639 --> 00:14:09,995 on the assumption that they knew their job, they knew what to do. 245 00:14:14,920 --> 00:14:16,797 Oh, it's you again, Mr Robinson. 246 00:14:16,959 --> 00:14:19,757 Yes. I'm afraid so. 247 00:14:19,920 --> 00:14:22,434 So rehearsal was minimal. 248 00:14:22,600 --> 00:14:24,238 But on the other hand, 249 00:14:24,400 --> 00:14:29,394 the buildup to the rape and murder scene with Barbara - 250 00:14:29,559 --> 00:14:32,153 You're the one | wanted to see. 251 00:14:32,960 --> 00:14:34,916 (Foster) There | was completely free. 252 00:14:35,079 --> 00:14:38,594 He'd set up the camera for the scene, 253 00:14:38,759 --> 00:14:41,910 and | remember saying, "Well, I'd like to walk around there, 254 00:14:42,079 --> 00:14:45,833 and pull the file out and slam it back,” or do whatever he did. 255 00:14:45,999 --> 00:14:47,318 And he said, "That's fine. 0K." 256 00:14:47,480 --> 00:14:52,110 "Uh, we'll move the camera, accommodate what, uh, 257 00:14:52,280 --> 00:14:54,032 Mr Foster wants to do.” 258 00:14:54,200 --> 00:14:58,113 Absolutely no problem. Absolute freedom 1 felt. 259 00:14:58,280 --> 00:14:59,633 | like you. 260 00:15:03,959 --> 00:15:07,031 You're my type of woman. 261 00:15:12,920 --> 00:15:16,833 (Foster) The rape and murder scene with Barbara Leigh-Hunt 262 00:15:16,999 --> 00:15:19,069 took three days to shoot. 263 00:15:19,239 --> 00:15:20,991 264 00:15:22,080 --> 00:15:25,436 Before we started, we had Hitch's storyboard, 265 00:15:25,799 --> 00:15:27,118 266 00:15:27,280 --> 00:15:30,477 which is an incredibly helpful thing for the actor. 267 00:15:32,840 --> 00:15:37,356 Fortunately, it involved chopping up the action into short 268 00:15:38,840 --> 00:15:42,196 and intense sequences. 269 00:15:42,359 --> 00:15:47,353 Take the money out of my bag, but please leave me alone! 270 00:15:47,480 --> 00:15:49,277 There's a mid-shot of the two of us, 271 00:15:49,439 --> 00:15:51,999 Barbara splayed out on her swivel chair, 272 00:15:52,160 --> 00:15:54,230 (Whimpering) Please. 273 00:15:54,399 --> 00:15:55,912 me on top of her. 274 00:15:56,079 --> 00:15:58,798 We got to get through two or three lines, 275 00:15:58,960 --> 00:16:00,951 mostly hers, of course, protesting. 276 00:16:01,120 --> 00:16:04,556 There's enough money there to buy any woman you want. It's yours. 277 00:16:04,720 --> 00:16:06,517 Take it. Just take it! 278 00:16:06,679 --> 00:16:08,988 There might have been six or seven takes of that. 279 00:16:09,159 --> 00:16:12,037 That was extremely distressing. 280 00:16:12,760 --> 00:16:15,115 Don't tear my dress. 281 00:16:15,960 --> 00:16:20,078 (Foster) The flashes of nudity, of the breasts and so on, 282 00:16:20,239 --> 00:16:22,548 ere done by a professional model. 283 00:16:23,920 --> 00:16:25,638 Lovely! 284 00:16:26,759 --> 00:16:28,477 Lovely! 285 00:16:28,640 --> 00:16:31,632 It's not at all pleasant, doing that stuff. 286 00:16:31,799 --> 00:16:35,872 Women! They're all the same. 287 00:16:36,359 --> 00:16:38,919 My God! The tie! 288 00:16:39,640 --> 00:16:42,598 (Screaming, Gasping\} 289 00:16:42,759 --> 00:16:45,592 (Foster) The tie, of course, is pre-tied 290 00:16:45,759 --> 00:16:48,148 and stitched so it can't move. 291 00:16:48,319 --> 00:16:50,196 Help me! 292 00:16:50,359 --> 00:16:52,919 | can do all this... 293 00:16:53,080 --> 00:16:55,719 till the cows come home, just as you'd have to do on stage. 294 00:16:56,960 --> 00:16:58,951 All the work is being done by the actress. 295 00:17:03,280 --> 00:17:05,669 We would just console each other. 296 00:17:05,839 --> 00:17:08,672 "Just another day and a half and we'll be through with this.” 297 00:17:15,519 --> 00:17:18,670 \{Panting) 298 00:17:33,559 --> 00:17:35,789 She sticks her tongue out, as Hitch asked her to, 299 00:17:35,959 --> 00:17:38,996 and the effect is genuinely horrendous. 300 00:17:43,680 --> 00:17:48,470 Hitch did experiment with having an extremely close lens 301 00:17:48,640 --> 00:17:52,758 to her mouth, getting through makeup, saliva and blood. 302 00:17:52,920 --> 00:17:57,232 Hitch, | think, was trying to plumb the ultimate in horror there. 303 00:17:57,399 --> 00:18:00,709 And | saw it in, uh, rushes. 304 00:18:00,879 --> 00:18:05,669 1 said to Mr Hitchcock, "I don't think you should use that scene.” 305 00:18:05,839 --> 00:18:06,908 He said, "Why not?” 306 00:18:07,079 --> 00:18:09,877 | said, "Because it's disgusting.” 307 00:18:10,120 --> 00:18:12,315 "Nonsense, dear boy,” was his response, 308 00:18:12,479 --> 00:18:16,313 and he put it in the very first rough assembly of the film. 309 00:18:16,479 --> 00:18:18,674 He had taken it out by the time we got to the second assembly. 310 00:18:28,040 --> 00:18:30,190 (Shaffer) This was all part of setting up 311 00:18:30,359 --> 00:18:33,635 the framing of the wrong man. 312 00:18:33,800 --> 00:18:37,429 This was a key moment in the film, 313 00:18:37,599 --> 00:18:40,272 and for this act of synchronicity, 314 00:18:40,440 --> 00:18:43,193 if ever a man was in the wrong place at the wrong time, 315 00:18:43,359 --> 00:18:45,668 it's Blaney. 316 00:18:48,400 --> 00:18:51,198 We spent quite a long time looking for that location, 317 00:18:51,359 --> 00:18:56,877 because it had to have a number of streets that actually intersected. 318 00:18:58,360 --> 00:19:01,272 The light's a little too dark at the moment. 319 00:19:01,439 --> 00:19:04,954 Going to wait a minute. Would you like to rehearse it again? 320 00:19:05,119 --> 00:19:06,837 Yes, | don't see why not. 321 00:19:07,000 --> 00:19:09,389 - (Man) It's a timing thing. - (Hitchcock) Sure it is. 322 00:19:09,560 --> 00:19:11,755 Can we have the governor's chair here please, while we rehearse this? 323 00:19:11,920 --> 00:19:13,797 - I'll do without it. - Oh, it's there. 324 00:19:16,000 --> 00:19:18,355 \{Man On Loudspeaker) Alright, Paul? Alright. 325 00:19:18,520 --> 00:19:20,715 Background action and... action. 326 00:19:31,640 --> 00:19:34,712 You've got to face the camera the whole time, 327 00:19:34,880 --> 00:19:38,077 until the very end, when she goes by the camera, 328 00:19:38,239 --> 00:19:41,914 and you pan ‘round with her, and she goes in this door. 329 00:19:42,079 --> 00:19:45,116 But she's full face the whole time. 330 00:19:45,279 --> 00:19:49,875 She'll look off. She'll be profile when she looks off down the alley. 331 00:20:12,520 --> 00:20:16,035 (Shaffer) Hitch was not afraid to hold that shot 332 00:20:16,200 --> 00:20:17,679 where nothing happened. 333 00:20:17,839 --> 00:20:21,036 Nothing happens at all, but you know what is going to happen 334 00:20:21,200 --> 00:20:25,159 because, obviously, the secretary is going to find 335 00:20:25,320 --> 00:20:27,151 the murdered woman. 336 00:20:29,320 --> 00:20:31,436 (Monica Screaming) 337 00:20:33,839 --> 00:20:37,036 \{Monica) | saw him clear as day. It was Blaney, alright. 338 00:20:37,200 --> 00:20:40,397 He came out of the door downstairs and walked down the alley. 339 00:20:40,560 --> 00:20:42,232 The beast. 340 00:20:42,400 --> 00:20:46,598 (Foster) Blaney's wife's secretary, who's played by Jean Marsh - 341 00:20:46,759 --> 00:20:49,068 It was a stroke of genius to make her look so 342 00:20:49,239 --> 00:20:52,276 dowdy and dull and spinsterish 343 00:20:52,440 --> 00:20:54,158 and obviously very repressed. 344 00:20:54,320 --> 00:20:57,153 Because Jean was then, and still is, 345 00:20:57,320 --> 00:21:01,359 an extremely beautiful, vivacious, marvellous woman. 346 00:21:04,239 --> 00:21:05,831 Thank you. 347 00:21:10,159 --> 00:21:12,673 (Massey) At the Coburg Hotel, when Jon Finch and | 348 00:21:12,839 --> 00:21:15,399 went in for an amorous encounter, 349 00:21:15,560 --> 00:21:17,790 the lady at the desk, 350 00:21:17,959 --> 00:21:22,032 the hall porteress was Elsie Randolph, the famous actress. 351 00:21:22,200 --> 00:21:26,591 Would that be with two singles, or the matrimonial-size bed? 352 00:21:26,759 --> 00:21:29,637 The, uh, mat- double bed, please. 353 00:21:29,800 --> 00:21:32,792 Yes. | see. 354 00:21:32,959 --> 00:21:36,429 \{Massey) She was in Rich and Strange, which Hitch directed in 1932. 355 00:21:36,599 --> 00:21:41,275 So they were old friends. He surrounded himself by people he liked and remembered. 356 00:21:41,599 --> 00:21:44,318 (Bottles Rattling) 357 00:21:47,440 --> 00:21:51,672 (Finch) The idea of showing a naked woman getting out of bed and then putting on socks 358 00:21:51,839 --> 00:21:56,549 is a wonderful piece of writing/direction combined. 359 00:21:56,719 --> 00:21:59,756 There's no deep significance to it. It just - You know. 360 00:21:59,919 --> 00:22:02,831 The girl gets out of bed. "It's gonna be cold.” Puts on socks. Simple. 361 00:22:04,800 --> 00:22:08,270 \{Massey) At my interview, and certainly when I had other meetings with Hitch, 362 00:22:08,440 --> 00:22:12,911 he never said, "Do you mind stripping in the bedroom scene?” 363 00:22:13,079 --> 00:22:16,754 I'd assumed that I'd be doing it, but the double did it 364 00:22:16,919 --> 00:22:20,594 So, when you cut away, and this nude figure just wearing socks, 365 00:22:20,759 --> 00:22:23,671 goes into the bathroom, that's not me. 366 00:22:30,800 --> 00:22:34,315 (Blaney) Barbara, | swear I'm telling the truth, 367 00:22:34,479 --> 00:22:36,868 Now, do | look like a sex murderer to you? 368 00:22:37,440 --> 00:22:39,670 Can you imagine me creeping around London, 369 00:22:39,839 --> 00:22:42,399 strangling all those women with ties? 370 00:22:42,560 --> 00:22:46,473 That's ridiculous. For a start, | only own two. 371 00:22:50,160 --> 00:22:53,436 (Shaffer) | think Truffaut it was who said that Hitchcock 372 00:22:53,599 --> 00:22:56,716 made the same film many, many times, 373 00:22:57,560 --> 00:23:02,793 by which he meant that his formula was that a man, unjustly accused, 374 00:23:02,959 --> 00:23:06,998 runs and thus further incriminates himself. 375 00:23:07,160 --> 00:23:09,754 And Frenzy is one of those pictures. 376 00:23:09,920 --> 00:23:13,913 It's a middle-cut Hitchcock movie in that sense. 377 00:23:14,919 --> 00:23:18,229 We haven't seen you in ages, Dick. How's Brenda? Do you still hear from her? 378 00:23:21,920 --> 00:23:24,559 Well, uh, she's dead, I'm afraid. 379 00:23:24,719 --> 00:23:26,437 Yes. 380 00:23:27,320 --> 00:23:29,311 And you killed her! 381 00:23:29,839 --> 00:23:31,795 (Man) Alright, rehearsal bell. 382 00:23:32,679 --> 00:23:34,988 (Hitchcock) You know her very well. 383 00:23:35,680 --> 00:23:37,557 Something's up. 384 00:23:37,719 --> 00:23:41,394 Uh, on the other hand, Anna, 385 00:23:41,560 --> 00:23:43,710 you don't know her. 386 00:23:43,879 --> 00:23:45,631 (Massey) He was most respectful. Terribly kind. 387 00:23:45,799 --> 00:23:49,030 If you were in trouble, you could ask him anything. 388 00:23:49,200 --> 00:23:51,111 If you didn't understand how to play a scene, 389 00:23:51,280 --> 00:23:53,953 if you wanted a line changed, which sometimes we did - 390 00:23:54,680 --> 00:23:57,353 - May | say this? This has been put here. - Yes. 391 00:23:57,520 --> 00:24:00,353 It's fairly crucial later on. | don't know whether that's meant to be here. 392 00:24:00,520 --> 00:24:02,476 Wait a minute. 393 00:24:02,639 --> 00:24:05,312 A handbag with gloves 394 00:24:05,479 --> 00:24:08,073 have been placed in a strategic position. 395 00:24:08,239 --> 00:24:10,514 We were going to ask you before where you would like them. 396 00:24:10,679 --> 00:24:13,352 She says she's going shopping at the end, doesn't she? 397 00:24:13,519 --> 00:24:16,511 Yes, but a woman like that would leave 398 00:24:16,679 --> 00:24:19,477 her handbag and gloves in the bedroom. 399 00:24:19,639 --> 00:24:24,793 They would be on the dressing table if she went shopping... 400 00:24:24,959 --> 00:24:27,598 - or fishing. - (Man Chuckles) 401 00:24:27,760 --> 00:24:32,311 I used to write notes every single night to his secretary, Peggy. 402 00:24:32,479 --> 00:24:34,197 Oh, yes. Sure. 403 00:24:32,479 --> 00:24:36,267 (Finch) And he was very good. Most of the time he'd say, "Alright. Correct it.” 404 00:24:38,319 --> 00:24:41,231 He wasn't annoyed that I'd pointed out, 405 00:24:41,400 --> 00:24:44,278 maybe, a syntactical error or something like that. 406 00:24:44,440 --> 00:24:47,432 He did say once, "Jon, | said you could make alterations.” 407 00:24:47,599 --> 00:24:50,318 "| didn't say you could rewrite the whole script.” 408 00:24:50,479 --> 00:24:52,356 Which | was trying to do, | must have been. 409 00:24:53,079 --> 00:24:54,558 (Hitchcock) Action. 410 00:24:54,719 --> 00:24:57,279 # (Whistling) 411 00:25:00,599 --> 00:25:03,432 (Foster) Frenzy was shot almost entirely 412 00:25:03,599 --> 00:25:07,592 in Pinewood Studios in sets built in the studios. 413 00:25:07,759 --> 00:25:10,796 Things like the inter- the office 414 00:25:10,959 --> 00:25:13,996 where the famous murder took place. 415 00:25:14,159 --> 00:25:16,832 The interior of the pub and so on. 416 00:25:18,200 --> 00:25:21,078 The rest of it was shot mainly 417 00:25:21,240 --> 00:25:23,037 in Covent Garden itself. 418 00:25:30,680 --> 00:25:33,194 (Foster) Covent Garden was then the fruit and vegetable 419 00:25:33,359 --> 00:25:35,793 and floral market for London. 420 00:25:40,719 --> 00:25:44,268 (Shaffer) It's a very London film, and I know he wanted to make that. 421 00:25:44,440 --> 00:25:49,116 I think he thought - whether he thought rightly or wrongly is another matter - 422 00:25:49,279 --> 00:25:51,668 that people thought that he had rather sold out 423 00:25:51,839 --> 00:25:54,273 and gone to live in Hollywood. 424 00:25:54,440 --> 00:25:58,433 I personally don't think that he would have been the world success he became 425 00:25:58,599 --> 00:26:01,511 had he stayed here in England. 426 00:26:04,959 --> 00:26:07,951 Here is the scene of another horrible murder. 427 00:26:08,119 --> 00:26:12,590 This is the famous London wholesale fruit and vegetable market- 428 00:26:12,759 --> 00:26:14,158 Covent Garden. 429 00:26:14,320 --> 00:26:16,959 Here you may buy the fruits of evil, 430 00:26:17,119 --> 00:26:20,907 and the horrors of vegetables. 431 00:26:21,079 --> 00:26:23,274 I've heard of a leg of lamb, 432 00:26:23,440 --> 00:26:27,274 a leg of chicken, but never a leg of potatoes. 433 00:26:27,959 --> 00:26:30,632 (Shaffer) When we were filming in Covent Garden, 434 00:26:30,799 --> 00:26:35,111 a curious thing took place that a very old man came up to him. 435 00:26:35,279 --> 00:26:37,509 | remember security men running in very quickly 436 00:26:37,679 --> 00:26:40,477 because you know what goes on these days, or even in those days. 437 00:26:40,639 --> 00:26:43,073 It wasn't quite as bad, but nonetheless - 438 00:26:43,240 --> 00:26:46,994 And he said, "| remember your father here in the market.” 439 00:26:47,959 --> 00:26:52,237 (Woman) His father was a very well-off, uh... green grocer. 440 00:26:53,639 --> 00:26:57,996 He had a chain of stores, you know, where he sold fish, 441 00:26:58,160 --> 00:27:01,755 and green grocery and all that, so he grew up with this. 442 00:27:02,839 --> 00:27:04,670 (Shaffer) Hitchcock was delighted, of course. 443 00:27:04,839 --> 00:27:07,228 He said, "Leave him alone,” sat him down, 444 00:27:07,400 --> 00:27:10,039 had a long talk with him about his dad, 445 00:27:10,200 --> 00:27:12,555 gave him a great meal and sent him on his way. 446 00:27:12,719 --> 00:27:18,191 It's a nice touch, but he was finding and feeling his roots as they had been. 447 00:27:22,679 --> 00:27:24,237 (Massey) He had a crack team. 448 00:27:24,399 --> 00:27:27,596 You know, fabulous operator. Fabulous Gil Taylor. Fabulous lighting. 449 00:27:27,759 --> 00:27:31,718 (Finch) He had great fun with the cameramen, especially the camera operator. 450 00:27:31,879 --> 00:27:34,757 He used to say, uh, "One button up so,” or something like that. 451 00:27:34,920 --> 00:27:37,309 He'd be that precise. He'd know. 452 00:27:37,479 --> 00:27:39,834 Whatever lens you put on, he could tell exactly what 453 00:27:39,999 --> 00:27:43,753 the end result was gonna be in the camera. 454 00:27:43,920 --> 00:27:45,433 The sooner that madman'’s behind bars, the better. 455 00:27:45,599 --> 00:27:47,555 Don't you talk about him like that! 456 00:27:47,719 --> 00:27:49,835 Listen! You don't realise how lucky you are to be alive. 457 00:27:49,999 --> 00:27:53,992 Christ Almighty, Babs! If | wasn't shorthanded, I'd take you to Scotland Yard myself. 458 00:27:54,160 --> 00:27:57,311 - As it is, right after closing time - - | won't be here! 459 00:27:57,479 --> 00:27:59,390 - Stuff your job right up your jacksie! - Come back! 460 00:27:59,560 --> 00:28:01,118 Oh, balls! 461 00:28:01,280 --> 00:28:05,637 (Massey) When | come out of the pub, Paul, the camera operator, 462 00:28:05,799 --> 00:28:10,190 said to Hitchcock, "Where do you want to cut this shot?” 463 00:28:10,359 --> 00:28:14,318 Hitch said, "Two inches above her hem,” or | don't know what he said, 464 00:28:14,479 --> 00:28:16,595 but anyway he said something technical. 465 00:28:16,760 --> 00:28:20,594 We did the take, and Hitch was sitting at a really weird angle, 466 00:28:20,759 --> 00:28:22,477 because he had to be away from the camera. 467 00:28:23,079 --> 00:28:27,038 And he said to Paul, "You were an inch out, weren't you, on the cut - 468 00:28:27,200 --> 00:28:28,997 Where you cut on her skirt?” 469 00:28:29,160 --> 00:28:33,199 And Paul said, "How did he know, sitting from that angle?” And he did. 470 00:28:33,359 --> 00:28:36,829 His eye was so acute. 471 00:28:39,479 --> 00:28:42,596 - Got a place to stay? - Oh, it's you, Bob. 472 00:28:42,760 --> 00:28:46,878 (Foster) When she turns around, and there | am behind her, how did he do it? 473 00:28:47,039 --> 00:28:48,836 Well, it's quite simple. 474 00:28:49,000 --> 00:28:53,152 I'm just crouching, uh, just below the camera 475 00:28:53,320 --> 00:28:54,958 like a little urchin. 476 00:28:55,119 --> 00:28:57,269 Anna hits her mark. | come up behind her. 477 00:28:57,440 --> 00:29:00,671 The camera lens can't see me until she moves. 478 00:29:01,560 --> 00:29:05,951 | think, was it Truffaut who said to Hitchcock, after he saw it, 479 00:29:06,120 --> 00:29:07,599 "It's a young man's picture.” 480 00:29:07,760 --> 00:29:10,957 By that he meant it's a film with a lot of experimentation, a lot of risks. 481 00:29:11,120 --> 00:29:13,509 There's that moment when Anna Massey's walking into the street 482 00:29:13,680 --> 00:29:16,194 and all the sound goes away. 483 00:29:18,359 --> 00:29:23,831 That's unusual to do that. You have to have nerve to pull something off like that. 484 00:29:24,639 --> 00:29:28,678 You can stay at my place till you get something sorted out, if you want. 485 00:29:28,839 --> 00:29:31,478 | won't be in your way. I'm going up north for a few days. 486 00:29:31,639 --> 00:29:34,631 - No strings? - Now, do | look like that sort of a bloke? 487 00:29:34,800 --> 00:29:37,712 - All blokes are that sort of a bloke. - \{Chuckles\} 488 00:29:37,879 --> 00:29:40,188 (Shaffer) When we had done the first murder, 489 00:29:40,359 --> 00:29:45,717 it's a pretty graphic account of a rape and strangulation, 490 00:29:45,879 --> 00:29:48,188 and | didn't see any point in repeating ourselves. 491 00:29:48,959 --> 00:29:52,793 And so | introduced a phrase into the first murder. 492 00:29:53,440 --> 00:29:56,477 You're my type of woman. 493 00:29:58,280 --> 00:30:01,590 | said to Hitch, "Let's not see another murder.” 494 00:30:03,399 --> 00:30:08,075 Why don't we just have the murderer take her up to his apartment, 495 00:30:08,239 --> 00:30:10,799 open the door for her, and say, 496 00:30:10,959 --> 00:30:13,757 "You're my kind of woman” and close the door. 497 00:30:13,920 --> 00:30:18,550 | don't know if you know it, Babs, but you're my type of woman. 498 00:30:20,200 --> 00:30:24,079 We know exactly what is happening behind that closed door, 499 00:30:24,240 --> 00:30:27,073 and there's a wonderful shot that follows that. 500 00:30:27,239 --> 00:30:30,788 It's what Hitch called his "Good-bye to Babs.” 501 00:30:30,959 --> 00:30:35,714 The camera retreats and down a narrow, twisting staircase. 502 00:30:35,880 --> 00:30:40,317 (Foster) Along the hallway and out into the street. 503 00:30:40,479 --> 00:30:44,392 And I think it's a fairly well-known cinema trick. 504 00:30:44,959 --> 00:30:47,519 In the studio, 505 00:30:47,680 --> 00:30:50,638 we had the stairway built. 506 00:30:50,800 --> 00:30:56,557 The U-shaped stairway, and with a railway for the, uh, cradle, 507 00:30:56,719 --> 00:30:58,994 with the operator and the camera 508 00:30:59,160 --> 00:31:03,915 sitting in the cradle so that he's coming down and 'round the "U", 509 00:31:04,079 --> 00:31:08,357 and back down the stairs, along the hallway, 510 00:31:08,520 --> 00:31:11,432 and as the camera clears the lintel of the front door, 511 00:31:11,599 --> 00:31:13,476 which was built in the studio, 512 00:31:13,639 --> 00:31:18,030 an extra dressed like a Covent Garden porter with a huge sack of potatoes 513 00:31:18,200 --> 00:31:19,519 wipes the screen. 514 00:31:19,680 --> 00:31:21,875 Go out to location in Tavistock Street, 515 00:31:22,039 --> 00:31:26,317 have the man walk across and wipe the screen with the potato sack 516 00:31:26,479 --> 00:31:28,310 and track back. 517 00:31:28,479 --> 00:31:32,108 Cue pedestrians, cue the cyclists, cue the cars, 518 00:31:32,280 --> 00:31:35,431 and it seems to be an uninterrupted sequence. 519 00:31:36,719 --> 00:31:38,710 \{Bogdanovich) Late in his career, Hitchcock was, you know, 520 00:31:38,880 --> 00:31:40,598 working on all cylinders, 521 00:31:40,759 --> 00:31:44,354 and that he was able to bring 522 00:31:44,520 --> 00:31:48,115 an enormous amount of creativity and excitement 523 00:31:48,280 --> 00:31:50,396 even, basically, at the end of his career. 524 00:31:56,599 --> 00:31:58,590 (Grunting) 525 00:32:05,079 --> 00:32:06,990 (Massey) He suddenly realises 526 00:32:07,160 --> 00:32:10,869 that the tie pin is in my clenched hand. 527 00:32:11,040 --> 00:32:13,952 The audience could not possibly have gathered that 528 00:32:14,120 --> 00:32:16,759 without a flashback sequence 529 00:32:16,920 --> 00:32:19,275 which Hitchcock storyboarded. 530 00:32:31,440 --> 00:32:33,795 Christ all-bloody-mighty! 531 00:32:48,920 --> 00:32:51,639 I knew from the start that | wasn't going to have to go in the potato sack, 532 00:32:51,800 --> 00:32:55,998 other than the close-up on my face, but | was never in the truck. 533 00:32:56,800 --> 00:32:59,189 Uh, they always had a double for that. 534 00:33:06,400 --> 00:33:10,279 (Foster) The potato lorry sequence was another three-day affair, 535 00:33:10,440 --> 00:33:14,035 though very much more lighthearted and bearable 536 00:33:14,200 --> 00:33:17,431 than the three days of rape and murder. 537 00:33:20,159 --> 00:33:23,515 It was something like 114 cuts. 538 00:33:24,800 --> 00:33:26,995 There again, how useful the storyboard was, 539 00:33:27,160 --> 00:33:31,631 because, uh... I'm scrabbling away, and all of a sudden 540 00:33:31,800 --> 00:33:35,190 this bare foot comes and hits me in the jaw. 541 00:33:35,359 --> 00:33:38,510 And, of course, Hitch's drawing was, 542 00:33:38,679 --> 00:33:40,431 uh, you know, quite grotesque, 543 00:33:40,599 --> 00:33:44,387 which immediately told the actor he wants a laugh there. 544 00:33:44,559 --> 00:33:47,312 Amidst all this gruesome business, 545 00:33:47,479 --> 00:33:48,798 the audience will laugh. 546 00:33:54,800 --> 00:33:59,351 That was the model's hand when 1 finally found the tie pin. 547 00:34:00,920 --> 00:34:03,798 Given the right sound effects, you could just... 548 00:34:05,359 --> 00:34:06,678 do that. 549 00:34:06,839 --> 00:34:09,114 If you've got the right sound effects, 550 00:34:09,279 --> 00:34:11,235 you'll think that really is a broken finger. 551 00:34:11,919 --> 00:34:13,671 (Bone Cracks\} 552 00:34:15,639 --> 00:34:18,597 It was a very dusty, messy business, 553 00:34:18,760 --> 00:34:20,910 but on the whole most enjoyable 554 00:34:21,080 --> 00:34:24,550 and a most instructive three days. 555 00:34:25,680 --> 00:34:29,514 - (Siren Wailing) - ## (Whistling) 556 00:34:29,679 --> 00:34:31,431 (Siren Wailing) 557 00:34:31,600 --> 00:34:34,034 (Brakes Squealing\} 558 00:34:36,159 --> 00:34:38,798 - \{Lorry Driver) Who is it? - (Police) Perhaps you can tell us. 559 00:34:38,960 --> 00:34:41,030 You strangled her like all the others! 560 00:34:41,199 --> 00:34:43,838 (Blaney) I'm sorry, Bob, but | had nowhere else to go. 561 00:34:44,000 --> 00:34:46,468 You'd better hole up in my place for a day or two till we get something sorted. 562 00:34:49,959 --> 00:34:53,395 - Are you Richard lan Blaney? - Rusk! 563 00:34:53,560 --> 00:34:55,630 - It's Rusk! - You know what they say, Sarge. 564 00:34:55,800 --> 00:34:57,119 Virtue is its own reward. 565 00:34:57,719 --> 00:35:01,155 - Are you agreed upon your verdict? - We are. 566 00:35:01,319 --> 00:35:05,358 (Shaffer) We, the audience, know what has happened, We know why he's there. 567 00:35:05,520 --> 00:35:08,717 There is a courtroom, there is a judge, and there is the fellow in the box. 568 00:35:08,880 --> 00:35:10,791 You don't need to do more than that 569 00:35:12,000 --> 00:35:14,150 One thing we don't know is what sentence he's going to get. 570 00:35:14,319 --> 00:35:17,038 That's the one piece of information we're given when the door finally opens. 571 00:35:17,199 --> 00:35:18,518 That's all you need. 572 00:35:19,159 --> 00:35:22,788 ...lan Blaney, you have been found guilty of a terrible crime. 573 00:35:23,399 --> 00:35:25,959 (Shouting) Rusk, where are you? 574 00:35:26,560 --> 00:35:28,232 One of these days, you bastard! 575 00:35:29,399 --> 00:35:30,718 (Blaney's Voice) Rusk, where are you? 576 00:35:31,279 --> 00:35:35,352 Rusk! One of these days I'm gonna get out and kill you, you bastard! 577 00:35:35,520 --> 00:35:40,275 (Shaffer) The difference between the novel and the movie script 578 00:35:40,439 --> 00:35:43,351 is that we added a lot of comedy noir, 579 00:35:44,080 --> 00:35:46,594 which Hitch was always very fond of. 580 00:35:46,759 --> 00:35:51,549 And in particular, in those scenes of exposition, 581 00:35:51,720 --> 00:35:54,792 where the detective, Alec McCowen, 582 00:35:54,959 --> 00:35:57,154 is brought to realise 583 00:35:57,320 --> 00:36:00,676 that, on the basis of a lot of circumstantial evidence, 584 00:36:00,840 --> 00:36:03,798 he has arrested the wrong man who is currently in jail. 585 00:36:03,960 --> 00:36:08,351 And how does he come to realise that he has made that mistake? 586 00:36:08,519 --> 00:36:10,635 So the way to do it, | thought, 587 00:36:10,800 --> 00:36:13,189 was to do it as comedy. 588 00:36:13,359 --> 00:36:18,513 And the comedy comes, of course, from his wife, played by Vivien Merchant, 589 00:36:18,680 --> 00:36:20,910 who is a gourmet cook. 590 00:36:21,080 --> 00:36:25,631 And she keeps giving him the most repulsive and inedible meals. 591 00:36:26,759 --> 00:36:30,069 - It looks like a pig's foot. - That's what it is. 592 00:36:30,240 --> 00:36:33,630 Quail with grapes. 593 00:36:33,800 --> 00:36:38,510 - What exactly is in this soup? - It's a soupe de poisson, dear. 594 00:36:38,680 --> 00:36:41,513 - | know you'll enjoy it. - It's delicious. 595 00:36:41,679 --> 00:36:43,954 And he is struggling desperately, | think, 596 00:36:44,120 --> 00:36:47,510 with a pig's trotter or knuckle of pork or something like that, 597 00:36:47,680 --> 00:36:51,878 whilst reprising the entire deductive plot. 598 00:36:52,040 --> 00:36:55,749 (Mrs Oxford) What would he want to take the corpse out of the sack for? 599 00:36:55,919 --> 00:36:57,989 Obviously, he was looking for something. 600 00:36:58,159 --> 00:37:00,514 How do we know that? 601 00:37:00,679 --> 00:37:02,829 Well, the corpse was deep in rigor mortis. 602 00:37:03,000 --> 00:37:06,675 He had to break the fingers of the right hand to retrieve what they held. 603 00:37:10,159 --> 00:37:12,150 Even if you're laughing and you don't hear it, 604 00:37:12,319 --> 00:37:16,358 no one can complain later that there's a big hole in the picture. 605 00:37:16,520 --> 00:37:21,833 Because how did the detective suddenly realise that he had made a mistake? 606 00:37:22,000 --> 00:37:26,073 The audience have been actually told word by word. 607 00:37:26,239 --> 00:37:29,595 The only place our man could have escaped from that truck was at that cafe. 608 00:37:29,760 --> 00:37:34,311 | sent Sergeant Spearman to find anyone who could remember Rusk being there. 609 00:37:34,479 --> 00:37:38,438 Well, eat up, dear. You'll want to be finished by the time he arrives. 610 00:37:39,479 --> 00:37:41,993 Tasty, very tasty. 611 00:37:42,159 --> 00:37:43,877 Not a lot of meat on it, mind. 612 00:37:44,800 --> 00:37:46,358 No sense in gorging, dear. 613 00:37:46,520 --> 00:37:51,150 I'll take mine and eat it while I'm beating up my egg whites for the souffle. 614 00:37:51,319 --> 00:37:53,549 - \{Doorbell Rings) - (Shaffer) It does seem to me 615 00:37:53,719 --> 00:37:58,315 that we had our cake and ate it, for once, which is always nice. 616 00:37:59,280 --> 00:38:01,999 Rather looks like we put the wrong man away this time. 617 00:38:02,159 --> 00:38:05,629 What do you mean, "we"? You put him away. 618 00:38:09,199 --> 00:38:10,518 (Guard) Get the doctor, quick. 619 00:38:14,679 --> 00:38:16,397 (Man\} They've given him all their sleeping pills. 620 00:38:17,519 --> 00:38:20,272 I'm off. Blaney's escaped, and | bet | know where he's gone. 621 00:38:24,880 --> 00:38:28,156 (Shaffer) 1 think what we wanted to do was 622 00:38:28,319 --> 00:38:31,595 extend to the last possible moment 623 00:38:31,759 --> 00:38:35,354 the fact that our hero is in danger - 624 00:38:36,959 --> 00:38:39,871 that he's a loser; that he cannot win this one. 625 00:38:40,040 --> 00:38:45,398 He, uh... hits this creature in the bed, believing it to be Rusk, on the head. 626 00:38:50,320 --> 00:38:51,833 The arm falls out of the bed. 627 00:38:52,000 --> 00:38:54,912 We realise it's not a man at all. It's a woman. 628 00:38:56,399 --> 00:39:00,756 Just another victim of the Necktie Murderer. 629 00:39:01,360 --> 00:39:05,717 In the book, we have a different victim in the last scene. 630 00:39:05,880 --> 00:39:11,238 The secretary of Blaney's wife in the matrimonial agency is the victim, 631 00:39:11,399 --> 00:39:16,154 and in the film we have an anonymous lady 632 00:39:16,320 --> 00:39:18,311 who we never met before. 633 00:39:26,800 --> 00:39:30,315 The last scene of the picture 634 00:39:30,479 --> 00:39:34,950 is one of the few occasions 1 had direction from Hitch. 635 00:39:35,360 --> 00:39:38,158 \{Thumping Noise) 636 00:39:40,040 --> 00:39:43,476 (Foster) I drag up this huge trunk 637 00:39:43,639 --> 00:39:45,436 up into my apartment. 638 00:39:46,679 --> 00:39:48,795 I get it through the door, 639 00:39:48,959 --> 00:39:54,238 and waiting in my room is the chief inspector of the police. 640 00:39:59,880 --> 00:40:02,997 And | sort of... 641 00:40:03,159 --> 00:40:07,630 dropped my head or something - something corny. 642 00:40:03,159 --> 00:40:06,037 And Hitch said, "Don't drop your head.” 643 00:40:10,840 --> 00:40:14,071 He says, "That is the last thing a serial murderer 644 00:40:14,239 --> 00:40:17,549 is going to do, as it were, admit defeat.” 645 00:40:17,720 --> 00:40:21,474 So he said, "Just don't - don't drop your head.” 646 00:40:21,639 --> 00:40:22,833 "Drop the trunk, but don't drop your head.” 647 00:40:25,719 --> 00:40:27,835 Mr Rusk. 648 00:40:28,919 --> 00:40:31,797 You're not wearing your tie. 649 00:40:32,679 --> 00:40:34,158 650 00:40:49,199 --> 00:40:50,917 (Bogdanovich) The music in Frenzy is good. 651 00:40:51,080 --> 00:40:54,834 It's one of the best scores he had without Bernard Herrmann. 652 00:40:57,519 --> 00:41:02,070 Henry Mancini, I think, did the original score, and then was let go. 653 00:41:02,239 --> 00:41:05,754 # (Organ Playing. Eerie Melody) 654 00:41:05,919 --> 00:41:08,911 655 00:41:09,079 --> 00:41:12,071 656 00:41:27,600 --> 00:41:30,990 He brought Ron Goodwin in after letting Mancini go, 657 00:41:31,159 --> 00:41:32,956 and 1 think he did a very good job. 658 00:41:33,120 --> 00:41:36,112 # (Triumphal Orchestration) 659 00:41:36,280 --> 00:41:39,272 660 00:41:43,720 --> 00:41:46,234 \{Bogdanovich) It's the return to England, too, that Hitch 661 00:41:46,399 --> 00:41:48,867 probably infused that in the composer. 662 00:41:49,040 --> 00:41:53,238 There's a certain kind of nostalgia that Hitch must have felt 663 00:41:53,399 --> 00:41:56,357 that comes across in the score. 664 00:41:56,520 --> 00:42:00,069 Let's go, please. First positions, straight away. 665 00:42:00,240 --> 00:42:02,435 (Finch) He was a revered character. 666 00:42:02,600 --> 00:42:04,989 He's one of the greatest names in, uh, 667 00:42:05,159 --> 00:42:09,311 in 20th-century history, let alone the film industry. 668 00:42:09,480 --> 00:42:14,076 They should turn and look out, and then down. 669 00:42:14,240 --> 00:42:17,118 (Foster) 1 thought it was right up there 670 00:42:17,280 --> 00:42:18,793 in terms of his later work 671 00:42:18,959 --> 00:42:22,031 inasmuch as it had chasing the wrong man, 672 00:42:22,199 --> 00:42:24,713 the amusing villain, 673 00:42:24,880 --> 00:42:27,155 and the discussion of married life, 674 00:42:27,320 --> 00:42:29,595 and its ups and downs. 675 00:42:29,760 --> 00:42:32,320 It's a very brutal film, but it's 676 00:42:32,479 --> 00:42:34,515 \{full of things he loves, 677 00:42:34,680 --> 00:42:37,797 like food and London. 678 00:42:37,959 --> 00:42:41,838 It's a very loving portrayal of the Covent Garden Market, 679 00:42:41,999 --> 00:42:44,467 because now that's moved over to Nine Elms in Battersea, 680 00:42:44,639 --> 00:42:47,836 and we knew that Covent Garden wasn't going to be there forever, 681 00:42:47,999 --> 00:42:49,796 and Barry and | remember saying to one another 682 00:42:49,959 --> 00:42:54,316 this will be a very exclusive piece of film. 683 00:42:59,399 --> 00:43:02,789 (Shaffer) By putting him in London with Frenzy, 684 00:43:02,959 --> 00:43:06,076 in touch with his roots, and by telling the story - 685 00:43:06,239 --> 00:43:11,791 when | say an old-fashioned way, | mean a very carefully constructed way - 686 00:43:11,959 --> 00:43:14,109 and | think the public responded to that very strongly. 687 00:43:14,279 --> 00:43:15,678 | know they did, 688 00:43:15,840 --> 00:43:19,310 and he got a big smash hit out of it, which cheered him up a lot 689 00:43:19,480 --> 00:43:23,234 and put him back on his pedestal again, 690 00:43:23,399 --> 00:43:25,867 where he remains to this day. 691 00:43:26,040 --> 00:43:29,157 - This whole business is insane. - The man who's killing these women 692 00:43:29,320 --> 00:43:31,914 is a criminal sexual psychopath. 693 00:43:32,080 --> 00:43:35,516 There are some women who ask for everything they get. 694 00:43:35,679 --> 00:43:37,874 Cross me heart and hope to die. 695 00:43:38,840 --> 00:43:40,592 Cut it.