1 00:00:01,840 --> 00:00:04,195 (Jeff) Six weeks sitting in a two-room apartment 2 00:00:04,360 --> 00:00:06,590 with nothing to do but look out the window at the neighbours. 3 00:00:06,759 --> 00:00:09,193 - Window shopper. - (Man) In Rear Window, 4 00:00:09,359 --> 00:00:13,557 you see the best example of what Hitchcock's cinema stood for. 5 00:00:13,720 --> 00:00:16,314 \{Man) That's a secret private world you're looking into out there. 6 00:00:16,479 --> 00:00:18,310 (Stella) What are you gonna do if one of them catches you? 7 00:00:18,479 --> 00:00:21,437 (Man) James Stewart focuses on what's going on out there, 8 00:00:21,600 --> 00:00:22,794 and we're allowed to focus with him. 9 00:00:22,959 --> 00:00:27,350 We all become voyeurs, and we see these various dramas unfolding. 10 00:00:27,520 --> 00:00:30,478 \{Jeff) I've seen bickering and family quarrels... 11 00:00:30,639 --> 00:00:34,632 \{Glass Shatters) and mysterious trips at night, knives, saws and ropes. 12 00:00:34,800 --> 00:00:36,518 Since last evening, not a sign of the wife. 13 00:00:36,679 --> 00:00:40,069 (Woman) The way that he was able to shoot that was just unbelievable. 14 00:00:40,240 --> 00:00:43,038 (Jeff) You asked for something dramatically different. 15 00:00:43,199 --> 00:00:44,632 - Jeff! - You got it. 16 00:00:44,800 --> 00:00:48,634 \{Man) It was really a masterpiece of Hitchcock's construction. 17 00:00:48,800 --> 00:00:50,791 (Man) Generally, the more important the film, 18 00:00:50,960 --> 00:00:54,157 the worse condition the original negative and sound elements are going to be in. 19 00:00:54,320 --> 00:00:58,074 Rear Window is no different than many others. 20 00:00:58,240 --> 00:01:01,073 \{Man) Vertigo, The Man Who Knew Too Much, Trouble With Harry, 21 00:01:01,239 --> 00:01:04,868 We realised the horrible state these pictures were in. 22 00:01:05,040 --> 00:01:08,271 If something wasn't done about them, they were gonna be lost forever. 23 00:01:13,320 --> 00:01:17,598 (Man) If one were to ask, "What are the movies of Alfred Hitchcock like?” 24 00:01:17,759 --> 00:01:19,272 Somebody that knew nothing about movies. 25 00:01:19,439 --> 00:01:23,068 You could show them Rear Window, and in a sense, 26 00:01:23,239 --> 00:01:24,877 touch on everything in Hitchcock. 27 00:01:25,040 --> 00:01:28,476 You would immediately see his technical brilliance. 28 00:01:29,640 --> 00:01:35,909 You would see his ability to tell a story in a uniquely captivating way. 29 00:01:35,999 --> 00:01:38,115 - Jeff! - You certainly have his humour. 30 00:01:38,280 --> 00:01:40,396 Oh, why don't you shut up? 31 00:01:40,560 --> 00:01:44,712 And thematically, you deal with voyeurism, 32 00:01:44,879 --> 00:01:46,358 you deal with guilt, 33 00:01:46,519 --> 00:01:49,636 you deal with relationships, you deal with sexuality. 34 00:01:49,799 --> 00:01:51,755 We have all night. 35 00:01:53,680 --> 00:01:57,434 - We have all what? - Night. I'm going to stay with you. 36 00:01:57,600 --> 00:01:59,431 (Man) It's all there in Rear Window. 37 00:02:00,319 --> 00:02:02,879 (Man) Rear Window is sort of Hitchcock's testament film. 38 00:02:03,040 --> 00:02:06,396 I think it's a French term meaning that, in Rear Window, 39 00:02:06,559 --> 00:02:12,031 perhaps you see the best example of what Hitchcock's cinema, 40 00:02:12,200 --> 00:02:15,715 at its best, stood for, 41 00:02:15,880 --> 00:02:20,112 which was, essentially, the use of the subjective point of view. 42 00:02:20,280 --> 00:02:24,068 You have a shot of Jimmy Stewart, you show what he's looking at, 43 00:02:24,240 --> 00:02:26,117 you see his reaction. 44 00:02:26,279 --> 00:02:28,998 The entire movie is based on that 45 00:02:29,160 --> 00:02:32,152 He looks, you see what he sees, he reacts. 46 00:02:32,319 --> 00:02:36,835 That is kind of the heart of Hitchcock's film making. 47 00:02:37,000 --> 00:02:41,835 He has the incredible ability to put you 48 00:02:42,000 --> 00:02:47,120 in the point of view of the leading character or whatever character. 49 00:02:47,279 --> 00:02:49,349 And he does it with considerable dexterity. 50 00:02:50,240 --> 00:02:52,515 It's particularly noticeable in Rear Window 51 00:02:52,679 --> 00:02:55,034 where the entire picture plays in one apartment. 52 00:02:55,679 --> 00:02:57,397 (Hitchcock) You can have a man look, 53 00:02:57,520 --> 00:03:00,796 you can have him see something, react to it 54 00:03:00,959 --> 00:03:03,996 You can make him react in various ways. 55 00:03:05,160 --> 00:03:07,390 You can make him... 56 00:03:07,560 --> 00:03:10,233 look at one thing, look at another. 57 00:03:10,399 --> 00:03:15,632 Without him speaking, you can show his mind at work comparing things. 58 00:03:15,800 --> 00:03:17,791 It's limitless, | would say, 59 00:03:17,959 --> 00:03:21,918 the power of cutting and showing various images. 60 00:03:22,080 --> 00:03:25,231 The assembly of them, you know. 61 00:03:25,399 --> 00:03:28,152 The juxtaposition of imagery 62 00:03:28,319 --> 00:03:30,116 relating to the mind of the individual. 63 00:03:31,920 --> 00:03:36,198 \{Man) It was really a masterpiece of Hitchcock's construction. 64 00:03:36,359 --> 00:03:39,829 He worked on the script with the writer, as he always did. 65 00:03:40,119 --> 00:03:43,236 The writers liked to work with him too, because 66 00:03:43,399 --> 00:03:45,867 he was stimulating. 67 00:03:46,040 --> 00:03:50,272 His ideas were always visual, cinematic. 68 00:03:50,560 --> 00:03:53,154 He never took a screen credit for writing. 69 00:03:53,319 --> 00:03:57,278 But I'd say he contributed at least half of the plot, 70 00:03:57,440 --> 00:03:59,112 working out the plot. 71 00:03:59,399 --> 00:04:01,754 (Woman) He knew a lot about crime. 72 00:04:01,920 --> 00:04:05,230 He had a fascination for English crime. 73 00:04:05,399 --> 00:04:08,277 In fact, one of his crime things was... 74 00:04:08,440 --> 00:04:10,908 he used part of it in Rear Window... 75 00:04:11,080 --> 00:04:12,911 was Dr Crippen. 76 00:04:13,080 --> 00:04:16,629 This was a famous, famous English case 77 00:04:16,799 --> 00:04:20,474 where he fell in love with the secretary 78 00:04:20,840 --> 00:04:25,118 and killed the wife and buried the wife in the back yard. 79 00:04:25,279 --> 00:04:30,114 Then, he took the secretary on a boat to get away 80 00:04:30,279 --> 00:04:33,237 and dressed the secretary up as a sailor. 81 00:04:33,400 --> 00:04:37,154 The thing was that the captain said, later on, 82 00:04:37,439 --> 00:04:40,590 he had wondered why these two, 83 00:04:40,759 --> 00:04:42,590 these two sailors, 84 00:04:42,760 --> 00:04:45,638 were very friendly towards each other. 85 00:04:45,800 --> 00:04:48,030 That's how they caught Dr Crippen. 86 00:04:48,319 --> 00:04:53,234 But he loved them. He had a whole set of stories at home. 87 00:04:53,519 --> 00:04:57,831 Rear Window was based on a short story entitled It Had To Be Murder 88 00:04:57,999 --> 00:04:59,352 published in 1942. 89 00:05:00,120 --> 00:05:02,190 It was written by Cornell Woolrich. 90 00:05:02,360 --> 00:05:04,590 His real name was William Irish. 91 00:05:05,719 --> 00:05:08,028 Many of his books were made into movies. 92 00:05:08,199 --> 00:05:11,794 My father hired John Michael Hayes to adapt the short story. 93 00:05:11,960 --> 00:05:14,872 Mr Hayes was a man of radio who had impressed my dad 94 00:05:15,440 --> 00:05:18,750 with his appreciation and knowledge of Shadow Of A Doubt. 95 00:05:18,919 --> 00:05:21,228 He went on to write four films for my father. 96 00:05:26,560 --> 00:05:29,916 The screenplay of Rear Window is very different from the book. 97 00:05:30,080 --> 00:05:33,197 The story was transposed to Manhattan for the film. 98 00:05:33,359 --> 00:05:37,147 The most important element missing in the short story is the romance, 99 00:05:37,319 --> 00:05:39,879 which plays a major role in the film. 100 00:05:40,039 --> 00:05:45,067 In the short story, it was just the Raymond Burr murdering his wife, 101 00:05:45,239 --> 00:05:47,195 and Jimmy Stewart watching. 102 00:05:47,359 --> 00:05:49,395 That was the only story. There was no Grace Kelly, 103 00:05:49,560 --> 00:05:52,711 there was no Thelma Ritter, no Miss Torso, no composer. 104 00:05:52,879 --> 00:05:54,597 There was nothing. It was just that story. 105 00:05:54,759 --> 00:05:59,275 So all of these little scenes came together to make this work. 106 00:05:59,439 --> 00:06:02,397 That's a secret, private world you're looking into out there. 107 00:06:02,560 --> 00:06:05,120 People do a lot of things in private they couldn't possibly explain in public. 108 00:06:05,279 --> 00:06:07,429 Like disposing of their wives. 109 00:06:07,599 --> 00:06:10,397 Get that idea out of your mind. It'll only lead in the wrong direction. 110 00:06:10,560 --> 00:06:13,950 What about the knife and the saw? 111 00:06:14,119 --> 00:06:16,917 (Curtis) There's that ridiculous comment about actors being cattle, 112 00:06:17,080 --> 00:06:19,548 or whatever, that is attributed to Hitchcock. 113 00:06:19,720 --> 00:06:22,996 Or the couple of hundred knives you've probably owned in your lifetime. 114 00:06:23,159 --> 00:06:26,037 Be that as it may, the performances in Rear Window, 115 00:06:26,200 --> 00:06:28,430 from top to bottom, are brilliant, 116 00:06:28,599 --> 00:06:30,555 absolutely brilliant, 117 00:06:30,720 --> 00:06:32,472 as they were in many of Hitchcock's pictures. 118 00:06:33,439 --> 00:06:36,636 (Pat) Jimmy Stewart, who made quite a lot of pictures with my father. 119 00:06:36,800 --> 00:06:40,918 My father loved him, because Jimmy represented 120 00:06:41,080 --> 00:06:42,911 the ordinary man. 121 00:06:43,080 --> 00:06:47,835 So a man that goes to see that picture can identify with Jimmy Stewart, 122 00:06:47,999 --> 00:06:49,876 whereas a lot of others, he couldn't. 123 00:06:50,679 --> 00:06:53,398 Jimmy was a very sweet, kind person. 124 00:06:53,559 --> 00:06:55,470 Actually, there was not a lot of difference 125 00:06:55,640 --> 00:06:57,756 between Jimmy the actor and Jimmy the person. 126 00:06:57,920 --> 00:06:59,956 What you saw was what you got with him. 127 00:07:00,119 --> 00:07:02,997 | had never worked with Jimmy Stewart 128 00:07:03,160 --> 00:07:06,994 before he came to Paramount to do Rear Window. 129 00:07:07,160 --> 00:07:11,517 | found Jimmy Stewart to be a charming man, to men as well as women. 130 00:07:11,679 --> 00:07:14,591 He was easy to like, easy to work with, 131 00:07:14,760 --> 00:07:19,231 and always carried his screenplay under his arm when he wasn't in a scene, 132 00:07:19,520 --> 00:07:21,829 and always was prepared when he walked on the set. 133 00:07:21,999 --> 00:07:26,038 He was the kindest man, and everybody was very fond of Jimmy Stewart. 134 00:07:26,320 --> 00:07:27,753 He and Hitch were like brothers. 135 00:07:27,920 --> 00:07:30,957 You could even occasionally see a little smile appear 136 00:07:31,119 --> 00:07:33,713 on Hitchcock's face when he and Jimmy were together. 137 00:07:33,879 --> 00:07:35,995 He and my father got along so well. 138 00:07:36,159 --> 00:07:39,071 | really think that Rear Window was one of their happiest pictures. 139 00:07:41,559 --> 00:07:43,356 Who are you? 140 00:07:45,360 --> 00:07:47,476 Reading from top to bottom, 141 00:07:47,639 --> 00:07:49,550 Lisa... 142 00:07:52,999 --> 00:07:54,910 Carol... 143 00:07:58,720 --> 00:08:00,438 Fremont. 144 00:08:01,080 --> 00:08:05,119 (Pat) Grace Kelly was one of the nicest people I've ever known. 145 00:08:05,279 --> 00:08:09,636 I think my father's feeling about Grace was she 146 00:08:09,959 --> 00:08:15,875 epitomised what he thought of the cool blond with the fire beneath. 147 00:08:16,040 --> 00:08:18,918 She and my father were very close, and my mother. 148 00:08:19,080 --> 00:08:22,629 | can remember going over on Sundays and Grace was over, 149 00:08:22,800 --> 00:08:25,792 and it would all depend on who she was going with at that particular time. 150 00:08:26,440 --> 00:08:28,431 But she was a brilliant actress. 151 00:08:28,599 --> 00:08:31,989 He could just tell her in a few words, what he wanted, 152 00:08:32,160 --> 00:08:33,991 and she was able to give it to him. 153 00:08:34,160 --> 00:08:36,196 She was very, very talented. 154 00:08:36,359 --> 00:08:41,228 | fell in love with her the moment | saw her on that set of Dial M for Murder. 155 00:08:41,399 --> 00:08:43,276 Everybody fell in love with her. 156 00:08:43,440 --> 00:08:45,670 Everybody fell in love with Grace Kelly 157 00:08:45,839 --> 00:08:47,875 who were fortunate enough to work with her. 158 00:08:48,039 --> 00:08:51,236 She was actually, | think, the most beautiful woman 159 00:08:51,399 --> 00:08:52,957 | ever saw in my life on film. 160 00:08:53,480 --> 00:08:57,996 There is a close-up of her in Rear Window , when she comes to see Jimmy. 161 00:08:58,160 --> 00:09:00,151 It's her introductory shot in the picture. 162 00:09:00,319 --> 00:09:04,597 This is the most beautiful shot of a woman I've ever seen in my life. 163 00:09:08,639 --> 00:09:10,436 (Curtis) There are two questions that confront 164 00:09:10,600 --> 00:09:13,353 James Stewart's character, Jefferies, in Rear Window. 165 00:09:13,519 --> 00:09:16,431 One is, What's going on in his personal life? 166 00:09:16,600 --> 00:09:18,511 Is he going to marry Grace Kelly or not? 167 00:09:18,840 --> 00:09:22,833 And what's going on outside the window of his apartment, 168 00:09:23,000 --> 00:09:26,037 in the windows of all the apartments across the way? 169 00:09:26,199 --> 00:09:29,111 To some degree, to avoid looking at his own problem, 170 00:09:29,279 --> 00:09:32,157 he focuses on what's going on out there, 171 00:09:32,319 --> 00:09:33,718 and we're allowed to focus with him. 172 00:09:34,199 --> 00:09:39,034 We all become voyeurs, and we see these various dramas unfolding 173 00:09:39,199 --> 00:09:45,308 that are all, in one way or anther, illustrating life in relationships for better or ill. 174 00:09:45,480 --> 00:09:48,756 The people who want a relationship and can't have one, Miss Lonelyhearts, 175 00:09:49,000 --> 00:09:51,673 the couple across the way that are fighting all the time , 176 00:09:51,959 --> 00:09:55,235 the newlyweds that are apparently having sex all the time. 177 00:09:55,519 --> 00:10:01,594 We are watching Grace Kelly comeinto his apartment and present the promise 178 00:10:01,759 --> 00:10:05,991 of a relationship that could be unbelievably good, but he is resisting. 179 00:10:06,160 --> 00:10:08,515 You mean leave the magazine? For what? 180 00:10:08,680 --> 00:10:11,353 For yourself and me. 181 00:10:11,520 --> 00:10:14,796 Jefferies, and, at times, other characters, 182 00:10:14,959 --> 00:10:19,828 use the apartments opposite as a kind of cinema screen. 183 00:10:20,880 --> 00:10:25,112 And they do what | think most of us do when we watch movies, 184 00:10:25,280 --> 00:10:28,670 they partly identify with other people, 185 00:10:28,840 --> 00:10:32,355 they partly compare their lives to other people's lives . 186 00:10:32,519 --> 00:10:37,957 They use these lives to talk about their own lives in various ways. 187 00:10:38,119 --> 00:10:44,433 \{Man) You should get married, or you'll turn into a lonesome, bitter man. 188 00:10:44,519 --> 00:10:46,828 Yeah, can't you just see me... 189 00:10:47,959 --> 00:10:52,032 rushing home to a hot apartment to listen to the automatic laundry 190 00:10:52,200 --> 00:10:56,557 and the electric dishwasher and the garbage disposal 191 00:10:56,719 --> 00:10:58,550 and the nagging wife? 192 00:10:58,719 --> 00:11:04,077 So you could say that Stewart has a lot of different choices in the movie. 193 00:11:04,239 --> 00:11:07,709 The original story doesn't have a love interest, 194 00:11:07,880 --> 00:11:11,190 but that seems to be the thing that interests Hitchcock the most 195 00:11:11,480 --> 00:11:13,835 I'm just not ready for marriage. 196 00:11:14,000 --> 00:11:17,072 Every man is ready for marriage when the right girl comes along. 197 00:11:17,239 --> 00:11:21,471 Lisa Fremont is the right girl for any man with half a brain with one eye open. 198 00:11:21,640 --> 00:11:25,918 (Herbert) The scenes between Jimmy Stewart and Thelma Ritter... 199 00:11:26,079 --> 00:11:27,910 She was just marvellous in it. 200 00:11:28,079 --> 00:11:30,991 She revealed a lot of the life of Jimmy Stewart in those scenes with Jimmy. 201 00:11:31,319 --> 00:11:35,028 You didn’t know much about him until she started playing those scenes. 202 00:11:35,360 --> 00:11:37,396 Look, Mr Jefferies, I'm not an educated woman, 203 00:11:37,560 --> 00:11:39,391 but | can tell you one thing. 204 00:11:39,560 --> 00:11:42,711 When a man and woman see each other and like each other, 205 00:11:42,880 --> 00:11:46,839 they ought to come together - wham - like a couple of taxis on Broadway. 206 00:11:47,480 --> 00:11:51,189 (Pat) The humour that Thelma Ritter brought to Rear Window 207 00:11:51,360 --> 00:11:53,191 was absolutely wonderful. 208 00:11:53,360 --> 00:11:55,191 My father loved that, 209 00:11:55,359 --> 00:11:58,715 because he knew that you couldn't keep going. 210 00:11:58,880 --> 00:12:00,711 You had to give the audience a break. 211 00:12:00,880 --> 00:12:02,791 You had to have them laugh at something. 212 00:12:03,759 --> 00:12:07,149 His whole life was the importance 213 00:12:07,319 --> 00:12:10,755 of having a sense of humour in whatever you do. 214 00:12:10,919 --> 00:12:13,717 The thing that we all loved about Hitchcock forever, 215 00:12:13,880 --> 00:12:19,637 is his ability to deal with these very grim subjects, 216 00:12:19,800 --> 00:12:21,995 to deal with our darkest fears and emotions, 217 00:12:22,159 --> 00:12:23,638 but deal with them with humour. 218 00:12:23,920 --> 00:12:27,117 Just where do you suppose he cut her up? 219 00:12:28,680 --> 00:12:31,956 Of course! The bathtub. 220 00:12:32,119 --> 00:12:34,952 That's the only place where he could have washed away the blood. 221 00:12:35,119 --> 00:12:37,508 All the different characters were so well cast. 222 00:12:37,800 --> 00:12:40,712 They had Thelma Ritter, Wendell Corey, 223 00:12:40,880 --> 00:12:43,348 and of course, Ray Burr as the murderer. 224 00:12:43,519 --> 00:12:46,079 (Herbert) When Mr Hitchcock started casting the picture, 225 00:12:46,240 --> 00:12:48,708 he left certain parts for me to cast. 226 00:12:48,880 --> 00:12:52,475 He cast the very important ones, like Raymond Burr and his wife, 227 00:12:52,759 --> 00:12:56,911 the composer, Ross Bagdasarian and Miss Lonelyhearts, 228 00:12:57,120 --> 00:12:58,872 and the couple with the little dog, 229 00:12:59,120 --> 00:13:01,031 and left the others for me to cast. 230 00:13:01,199 --> 00:13:04,635 I cast them all from people that had worked with me in the past. 231 00:13:04,800 --> 00:13:09,396 Mr Hitchcock said he wanted a ballet dancer to do the part of Miss Torso. 232 00:13:09,560 --> 00:13:14,031 But he said, ‘I don't want her to appear as a professional ballet dancer.” 233 00:13:14,199 --> 00:13:18,078 He said, "When you find the right person, 234 00:13:18,240 --> 00:13:21,949 "don't you dare let her go to the dance department, 235 00:13:22,119 --> 00:13:26,397 "and rehearse or be taught steps... 236 00:13:26,680 --> 00:13:28,432 "for the scenes she's going to be doing over there. 237 00:13:28,599 --> 00:13:30,988 ‘I want you to give her a record of the music 238 00:13:31,159 --> 00:13:34,356 and let her figure out her own moves and things.” 239 00:13:34,519 --> 00:13:37,511 Hitchcock left the choreography up to me. 240 00:13:37,680 --> 00:13:39,159 It was kind of, like, wing it. 241 00:13:40,199 --> 00:13:42,429 He was not very... 242 00:13:42,600 --> 00:13:48,072 He didn't care too much about getting everything perfect. 243 00:13:48,240 --> 00:13:51,835 | think he liked to see a little of whatever you had to do. 244 00:13:52,000 --> 00:13:55,834 I remember going to a bungalow one day with the music 245 00:13:56,000 --> 00:13:58,798 and Herbie Coleman, who was the assistant director. 246 00:13:59,040 --> 00:14:01,838 | remember saying, "I'm so scared. | don't want to do this. 247 00:14:02,000 --> 00:14:04,195 | need a choreographer.” He said, "No, you're gonna be fine.” 248 00:14:04,359 --> 00:14:06,634 She says, "I'm scared to death. 249 00:14:06,800 --> 00:14:10,156 | haven't the slightest idea what to do.” 250 00:14:10,319 --> 00:14:14,107 So | had to go over there with her and talk to her. 251 00:14:14,280 --> 00:14:17,875 | said, "I'm not gonna try to tell you what ballet steps to do, 252 00:14:18,039 --> 00:14:20,473 certainly not a rehearsed kind of a step.” 253 00:14:20,639 --> 00:14:24,348 \{Georgine) | went and | fiddled around and came up with a couple of steps. 254 00:14:24,519 --> 00:14:26,749 (Herbert) He saw the routine and thought it was great. 255 00:14:33,279 --> 00:14:35,395 What do you think? 256 00:14:35,560 --> 00:14:39,235 (Pat) I think Edith Head was one of the most important people 257 00:14:39,399 --> 00:14:41,230 that my father worked with. 258 00:14:41,400 --> 00:14:43,231 And he thought the same way. 259 00:14:43,399 --> 00:14:47,836 My father did, as far as costumes in a movie was concerned, 260 00:14:48,000 --> 00:14:50,070 and especially with Edith Head... 261 00:14:50,239 --> 00:14:55,597 He felt that the costumes’ colour, style, everything, 262 00:14:55,759 --> 00:14:57,954 had to help the scene. 263 00:14:58,120 --> 00:15:01,715 It was all part of the feeling and the character. 264 00:15:01,880 --> 00:15:03,438 He didn't just say, "Oh, wear this.” 265 00:15:03,719 --> 00:15:07,314 If there's one thing | know, it's how to wear the proper clothes. 266 00:15:07,959 --> 00:15:11,952 (Pat) He and Edith worked terribly closely together on the costumes 267 00:15:12,120 --> 00:15:14,588 long before he really cast the picture. 268 00:15:14,800 --> 00:15:18,076 Why don't | slip into something more comfortable? 269 00:15:18,240 --> 00:15:22,119 Edith Head designed all the clothes that | wore. 270 00:15:22,280 --> 00:15:25,511 Whatever was left of them. Not too much. 271 00:15:27,360 --> 00:15:30,477 They painted every inch of my body every day. 272 00:15:30,639 --> 00:15:35,349 | mean, | came to work the next day sometimes with still some of it left on me, 273 00:15:35,519 --> 00:15:37,669 because | couldn't reach all the parts that they covered. 274 00:15:39,319 --> 00:15:44,029 (Pat) I can remember going on the set of Rear Window, and it was fascinating. 275 00:15:44,199 --> 00:15:47,271 | think of all the pictures that he made, 276 00:15:47,440 --> 00:15:50,238 that was the most fascinating set to go on, 277 00:15:50,400 --> 00:15:54,029 because you literally saw all the different apartments, 278 00:15:54,200 --> 00:15:56,031 all the different people. 279 00:15:56,199 --> 00:15:59,555 (Man) Mac Johnson was the art director on Rear Window 280 00:15:59,960 --> 00:16:04,192 Mac came in and told me about this picture, and how was he gonna do it. 281 00:16:04,760 --> 00:16:06,876 He had to do this whole courtyard, 282 00:16:07,040 --> 00:16:09,838 and we didn't have stages that high. 283 00:16:10,880 --> 00:16:15,032 So | suggested to him... Paramount wasn't a real large studio. 284 00:16:15,200 --> 00:16:19,512 Two or three of the stages we stored furniture underneath. 285 00:16:19,679 --> 00:16:23,194 1 told Mac, "Why don't you cut the floor out?” 286 00:16:23,360 --> 00:16:25,749 They were gonna cut the floor out, 287 00:16:25,920 --> 00:16:27,638 remove everything that was in the basement 288 00:16:28,440 --> 00:16:33,070 and make Jimmy Stewart's second-floor room 289 00:16:33,240 --> 00:16:35,708 on the actual stage level. 290 00:16:35,880 --> 00:16:39,316 The lawns and the first floor 291 00:16:39,480 --> 00:16:42,950 were gonna be the basement floor. 292 00:16:43,120 --> 00:16:45,588 He said, "They wouldn't let me do that, would they?” 293 00:16:45,759 --> 00:16:47,954 | said, "I bet they will for Hitchcock.” 294 00:16:48,120 --> 00:16:49,951 Sure enough they did. They let him. 295 00:16:50,120 --> 00:16:54,989 The set went from the bottom of that basement to the grids. 296 00:16:55,560 --> 00:16:58,313 It was an enormous problem for the lighting crew 297 00:16:58,599 --> 00:17:02,035 and very hot for anybody who had to work up there at the top, 298 00:17:02,199 --> 00:17:06,272 because we didn't have the same kind of lighting we have today. 299 00:17:06,439 --> 00:17:09,351 We didn't have the same film, the same camera lenses. 300 00:17:09,520 --> 00:17:12,353 So all of it conspired against us. 301 00:17:12,520 --> 00:17:15,432 It was really an enormous task. 302 00:17:15,599 --> 00:17:18,352 The people who had to work up there took a beating, 303 00:17:18,520 --> 00:17:20,875 and the actors took a beating up there too. 304 00:17:21,039 --> 00:17:24,827 In fact, we found this out from Georgine Darcy the other day, 305 00:17:24,999 --> 00:17:29,151 that the set was lit for four periods of the day. 306 00:17:29,880 --> 00:17:33,350 \{Georgine) They had for the morning, the afternoon, 307 00:17:33,640 --> 00:17:36,234 twilight and then at night-time. 308 00:17:36,400 --> 00:17:41,030 So they didn't have to do changing all the lights for every shot. 309 00:17:41,199 --> 00:17:43,315 They would just, night-time". 310 00:17:43,480 --> 00:17:46,040 All the lights would change automatically. It was wonderful. 311 00:17:46,320 --> 00:17:48,311 It was like a little city. 312 00:17:48,480 --> 00:17:53,076 There was Hitchcock in a big old dollhouse that he was playing with. 313 00:17:53,239 --> 00:17:55,070 But it was a great set. 314 00:17:55,240 --> 00:17:58,357 People came from all over the world to view it and to take pictures of it. 315 00:17:58,519 --> 00:18:01,750 I think it had been written up in Life or Look magazine. 316 00:18:01,919 --> 00:18:05,832 Of course, you know we wore the little earpieces. 317 00:18:05,999 --> 00:18:10,515 We could not talk back to Mr Hitchcock, but he could talk to us. 318 00:18:10,679 --> 00:18:15,469 One day, Hitchcock called me and he said he wanted me to watch something. 319 00:18:15,640 --> 00:18:19,713 He was getting ready to shoot the scene of the couple on the fire escape. 320 00:18:19,880 --> 00:18:22,917 They had a mattress on the fire escape, and it started to rain. 321 00:18:23,080 --> 00:18:26,197 He told the wife to take her earpiece out, 322 00:18:26,360 --> 00:18:28,828 and he gave the direction to the husband. 323 00:18:29,000 --> 00:18:31,275 Then he asked the husband to take his out, 324 00:18:31,439 --> 00:18:34,078 and he gave the direction to the wife. 325 00:18:34,239 --> 00:18:37,151 Now he turned around and he winked. He said, "Now watch this.” 326 00:18:38,319 --> 00:18:40,435 He'd given them both different directions. 327 00:18:40,599 --> 00:18:43,636 The husband was pulling the mattress to one window. 328 00:18:43,799 --> 00:18:45,517 The wife was pulling the mattress to the other one. 329 00:18:45,679 --> 00:18:48,637 They were going back and forth and were fighting. 330 00:18:49,360 --> 00:18:54,514 Finally, he pulled the mattress and somebody fell into the window. 331 00:18:54,679 --> 00:18:57,512 It was quite funny and real. 332 00:18:58,679 --> 00:19:01,147 Those are the kinds of things he would do. 333 00:19:01,919 --> 00:19:03,796 \{Bogdanovich) One of his great talents, of course, 334 00:19:03,959 --> 00:19:09,079 was that he saw the film in his head and knew just where to be at every moment. 335 00:19:09,239 --> 00:19:11,673 There was a reason why he was where he was. 336 00:19:11,840 --> 00:19:14,718 One of the great things about Hitchcock is... 337 00:19:14,880 --> 00:19:17,838 and most of the great directors, 338 00:19:18,000 --> 00:19:20,150 but Hitchcock is a notable example 339 00:19:20,319 --> 00:19:23,152 of a director who's always got the camera 340 00:19:23,319 --> 00:19:27,153 in the right place for each given moment, and it's always there for a reason. 341 00:19:27,319 --> 00:19:31,153 It's not there arbitrarily or because it might be nice to shoot from there now. 342 00:19:31,320 --> 00:19:34,153 It's never decorative and never just frivolous. 343 00:19:34,320 --> 00:19:36,276 It's always with a point and a reason. 344 00:19:36,840 --> 00:19:40,753 The two greatest schools of cinema in the silent era 345 00:19:40,919 --> 00:19:42,750 were the American and the German. 346 00:19:42,919 --> 00:19:46,832 Because he was trained by the Americans and the Germans, 347 00:19:46,999 --> 00:19:52,153 he understood that telling a story visually was what movies were about. 348 00:19:52,599 --> 00:19:55,875 So you can see, in all his films, 349 00:19:56,039 --> 00:19:59,668 he's striving to tell the story visually. 350 00:19:59,839 --> 00:20:02,672 In Rear Window, 351 00:20:02,839 --> 00:20:06,548 you introduce Jimmy Stewart with his broken leg, 352 00:20:06,720 --> 00:20:09,188 you see a broken camera, 353 00:20:09,360 --> 00:20:11,590 you see that he's a photographer, 354 00:20:11,760 --> 00:20:15,309 you see a magazine cover, et cetera, 355 00:20:15,480 --> 00:20:19,678 all done in one continuous shot, as | remember, 356 00:20:19,839 --> 00:20:22,228 where you are told this is what you're seeing. 357 00:20:22,400 --> 00:20:24,436 This is what he is, and the audience understands it, 358 00:20:24,600 --> 00:20:26,716 as a result, very quickly. 359 00:20:26,880 --> 00:20:30,031 That's, again, really good storytelling 360 00:20:30,199 --> 00:20:32,508 and what Hitchcock was particularly good at. 361 00:20:32,679 --> 00:20:35,352 He had already, in his mind, made that movie. 362 00:20:35,520 --> 00:20:38,159 He had already drawn every single shot. 363 00:20:38,319 --> 00:20:40,913 So he always said, when he got on the set, 364 00:20:41,079 --> 00:20:43,195 that it was a little boring making the picture. 365 00:20:44,000 --> 00:20:46,195 (Herbert) Everything was in the screenplay. 366 00:20:46,360 --> 00:20:51,718 The cameraman knew all the time what he was expected to deliver on the film. 367 00:20:52,039 --> 00:20:54,507 When Mr Hitchcock walked in in the morning, 368 00:20:54,679 --> 00:20:58,638 the camera was usually all ready to go, the lights were set, 369 00:20:58,799 --> 00:21:02,474 the actors were in place, and they were all ready to go. 370 00:21:02,639 --> 00:21:04,630 (Pat) The way that he was able to shoot that, 371 00:21:04,799 --> 00:21:07,313 looking in at all the different apartments, 372 00:21:07,480 --> 00:21:09,038 was just unbelievable. 373 00:21:09,199 --> 00:21:11,667 And that's why it was so fascinating being on the set. 374 00:21:11,839 --> 00:21:14,717 You literally saw these apartments. 375 00:21:14,919 --> 00:21:17,797 They were all real. People were in them. 376 00:21:17,959 --> 00:21:21,076 - It was fascinating. - (Woman) Gary. 377 00:21:21,239 --> 00:21:23,230 (Robin) What 1 think is being shown here, 378 00:21:23,399 --> 00:21:27,915 seems to be one of the absolutely central themes of all Hitchcock's work. 379 00:21:28,079 --> 00:21:30,115 This goes right back to British period. 380 00:21:30,280 --> 00:21:33,556 It goes right through the American films. 381 00:21:33,719 --> 00:21:38,395 The terrible incompatibility of male and female positions, 382 00:21:39,439 --> 00:21:45,833 as they've been defined and have evolved within our culture. 383 00:21:46,000 --> 00:21:48,560 According to you, people should be born, live and die on the same spot. 384 00:21:48,719 --> 00:21:49,708 Shut up! 385 00:21:49,959 --> 00:21:54,669 The man's viewpoint is one thing. The woman's is always another. 386 00:21:54,839 --> 00:21:58,718 And with all this is the idea of romantic love, 387 00:21:58,880 --> 00:22:00,916 what Miss Lonelyhearts is longing for, 388 00:22:01,079 --> 00:22:03,593 what the newlyweds were expecting, 389 00:22:03,760 --> 00:22:06,069 what Lisa wants. 390 00:22:06,239 --> 00:22:11,791 Hitchcock's view of romantic love is extremely sceptical, to say the least. 391 00:22:12,400 --> 00:22:15,073 What would you think of starting off with dinner at '21'? 392 00:22:15,239 --> 00:22:17,912 You have perhaps an ambulance downstairs? 393 00:22:18,079 --> 00:22:20,354 No, better than that. 394 00:22:20,520 --> 00:22:22,750 395 00:22:22,919 --> 00:22:26,673 (Curtis) Hitchcock had a very complicated relationship with food, 396 00:22:26,840 --> 00:22:30,196 and here in Rear Window, you have Grace Kelly, 397 00:22:30,360 --> 00:22:33,830 one of the most beautiful actresses ever to grace the screen, 398 00:22:34,000 --> 00:22:37,879 playing one of the most incredibly idealised females in movie history, 399 00:22:38,039 --> 00:22:41,873 and she's having to be seducing James Stewart 400 00:22:42,039 --> 00:22:46,271 by demonstrating her ability to provide food to him. 401 00:22:46,440 --> 00:22:50,513 She literally brings almost a restaurant into that apartment 402 00:22:50,679 --> 00:22:52,112 to cater to his every whim. 403 00:22:52,399 --> 00:22:54,515 At least you can't say the dinner isn't right. 404 00:22:55,439 --> 00:22:57,191 Lisa... 405 00:22:57,360 --> 00:22:59,032 It's perfect... 406 00:23:00,239 --> 00:23:01,638 as always. 407 00:23:01,839 --> 00:23:03,397 \{Bogdanovich) Stewart's character in Rear Window, 408 00:23:03,559 --> 00:23:06,835 like a lot of Hitchcock characters, is rather ambiguous. 409 00:23:06,999 --> 00:23:11,277 He's wrong a number of times. He seems to be wrong about Grace Kelly. 410 00:23:11,520 --> 00:23:16,992 It's interesting that the biggest close-up that Hitchcock gives Jimmy Stewart 411 00:23:17,160 --> 00:23:20,755 is at that moment when she gets finally interested in the murder, 412 00:23:20,919 --> 00:23:23,752 and actually when she risks her life 413 00:23:23,919 --> 00:23:27,355 and comes back very excited from having gone over there. 414 00:23:27,519 --> 00:23:29,714 He looks at her with tremendous affection at that moment, 415 00:23:29,880 --> 00:23:33,668 because she's become adventurous, and he's an adventurer. 416 00:23:33,919 --> 00:23:35,750 Wasn't that close? 417 00:23:35,919 --> 00:23:39,229 What was his reaction when he looked at the note? 418 00:23:39,399 --> 00:23:43,233 (Ritter) It wasn't the kind of expression that would get him a loan at the bank. 419 00:23:43,400 --> 00:23:44,674 \{Bogdanovich) It's almost as though he's testing her, 420 00:23:44,919 --> 00:23:48,628 and she's doing what she does, in a way, to get his affection. 421 00:23:49,039 --> 00:23:53,430 Isn't Grace Kelly the dominant partner in the relationship? 422 00:23:54,600 --> 00:23:56,477 In that film, she actually does everything. 423 00:23:56,640 --> 00:23:59,393 He's basically impotent in the picture. 424 00:23:59,559 --> 00:24:01,675 (Hitchcock) To put it mildly. 425 00:24:01,839 --> 00:24:03,113 She's a very active... 426 00:24:03,280 --> 00:24:06,078 She's a typical, active New York woman. 427 00:24:06,240 --> 00:24:10,438 There are many of those in New York, work for Harper's Bazaar. 428 00:24:10,599 --> 00:24:13,477 They're almost like men, some of these women. 429 00:24:14,559 --> 00:24:18,837 (Herbert) Mr Hitchcock always discussed the scene with the cameraman first. 430 00:24:19,119 --> 00:24:23,670 He would tell them what lens to use and what he wanted to include in the scene. 431 00:24:24,479 --> 00:24:30,031 (Doc) Bob Burks was a wonderful talent and a hard-working, lovely man. 432 00:24:30,359 --> 00:24:31,997 He was enjoyable to be around. 433 00:24:32,160 --> 00:24:34,799 He had been with Hitch for several films 434 00:24:34,959 --> 00:24:38,793 and had perfect knowledge of what Hitch required. 435 00:24:38,960 --> 00:24:43,317 He worked very hard, took it very seriously, sometimes too seriously. 436 00:24:43,479 --> 00:24:48,712 He would almost get sick over shots he was trying to accomplish for Hitch. 437 00:24:49,480 --> 00:24:52,040 But a wonderful man and a very great talent. 438 00:24:52,200 --> 00:24:55,909 \{Man) Shooting in Jimmy's apartment was very difficult, 439 00:24:56,079 --> 00:24:57,956 because it was small. 440 00:24:58,120 --> 00:24:59,678 It wasn't big. 441 00:25:00,240 --> 00:25:05,155 Hitch never liked to use wide-angle lenses. 442 00:25:05,719 --> 00:25:09,712 The lens that Hitch liked to use was a 50 millimetre. 443 00:25:09,880 --> 00:25:12,917 That's about what your eyes see. 444 00:25:13,080 --> 00:25:15,958 Everything we see in that story 445 00:25:16,120 --> 00:25:19,590 is told from either James Stewart's point of view, 446 00:25:19,760 --> 00:25:22,718 or there's that very dramatic moment 447 00:25:22,879 --> 00:25:26,269 where Hitchcock takes the audience into his confidence, and says, 448 00:25:26,439 --> 00:25:28,634 1 am now showing you something 449 00:25:28,799 --> 00:25:32,155 that James Stewart, who's asleep, is not seeing.” 450 00:25:32,319 --> 00:25:35,311 It lets us get ahead of James Stewart. 451 00:25:35,479 --> 00:25:37,549 That's Hitchcock's recipe for suspense 452 00:25:37,719 --> 00:25:39,914 because now we're going, "0h, my God. 453 00:25:40,080 --> 00:25:44,995 "What's gonna happen when James Stewart, who, up till now has been us, 454 00:25:45,160 --> 00:25:47,196 finds out what we know?’ 455 00:25:47,359 --> 00:25:52,228 This is Hitchcock's genius of making us complicit in what's going on. 456 00:25:53,400 --> 00:25:57,154 (Hitchcock) | always remember, Lejeune of the Observer, 457 00:25:57,319 --> 00:26:02,109 called it a horrible film, ‘cos a man was looking in windows. 458 00:26:02,280 --> 00:26:04,316 1 thought it was a crappy remark, 459 00:26:04,480 --> 00:26:09,190 because who cares about that kind of thing? 460 00:26:09,359 --> 00:26:12,829 Because everybody is tainted. A known fact, you know. 461 00:26:12,999 --> 00:26:17,311 Providing you don’t make it too vulgar. 462 00:26:17,480 --> 00:26:20,552 Keep it to a point of curiosity. 463 00:26:20,719 --> 00:26:23,631 People, don't care who you are, cannot resist it. 464 00:26:24,199 --> 00:26:28,715 \{Jeff) Gunnison, how did you become a big editor with such a small memory? 465 00:26:28,880 --> 00:26:34,079 (Gunnison) Industry and hard work and catching the publisher with a secretary. 466 00:26:34,239 --> 00:26:39,518 In the screenplay there was a scene in Jimmy Stewart's boss's office. 467 00:26:39,679 --> 00:26:41,271 His name was Gunnison. 468 00:26:42,239 --> 00:26:46,517 I didn't think they should ever go away from the Greenwich Village set. 469 00:26:46,679 --> 00:26:51,753 I remember that day that he finished the dictation to John Michael Hayes. 470 00:26:51,919 --> 00:26:54,877 We walked into the office, and Mr Hitchcock said, 471 00:26:55,039 --> 00:27:00,557 ‘Mr Coleman, | think we need to salute the screenplay of Rear Window. 472 00:27:00,719 --> 00:27:02,949 What do you think about the screenplay?” 473 00:27:03,120 --> 00:27:05,429 | said, "| only have one comment, Mr Hitchcock. 474 00:27:05,599 --> 00:27:08,671 "| don't think you should ever go away from the Greenwich Village set. 475 00:27:08,839 --> 00:27:13,708 | think you shouldn't use Gunnison's office.” 476 00:27:13,879 --> 00:27:16,632 We discussed it a couple of minutes. 477 00:27:16,799 --> 00:27:18,517 It was the last | heard of it, 478 00:27:18,679 --> 00:27:21,637 until the day we had finished shooting a scene 479 00:27:21,799 --> 00:27:25,075 with Jimmy Stewart on the big set 480 00:27:25,240 --> 00:27:27,959 in his apartment. 481 00:27:28,120 --> 00:27:30,918 I'd sent Jimmy home, and we were moving to the new stage, 482 00:27:31,080 --> 00:27:32,479 where Gunnison's office had been built. 483 00:27:33,360 --> 00:27:35,112 Mr Hitchcock and | were walking together 484 00:27:35,280 --> 00:27:38,317 on the way to the new set when he stopped and said... 485 00:27:38,479 --> 00:27:40,947 By this time we were now Hitch” and "Herbie. 486 00:27:41,119 --> 00:27:44,475 "Herbie, do you still have the same feeling about Gunnison's office? 487 00:27:45,039 --> 00:27:46,028 | said "Yes, Hitch, | do. 488 00:27:46,200 --> 00:27:48,998 I don't think you should ever go away from the Greenwich Village set.” 489 00:27:49,160 --> 00:27:51,594 He said, "Cancel it. We won't shoot it.” 490 00:27:51,760 --> 00:27:53,637 I said I thought we should go ahead and shoot it, 491 00:27:53,799 --> 00:27:56,871 because the actors are there, the set's been built, and you'll have the dialogue 492 00:27:57,160 --> 00:28:00,311 in case you ever want to let the audience hear Gunnison's voice. 493 00:28:00,480 --> 00:28:03,199 So we went over and shot the scenes, but we never used it in the picture. 494 00:28:03,359 --> 00:28:04,428 Just Gunnison's voice. 495 00:28:04,600 --> 00:28:07,797 (Gunnison) You're too valuable to the magazine for us to play around with. 496 00:28:07,960 --> 00:28:10,428 - I'll send Morgan or Lambert. - (Jeff) Morgan or Lambert. 497 00:28:10,600 --> 00:28:12,318 That's fine. 498 00:28:12,480 --> 00:28:17,315 | get myself half killed for you, and you reward me by stealing my assignments. 499 00:28:17,479 --> 00:28:20,277 (Gunnison) | didn't ask you to stand in the middle of that automobile racetrack. 500 00:28:20,439 --> 00:28:23,158 (Robin) | think one of Hitchcock's central concerns 501 00:28:23,319 --> 00:28:26,152 is the isolation of people within our society. 502 00:28:26,319 --> 00:28:29,868 The apartments reflect the sense that everybody is in a prison. 503 00:28:30,039 --> 00:28:31,518 You've got to get me out of here. 504 00:28:31,679 --> 00:28:34,147 Six weeks sitting in a two room apartment 505 00:28:34,319 --> 00:28:36,992 with nothing to do but look out the window at the neighbours. 506 00:28:37,160 --> 00:28:40,232 Each person is in his or her own little prison. 507 00:28:40,400 --> 00:28:43,153 That all comes to a head, of course, 508 00:28:43,320 --> 00:28:47,996 in what | see as the crucial scene of the film, from this point of view anyway. 509 00:28:48,160 --> 00:28:50,958 The scene where the woman 510 00:28:51,120 --> 00:28:54,476 comes out on her balcony and sees her dog has been killed... 511 00:28:54,640 --> 00:28:56,358 (Woman Screams) 512 00:28:56,520 --> 00:28:58,033 ...and accuses all the neighbours. 513 00:28:58,359 --> 00:29:00,827 You don't know the meaning of the word “neighbour”! 514 00:29:00,999 --> 00:29:03,035 Neighbours like each other, 515 00:29:03,200 --> 00:29:05,191 speak to each other, 516 00:29:05,359 --> 00:29:07,554 care if anybody lives or dies! 517 00:29:07,719 --> 00:29:10,358 But none of you do! 518 00:29:10,520 --> 00:29:12,078 (Sobbing\} 519 00:29:14,400 --> 00:29:16,516 | couldn't imagine any of you being so low 520 00:29:16,679 --> 00:29:20,069 that you'd kill a little, helpless, friendly dog. 521 00:29:22,000 --> 00:29:25,959 The only thing in this whole neighbourhood who liked anybody. 522 00:29:26,120 --> 00:29:29,112 (Robin) It's a kind of central statement, | think, in Hitchcock, 523 00:29:29,280 --> 00:29:33,671 is this whole idea of people not being able to reach out. 524 00:29:33,839 --> 00:29:36,558 \{Bogdanovich) You think of several films of his which were very limited 525 00:29:36,959 --> 00:29:38,836 in terms of... 526 00:29:39,000 --> 00:29:41,230 in terms of, um, the location. 527 00:29:41,400 --> 00:29:43,834 Rope all plays in one apartment. 528 00:29:44,120 --> 00:29:46,475 Lifeboat all plays in a lifeboat. 529 00:29:46,760 --> 00:29:49,069 Dial M for Murder, basically, with very few exceptions, 530 00:29:49,240 --> 00:29:52,676 plays in the London flat of Grace Kelly and Ray Milland. 531 00:29:52,960 --> 00:29:55,474 Rear Window all plays in Jimmy Stewart's room. 532 00:29:55,640 --> 00:29:57,471 Of course, there was a whole world going on out there 533 00:29:57,640 --> 00:30:01,519 and you see just a little part of the street, 534 00:30:01,679 --> 00:30:04,910 but he really doesn’t go out into the courtyard. 535 00:30:05,080 --> 00:30:07,435 Once or twice, but always in long shot, 536 00:30:07,599 --> 00:30:09,988 or, certainly, wide shots. 537 00:30:10,160 --> 00:30:13,357 Even when the dog is killed, when he does cut a little bit closer. 538 00:30:13,799 --> 00:30:16,438 He liked to limit himself in that way. 539 00:30:24,319 --> 00:30:30,110 (Curtis) In Rear Window, Hitchcock uses very sparing, precise sounds 540 00:30:30,280 --> 00:30:32,157 (Woman Screams) Don't! 541 00:30:32,319 --> 00:30:36,551 and music to create the sounds and atmosphere 542 00:30:36,719 --> 00:30:38,949 of the world in which that story takes place, 543 00:30:39,120 --> 00:30:42,430 a world that is defined by that courtyard. 544 00:30:48,959 --> 00:30:51,314 Good morning. | said, "Good morning!” 545 00:30:51,480 --> 00:30:53,391 Oh, good morning. 546 00:30:53,559 --> 00:30:55,390 \{Bogdanovich) You basically had no score. 547 00:30:55,559 --> 00:30:57,390 The only score, the only music, 548 00:30:57,559 --> 00:31:00,756 was when somebody was playing music across the way. 549 00:31:00,919 --> 00:31:03,149 Somebody would be listening to a record, and you'd hear it. 550 00:31:03,320 --> 00:31:05,151 Or somebody was playing the piano. 551 00:31:05,319 --> 00:31:09,312 Other than that, there was no score, which was a very unusual, 552 00:31:09,479 --> 00:31:13,711 and at that time, rather daring soundtrack. 553 00:31:13,880 --> 00:31:16,474 It gives a kind of verisimilitude 554 00:31:17,760 --> 00:31:21,799 and a sense that nobody's intruding on this, that this is real. 555 00:31:21,959 --> 00:31:24,951 And Hitchcock was aware of that 556 00:31:25,119 --> 00:31:27,349 (James) The interesting thing is how he shot it 557 00:31:27,520 --> 00:31:32,036 in order to get the sound quality that he did. 558 00:31:32,199 --> 00:31:36,989 He actually shot live sound from Jimmy Stewart's point of view 559 00:31:37,160 --> 00:31:42,439 to capture the distance between the window Stewart was sitting in 560 00:31:42,679 --> 00:31:45,876 and the various apartments across the way. 561 00:31:46,039 --> 00:31:50,749 So there's that hollow sound in there which is pretty genuine. 562 00:31:57,959 --> 00:32:01,508 Rear Window was the last of four pictures that Franz Waxman 563 00:32:01,679 --> 00:32:04,193 composed scores for Hitchcock films. 564 00:32:04,360 --> 00:32:06,794 First was Rebecca in 1940, 565 00:32:06,959 --> 00:32:10,508 which was followed by Suspicion in 1941, 566 00:32:10,840 --> 00:32:13,513 and then The Paradine Case and finally, Rear Window. 567 00:32:17,599 --> 00:32:22,115 The score comes two years after A Place In The Sun, 568 00:32:17,599 --> 00:32:21,433 which was an Academy Award-winning score, also with Paramount, 569 00:32:26,280 --> 00:32:29,317 with its famous saxophone love theme, 570 00:32:29,479 --> 00:32:30,832 lush love theme for Elizabeth Taylor. 571 00:32:31,439 --> 00:32:37,309 It was, historically, today, considered one of the first jazz scores. 572 00:32:37,480 --> 00:32:41,473 In a way, Rear Window is a little bit in that idiom. 573 00:32:43,160 --> 00:32:46,152 It opens with a jazz, which is supposed to be 574 00:32:46,320 --> 00:32:50,632 the streets of Greenwich Village circa 1950s. 575 00:32:59,919 --> 00:33:02,717 There is one cue from A Place In The Sun, 576 00:33:02,880 --> 00:33:05,110 the famous "Farewell and Frenzy” cue, 577 00:33:05,280 --> 00:33:08,352 and he re-recorded it forRear Window. 578 00:33:17,199 --> 00:33:20,111 The use of source music was not uncommon in films. 579 00:33:20,280 --> 00:33:22,510 In those days, if they used source music, 580 00:33:22,679 --> 00:33:24,556 in the case of Rear Window , 581 00:33:24,719 --> 00:33:27,358 Paramount's publishing arm, which was Famous Music, 582 00:33:27,520 --> 00:33:31,308 they took a famous or popular song at the time, like That's Amore. 583 00:33:31,480 --> 00:33:34,552 So you do hear "That's Amore” in one scene. 584 00:33:46,720 --> 00:33:52,113 So in that sense, a composer was given the company music catalogue, 585 00:33:52,280 --> 00:33:54,350 and said, "Choose here.” 586 00:34:06,520 --> 00:34:08,988 Where is that wonderful music coming from? 587 00:34:09,159 --> 00:34:13,277 The song, Lisa,” is an integral part of the development of the story 588 00:34:13,560 --> 00:34:17,758 where a piece is being put together before your very eyes and ears. 589 00:34:17,919 --> 00:34:23,152 It begins where a struggling songwriter is trying to find the melody 590 00:34:23,319 --> 00:34:26,516 and the harmony and develop something. 591 00:34:26,679 --> 00:34:30,558 Throughout the course of the film, he finds the song, 592 00:34:30,719 --> 00:34:32,755 which you finally hear, full-blown, at the end. 593 00:34:33,480 --> 00:34:36,552 Miss Lonelyhearts , a very tragic character, 594 00:34:36,719 --> 00:34:39,552 who is across the courtway from Jimmy Stewart, 595 00:34:39,840 --> 00:34:42,035 is inspired by this 596 00:34:42,200 --> 00:34:46,318 and hearing this music actually saves her life. 597 00:34:46,479 --> 00:34:49,835 (Stella) Mr Jefferies, the music stopped her. 598 00:34:54,679 --> 00:34:57,716 (Curtis) One of the reasons his movies last as well as they do 599 00:34:57,879 --> 00:35:01,588 is not only his technical brilliance, obviously, 600 00:35:01,760 --> 00:35:03,671 but it's Hitchcock's humanity, 601 00:35:03,840 --> 00:35:07,753 Hitchcock's ability to deal with Everyman. 602 00:35:07,919 --> 00:35:12,709 Hitchcock finds humanity, even in his darkest villains. 603 00:35:12,879 --> 00:35:15,268 There's something always sympathetic. 604 00:35:15,439 --> 00:35:19,557 Norman Bates is an incredibly sympathetic character to me, 605 00:35:19,719 --> 00:35:23,234 certainly the way Anthony Perkins portrayed him. 606 00:35:23,680 --> 00:35:28,549 Even in Rear Window, where we only know Raymond Burr 607 00:35:28,720 --> 00:35:32,429 from peeping through his window from across the courtyard. 608 00:35:32,719 --> 00:35:35,358 We begin to suspect this man. 609 00:35:35,520 --> 00:35:38,478 We ultimately become afraid of him, but at the same time, 610 00:35:38,639 --> 00:35:41,233 you find yourself being oddly sympathetic with him 611 00:35:41,560 --> 00:35:45,394 and feel that he was trapped in that life over there 612 00:35:45,560 --> 00:35:47,152 and driven to what he did. 613 00:35:48,199 --> 00:35:50,155 (Jeff) Look, the wedding ring! 614 00:35:55,960 --> 00:35:58,554 Turn out the light! He's seen us! 615 00:36:00,359 --> 00:36:04,477 \{Bogdanovich) In that film, we're on Stewart's side, 616 00:36:04,759 --> 00:36:09,355 because basically, you have made us, the audience, Peeping Toms too. 617 00:36:09,520 --> 00:36:10,509 (Hitchcock) Definitely. 618 00:36:10,599 --> 00:36:13,033 Isn't there something rather pathetic 619 00:36:13,199 --> 00:36:17,750 and rather sympathetic about the murderer's confrontation at the end? 620 00:36:17,919 --> 00:36:19,989 - (Hitchcock) There is. - Stewart doesn't even answer him. 621 00:36:20,159 --> 00:36:23,708 (Hitchcock) He can't. The poor man, you know. 622 00:36:26,599 --> 00:36:30,035 It's the climax of the Peeping Tomism, isn't it? 623 00:36:30,320 --> 00:36:33,676 (Bogdanovich) Yes. Why did you do it? 624 00:36:34,840 --> 00:36:38,355 (Hitchcock) if you hadn't been a Peeping Tom, I'd have gotten away. 625 00:36:38,519 --> 00:36:41,113 (Bogdanovich) At that point, 626 00:36:41,280 --> 00:36:44,352 for the first time, one says to oneself, 627 00:36:44,479 --> 00:36:47,789 "That Stewart's a bit of a bastard.” 628 00:36:49,840 --> 00:36:51,751 What do you want from me? 629 00:36:55,679 --> 00:36:58,830 Your friend, the girl, could have turned me in. 630 00:36:59,239 --> 00:37:03,710 You feel for Burr. He says, "Why'd you do that?” and Stew doesn't answer. 631 00:37:03,879 --> 00:37:07,076 (Hitchcock) He can't. What can he say? 632 00:37:07,239 --> 00:37:11,994 He's really caught, in a sense, he's caught with his pants down. 633 00:37:12,159 --> 00:37:15,117 (Hitchcock) Caught with his plaster down. 634 00:37:15,279 --> 00:37:17,839 (Bogdanovich Laughs) 635 00:37:18,080 --> 00:37:19,798 Can you get me that ring back? 636 00:37:21,479 --> 00:37:22,992 No. 637 00:37:23,080 --> 00:37:25,036 Tell her to bring it back! 638 00:37:25,119 --> 00:37:27,713 | can't. The police have it by now. 639 00:37:32,359 --> 00:37:36,147 (Robin) 1 think another of Hitchcock's concerns 640 00:37:36,320 --> 00:37:41,997 is the way in which people build these protective facades around themselves, 641 00:37:42,160 --> 00:37:44,276 and claim this as their identity. 642 00:37:44,439 --> 00:37:46,873 It's a way of defending themselves 643 00:37:47,039 --> 00:37:52,113 against the unpredictability and chaos... of life. 644 00:37:53,559 --> 00:37:56,119 All the things we don't understand, 645 00:37:56,280 --> 00:37:58,077 not simply in the world, but within ourselves. 646 00:37:58,840 --> 00:38:02,389 Jefferies has this. Certainly his job, his camera. 647 00:38:02,560 --> 00:38:07,588 Jefferies uses the camera at the end as his protection against Thorwald, 648 00:38:07,759 --> 00:38:11,308 the camera being a symbol of his whole existence, 649 00:38:11,480 --> 00:38:15,268 and the inadequacy of that becomes clear. 650 00:38:15,439 --> 00:38:20,069 The flashes hold Thorwald back, but they don't stop him. 651 00:38:20,239 --> 00:38:22,389 They delay it, but they don't stop him. 652 00:38:25,639 --> 00:38:27,550 (Herbert) Soon after the finish of the screenplay, 653 00:38:27,719 --> 00:38:29,675 1 got worried about the scenes 654 00:38:29,840 --> 00:38:32,673 when Raymond Burr comes to kill Jimmy Stewart, 655 00:38:32,840 --> 00:38:37,595 and Jimmy Stewart had nothing to protect himself with except Hashbulbs. 656 00:38:37,760 --> 00:38:40,797 So | decided to have a test with 657 00:38:40,960 --> 00:38:43,599 Bob Burks and Hitch there, 658 00:38:43,759 --> 00:38:47,229 and John Fulton, the special effects head, 659 00:38:47,400 --> 00:38:50,949 and a few other people there. 660 00:38:51,119 --> 00:38:54,794 I'd get their impression of what Raymond Burr would see 661 00:38:54,959 --> 00:38:58,474 when Jimmy Stewart flashed the flashbulb in his face. 662 00:38:58,639 --> 00:39:02,996 | arranged a meeting in the art department. 663 00:39:03,159 --> 00:39:07,710 | had a still man there with flashbulbs, 664 00:39:07,879 --> 00:39:12,077 and | had him flash those bulbs in our faces, 665 00:39:12,239 --> 00:39:17,871 and then ask everybody what they saw as a result of that flash in their eyes. 666 00:39:18,800 --> 00:39:23,920 We all agreed that we saw kind of a faint yellow mist. 667 00:39:24,080 --> 00:39:28,232 Everybody agreed this mist just blocked out everything. 668 00:39:28,400 --> 00:39:31,153 And we went away. One day | got a call from John Fulton. 669 00:39:31,320 --> 00:39:33,356 He'd like to show this to us. 670 00:39:33,520 --> 00:39:38,753 So | got Bob Burks and the people who'd been involved in this, 671 00:39:38,919 --> 00:39:41,752 | went to see it, and | didn't tell Hitch about it. 672 00:39:41,919 --> 00:39:44,228 What | saw on the screen, | couldn't believe. 673 00:39:44,399 --> 00:39:47,232 Floating through the air were rings. 674 00:39:47,399 --> 00:39:50,709 They looked to be about an inch wide 675 00:39:50,879 --> 00:39:52,710 and like a hoop. 676 00:39:52,880 --> 00:39:56,555 They were all different colours floating through the air 677 00:39:56,720 --> 00:39:58,551 and none of the effect we saw at all. 678 00:39:58,720 --> 00:40:00,836 When it was over, | said to John, 679 00:40:00,999 --> 00:40:04,787 T'm not gonna let Mr Hitchcock think that this is the kind of work 680 00:40:04,960 --> 00:40:06,791 that John Fulton turns out.” 681 00:40:06,960 --> 00:40:11,829 We insisted that Mr Fulton redo the colour that came over the faces, 682 00:40:12,000 --> 00:40:15,629 and it turned out to be, what was finally used, a faint red colour. 683 00:40:18,759 --> 00:40:19,908 (Jeff) Lisa! Doyle! 684 00:40:22,399 --> 00:40:23,468 (Hitchcock) In Rear Window, 685 00:40:23,640 --> 00:40:26,598 where Jimmy Stewart is thrown out of the window at the end, 686 00:40:26,760 --> 00:40:30,230 I just photographed that with feet, legs, arms, heads. 687 00:40:30,399 --> 00:40:32,117 Completely montage . 688 00:40:32,279 --> 00:40:35,351 | also photographed it from a distance. 689 00:40:35,519 --> 00:40:38,079 There was no comparison between the two. 690 00:40:38,239 --> 00:40:40,434 There never is, you know? 691 00:40:40,599 --> 00:40:45,354 Bar room fights or whatever they do in Westerns when they knock the heavy, 692 00:40:45,520 --> 00:40:51,197 or one man knocks another across a table, which breaks. 693 00:40:51,359 --> 00:40:54,237 -They all break a table in bars. - (Bogdanovich) Or the railing. 694 00:40:54,400 --> 00:40:56,675 (Hitchcock) Or the railing. 695 00:40:56,840 --> 00:40:58,717 They're always shot at a distance. 696 00:40:58,879 --> 00:41:03,509 But it's much more effective if it's done in montage, 697 00:41:03,679 --> 00:41:05,715 cos you involve the audience much more. 698 00:41:05,880 --> 00:41:08,838 That's the secret of that type of montage in films. 699 00:41:10,840 --> 00:41:12,034 (Woman Screams) 700 00:41:14,320 --> 00:41:16,914 I've heard the story, | don't know if it's true, 701 00:41:17,080 --> 00:41:19,275 that when they finished the editing of the picture, 702 00:41:19,440 --> 00:41:25,675 They took all the trims and outakes and just put them all on one reel. 703 00:41:25,840 --> 00:41:27,478 That's how few trims there were. 704 00:41:27,879 --> 00:41:30,393 (Herbert) He only shot a scene up to a certain point. 705 00:41:30,560 --> 00:41:32,391 Then he would change the angle of the camera, 706 00:41:32,560 --> 00:41:36,473 and start back maybe a few frames and start the new scene. 707 00:41:36,639 --> 00:41:39,551 Then he would stop and go to another one. 708 00:41:39,719 --> 00:41:42,313 That's the way he shot his pictures. 709 00:41:42,840 --> 00:41:44,717 I'm sorry. | got here as fast as | could. 710 00:41:44,880 --> 00:41:47,917 Don't let anybody touch him. Get my medical bag! 711 00:41:48,080 --> 00:41:51,356 - Lisa, if anything had happened to you - I'm alright. 712 00:41:52,239 --> 00:41:53,831 Gee, I'm proud of you. 713 00:41:54,000 --> 00:41:56,275 Robin) What the film eventually moves to at the end, 714 00:41:56,439 --> 00:42:01,069 is a kind of resolution of the Jefferies-Lisa relationship. 715 00:42:01,240 --> 00:42:04,994 A lot of people have found it cynical because Lisa, 716 00:42:05,159 --> 00:42:09,072 although she's dressed in adventure-type clothes, 717 00:42:09,240 --> 00:42:14,314 presumably ready to take off with Jefferies on some expedition, 718 00:42:14,480 --> 00:42:17,597 and is reading a book called Beyond The High Himalayas 719 00:42:17,759 --> 00:42:19,590 or something like that, 720 00:42:19,760 --> 00:42:22,911 puts it aside when she sees he's asleep and picks up Harper's Bazaar. 721 00:42:23,879 --> 00:42:28,236 It seems to me what Hitchcock is saying is not exactly cynical. 722 00:42:28,400 --> 00:42:29,719 It's realistic. 723 00:42:29,879 --> 00:42:33,633 Male and female positions are, within the culture, incompatible, 724 00:42:33,800 --> 00:42:35,631 within the culture as it exists today. 725 00:42:35,799 --> 00:42:37,915 And to a great extent it exists now. 726 00:42:38,080 --> 00:42:41,868 Lisa is showing us, at the end, that she must retain 727 00:42:42,039 --> 00:42:45,873 a certain perspective of her own and interests of her own, 728 00:42:46,040 --> 00:42:48,918 that she will not abandon her own interests in life 729 00:42:49,080 --> 00:42:51,275 and her values in life for his. 730 00:42:51,440 --> 00:42:52,873 1 think that's wonderful 731 00:42:53,040 --> 00:42:55,031 # Lisa # 732 00:42:57,720 --> 00:43:03,078 The last day of filming on stage 17, at Paramount on Rear Window, 733 00:43:03,240 --> 00:43:05,800 really was a very sad day for all of us 734 00:43:05,959 --> 00:43:10,191 because we had been on that picture for a long, long time. 735 00:43:10,359 --> 00:43:12,873 We'd all become very close friends. 736 00:43:13,040 --> 00:43:16,350 | remember they opened the big doors, 737 00:43:16,520 --> 00:43:20,752 and Grace Kelly and Hitch 738 00:43:20,919 --> 00:43:24,275 and Bob Burks and | all walked out at the same time. 739 00:43:24,439 --> 00:43:26,953 There was a slight rain coming down. 740 00:43:28,080 --> 00:43:31,038 We all stopped and looked back at the set 741 00:43:31,440 --> 00:43:34,000 All the lights were going out in various places on the set 742 00:43:34,160 --> 00:43:36,435 until there was complete darkness inside. 743 00:43:36,599 --> 00:43:42,515 And Ray said, "You know, it's almost like leaving home, to leave this stage.” 744 00:43:44,239 --> 00:43:46,389 Show's over for tonight. 745 00:43:51,119 --> 00:43:53,838 Preview of coming attractions. 746 00:43:54,000 --> 00:43:57,595 (Robert) A real restoration is gathering together all the materials 747 00:43:57,879 --> 00:44:01,315 that exist on a film throughout the world, going through each of them, 748 00:44:01,840 --> 00:44:05,833 and bringing together the best of those elements, both picture and sound, 749 00:44:05,999 --> 00:44:10,709 to create a preservation negative, 750 00:44:10,880 --> 00:44:13,633 which can, in effect, take the place of the original, 751 00:44:13,800 --> 00:44:16,519 which is either unusable, or parts are unusable. 752 00:44:17,439 --> 00:44:20,749 (James) The project started when we actually acquired 753 00:44:20,919 --> 00:44:23,558 the films for Universal in 1984. 754 00:44:23,719 --> 00:44:29,191 (Stewart) This is Jimmy Stewart, and | want to tell you about a special event. 755 00:44:29,359 --> 00:44:34,274 The return of five Hitchcock pictures unseen for more than a decade. 756 00:44:34,440 --> 00:44:36,510 (James) Those were Rear Window, Vertigo, 757 00:44:36,679 --> 00:44:39,751 The Man Who Knew Too Much, Trouble With Harry and Rope. 758 00:44:39,919 --> 00:44:43,309 We bought the films from the Hitchcock Foundation, 759 00:44:43,480 --> 00:44:47,393 actually, leased them for a period of five years at that time. 760 00:44:47,560 --> 00:44:51,030 But it was at that time, when Bob and | got together, 761 00:44:51,200 --> 00:44:55,432 we realised the horrible state all these pictures were in, 762 00:44:55,599 --> 00:44:57,715 and that if something wasn't done about them, 763 00:44:57,879 --> 00:44:58,994 they were gonna be lost forever. 764 00:44:59,840 --> 00:45:04,356 (Stewart) To me, this is Hitchcock at his best. 765 00:45:04,520 --> 00:45:07,080 One of the interesting things about films, 766 00:45:07,240 --> 00:45:09,674 especially classic films, is that, generally, 767 00:45:09,840 --> 00:45:11,910 the more important the film, the better the film, 768 00:45:12,080 --> 00:45:16,517 the worse condition the original negative and sound elements are going to be in. 769 00:45:16,679 --> 00:45:19,239 Rear Window is no different than many others. 770 00:45:19,840 --> 00:45:21,751 Normally, in large-format films, 771 00:45:21,919 --> 00:45:24,911 Spartacus and Lawrence Of Arabia and... 772 00:45:25,080 --> 00:45:26,957 (James) My Fair Lady and Vertigo- 773 00:45:27,119 --> 00:45:30,714 Robert) any film shot in 65 millimetre, all of the original prints 774 00:45:30,879 --> 00:45:32,710 were made from the original camera negative. 775 00:45:33,039 --> 00:45:36,509 But 4-perf 35, which is the way Rear Window was shot... 776 00:45:36,679 --> 00:45:40,035 It's unusual when you get into the '50s and '60s 777 00:45:40,199 --> 00:45:42,633 that they would have used an original camera negative 778 00:45:42,800 --> 00:45:45,792 from which to create a number of prints. 779 00:45:46,200 --> 00:45:51,274 But to our horror, when we first pulled the original camera negative out, 780 00:45:51,440 --> 00:45:55,991 we found that there were 389 release prints made from the camera negative. 781 00:45:56,159 --> 00:45:59,674 During the '50s and '60s, before wet-gate printing, 782 00:45:59,840 --> 00:46:04,152 a lab would put a lacquer on the original negative, 783 00:46:04,319 --> 00:46:07,117 and they'd run it, make as many prints as they needed. 784 00:46:07,280 --> 00:46:10,317 When the lacquer began to get scratched, 785 00:46:10,479 --> 00:46:12,310 they would remove the lacquer and relacquer it. 786 00:46:12,760 --> 00:46:15,069 When that would get scratched, they'd relacquer it again. 787 00:46:15,240 --> 00:46:17,913 But when they removed the lacquer from Rear Window, 788 00:46:18,080 --> 00:46:21,277 they actually stripped away about 40% of the yellow layer. 789 00:46:21,440 --> 00:46:23,317 One of the things that held us up initially 790 00:46:23,479 --> 00:46:26,869 was that we had to come up with an entirely new preservation concept 791 00:46:27,040 --> 00:46:32,160 of replacing only the yellow layer to an original negative where it was gone. 792 00:46:32,320 --> 00:46:34,311 This was done without computers. 793 00:46:34,479 --> 00:46:37,915 We did it in league with Pacific Title. 794 00:46:38,080 --> 00:46:41,277 \{James) One of the things we deal with all the time on these restorations 795 00:46:41,439 --> 00:46:44,749 is whether we go for sharpness or colour. 796 00:46:45,039 --> 00:46:47,109 When you deal with a close-up, 797 00:46:47,280 --> 00:46:49,635 such as the entrance of Grace Kelly into the picture, 798 00:46:49,800 --> 00:46:52,917 one of the great entrances into a film, 799 00:46:53,080 --> 00:46:56,789 we're really trying to deal with sharpness to the nth degree. 800 00:46:57,199 --> 00:47:00,077 This was a particularly difficult shot. 801 00:47:00,240 --> 00:47:03,437 It's the shot where we see her moving toward Jimmy Stewart 802 00:47:03,599 --> 00:47:05,874 and then moving into the slow-motion kiss. 803 00:47:06,040 --> 00:47:10,397 These are moments that are of such impact in a film 804 00:47:10,560 --> 00:47:13,120 that we want to make them as perfect as we can. 805 00:47:13,280 --> 00:47:15,157 (Robert) And that shot was gone. 806 00:47:15,320 --> 00:47:20,155 It was actually gone by 1962, in the film's first reissue, 807 00:47:20,320 --> 00:47:22,276 which was actually in dye transfer. 808 00:47:22,440 --> 00:47:24,670 And the colour is bad in 1962. 809 00:47:24,840 --> 00:47:28,753 By the time we got the negative, the yellow layer was 90% gone. 810 00:47:28,920 --> 00:47:33,436 We printed the shot, and it came out a wonderful shade of orange-green. 811 00:47:33,599 --> 00:47:37,194 This was why we had to take six months 812 00:47:37,359 --> 00:47:41,432 and work out a way of putting back that yellow layer. 813 00:47:47,320 --> 00:47:49,788 (James) We tried to go through camera reports. 814 00:47:49,959 --> 00:47:53,474 We'd look at all of the extras that were in the film. 815 00:47:53,640 --> 00:47:55,471 We'd try and find the set designers. 816 00:47:55,639 --> 00:47:58,711 We'd try and find the publicists who were working on the film, 817 00:47:58,879 --> 00:48:02,269 because they had an overview of the picture at that point, 818 00:48:02,439 --> 00:48:05,317 and they also had a lot of information about how it played 819 00:48:05,480 --> 00:48:09,359 to the audiences of the day and can give us a real comparison. 820 00:48:09,520 --> 00:48:11,875 We talked to the director's assistants. 821 00:48:12,040 --> 00:48:14,235 We'd talk to the director if we can. 822 00:48:14,399 --> 00:48:17,436 But the last few films we've done, 823 00:48:17,599 --> 00:48:20,352 we've unfortunately not had a director to work with. 824 00:48:20,519 --> 00:48:26,037 These are all important, not only to this record that we try to keep, 825 00:48:26,199 --> 00:48:29,794 but it also addresses the ethical side of film restorations, 826 00:48:30,040 --> 00:48:32,759 which is : Should we change something? 827 00:48:32,919 --> 00:48:36,195 Can we change something? Do we have the right? 828 00:48:36,359 --> 00:48:39,271 This gives us an insight into, in this case, 829 00:48:39,439 --> 00:48:41,509 Hitchcock's point of view on the film. 830 00:48:41,760 --> 00:48:45,070 Let's go down and find out what's buried in the garden. 831 00:48:45,239 --> 00:48:47,070 Why not? 832 00:48:47,240 --> 00:48:49,435 I've always wanted to meet Mrs Thorwald. 833 00:48:50,279 --> 00:48:52,349 (James) We're gonna play this to audiences who don't know how it ends. 834 00:48:52,520 --> 00:48:54,670 Those are the best audiences, 835 00:48:54,840 --> 00:48:57,115 because that's when you see the value of this film, 836 00:48:57,280 --> 00:49:01,478 and you see how these Hitchcock films hold up over the years 837 00:49:01,639 --> 00:49:04,551 from the standpoint of dialogue, from the standpoint of acting, 838 00:49:04,720 --> 00:49:07,792 from the standpoint of concept, from the standpoint of directing. 839 00:49:07,959 --> 00:49:12,350 They're really pieces of our heritage, and they have to be saved, 840 00:49:12,520 --> 00:49:14,351 because what's going to happen 841 00:49:14,519 --> 00:49:16,794 to our grandchildren or our great-grandchildren? 842 00:49:16,959 --> 00:49:18,836 They're not going to be able to see these. 843 00:49:19,000 --> 00:49:21,958 This is why we try to impress on studio executives 844 00:49:22,119 --> 00:49:25,714 that they are just the guardians of these films. 845 00:49:25,879 --> 00:49:27,710 They're like curators of a museum. 846 00:49:27,879 --> 00:49:30,996 Sure they have to make it pay, sure they have to balance their books, 847 00:49:31,159 --> 00:49:32,990 sure they have to come up with new concepts, 848 00:49:33,159 --> 00:49:36,276 but they also have to maintain their libraries. 849 00:49:36,439 --> 00:49:39,272 They have to maintain the heritage of the industry. 850 00:49:39,440 --> 00:49:44,639 (Robert) A lot of entities use the term ‘restoration’ as a marketing tool. 851 00:49:44,799 --> 00:49:49,395 It not only damages the concept of film restoration worldwide, 852 00:49:49,560 --> 00:49:54,554 but it damages the films and is shortening the lives of the films 853 00:49:54,719 --> 00:49:57,916 that people are saying are restored when, in fact, they're not, 854 00:49:58,079 --> 00:49:59,398 because no one's gonna bother to restore them. 855 00:50:00,119 --> 00:50:02,917 \{James) It's something that takes a very long time to do, 856 00:50:03,080 --> 00:50:05,799 the quality of restorations that we do, 857 00:50:05,960 --> 00:50:08,394 and to maintain the standards that we've set for ourselves , 858 00:50:08,559 --> 00:50:11,392 in an industry, by the way, that has no standards. 859 00:50:11,559 --> 00:50:15,108 There is no standards whatsoever in the restoration community. 860 00:50:15,279 --> 00:50:18,749 This is something that we're trying to address, 861 00:50:18,919 --> 00:50:21,717 and it's been very, very difficult. 862 00:50:22,559 --> 00:50:28,191 (Jeff) Is it ethical to watch a man with binoculars and a long-focus lens? 863 00:50:29,239 --> 00:50:31,116 Do you... 864 00:50:31,280 --> 00:50:35,273 Do you suppose it's ethical, even if you prove that he didn't commit a crime? 865 00:50:37,239 --> 00:50:39,309 I'm not much on rear window ethics. 866 00:50:40,280 --> 00:50:44,876 (Curtis) Rear Window is one of those pictures where you just feel that 867 00:50:45,119 --> 00:50:48,555 everything in that movie is perfectly realised, 868 00:50:48,719 --> 00:50:52,234 exactly the way that Hitchcock imagined it. 869 00:50:52,399 --> 00:50:55,516 We are able to be, in a sense, 870 00:50:55,679 --> 00:50:57,635 caught up in the storytelling, on the one hand, 871 00:50:57,800 --> 00:51:01,509 but also overwhelmed by its perfection on the other. 872 00:51:01,679 --> 00:51:03,749 The salesman's looking out of his window. 873 00:51:03,919 --> 00:51:06,274 Get back. He'll see you. 874 00:51:06,440 --> 00:51:08,670 I'm not shy. I've been looked at before. 875 00:51:08,840 --> 00:51:11,957 (Jeff) That's no ordinary look. 876 00:51:12,119 --> 00:51:14,110 That's the kind of look a man gives 877 00:51:14,279 --> 00:51:16,349 when he's afraid somebody might be watching him. 878 00:51:18,520 --> 00:51:20,988 \{Bogdanovich) I think Rear Window was a film that he liked 879 00:51:21,159 --> 00:51:23,070 and was fond of and proud of. 880 00:51:23,519 --> 00:51:26,317 | think Rear Window shows him at the absolute peak of his powers. 881 00:51:26,479 --> 00:51:29,357 | think it's also the beginning of his last great period. 882 00:51:29,519 --> 00:51:33,034 | think from there on, he really doesn't make a wrong move. 883 00:51:33,199 --> 00:51:35,872 \{Bogdanovich On Tape) Someone said there are two kinds of people. 884 00:51:36,040 --> 00:51:39,316 There are people who are voyeurs 885 00:51:39,479 --> 00:51:42,551 or people who observe the world that passes by, 886 00:51:42,719 --> 00:51:48,191 and there are people who are active, adventurers who are part of the world. 887 00:51:48,360 --> 00:51:51,193 Would you say you are a person who observes? 888 00:51:51,359 --> 00:51:53,827 (Hitchcock On Tape) Observes, sure. 889 00:51:53,999 --> 00:51:59,119 \{Bogdanovich) So you must, in a way, identify with Jimmy Stewart's character. 890 00:51:59,240 --> 00:52:01,117 (Hitchcock) Possibly. Yeah, sure. 891 00:52:01,280 --> 00:52:03,430 Those are just a few of my neighbours. 892 00:52:03,599 --> 00:52:05,590 At first | watched them just to kill time. 893 00:52:05,759 --> 00:52:08,114 | couldn't take my eyes off them, as you won't be able to. 894 00:52:13,399 --> 00:52:18,917 | was visiting him at the St Regis. | think it was when Marnie was opening in '64. 895 00:52:19,080 --> 00:52:20,877 We had a few drinks in his room. 896 00:52:21,039 --> 00:52:24,918 Then we went to the elevator. We were going down. 897 00:52:26,959 --> 00:52:28,836 We get into the elevator, 898 00:52:28,999 --> 00:52:31,911 and there was silence from the 24th floor to the 18th floor. 899 00:52:32,079 --> 00:52:34,752 On the 18th floor, three people come in dressed for dinner. 900 00:52:34,919 --> 00:52:39,071 Hitch turns to me out of the blue and says, It was quite horrible, you know. 901 00:52:39,239 --> 00:52:42,072 "He was lying there in a pool of blood. 902 00:52:42,239 --> 00:52:46,312 There was blood coming out of his ear, blood coming out of his nose. 903 00:52:46,479 --> 00:52:49,357 | thought, "What on Earth is he talking about?” 904 00:52:53,479 --> 00:52:55,390 | mean, you know... 905 00:52:55,560 --> 00:52:58,120 I'd had a little drink, and | thought maybe | missed something. 906 00:52:58,279 --> 00:53:01,191 | felt like an idiot. I'm listening to him. 907 00:53:01,359 --> 00:53:04,112 Then the doors open on the 15th floor more people come in. 908 00:53:04,279 --> 00:53:08,830 He goes on with his, "It was really quite horrible, you know. 909 00:53:08,999 --> 00:53:11,672 "There was blood everywhere, all over the walls. 910 00:53:11,839 --> 00:53:15,673 "| said, 'Good God, man! What's happened to you?’ 911 00:53:15,839 --> 00:53:19,752 And do you know what he said to me?” 912 00:53:19,919 --> 00:53:24,356 At this point, just as he says that, the doors open to the lobby. 913 00:53:24,520 --> 00:53:26,875 So everybody in the elevator who knew who he was, anyway, 914 00:53:27,039 --> 00:53:29,951 cos he was very well-known, 915 00:53:30,119 --> 00:53:32,917 sort of hesitated, you know? 916 00:53:33,079 --> 00:53:35,957 The didn't want to leave the elevator. They wanted to hear what happened. 917 00:53:40,040 --> 00:53:44,670 Of course, he didn't say a word. They all had to get out of the elevator. 918 00:53:44,840 --> 00:53:47,593 Hitch just walks right by them. 919 00:53:47,759 --> 00:53:51,274 They're all kind of clustered near the front of the elevator, listening. 920 00:53:51,439 --> 00:53:54,909 He didn't say anything. He starts walking across the lobby. 921 00:53:55,080 --> 00:53:57,310 I'm completely confused. | don't know what's going on. 922 00:53:57,480 --> 00:54:01,473 | said, "What did he say, Hitch?" 923 00:54:01,640 --> 00:54:05,394 He said, "What? Oh, nothing. That's just my elevator story.” 924 00:54:09,519 --> 00:54:11,908 Obviously, that was something he did quite often 925 00:54:12,080 --> 00:54:13,957 in elevators just to amuse himself.