WEBVTT 00:05.240 --> 00:06.719 Hi. I'm Laurent Bouzereau, 00:06.879 --> 00:09.393 producer of this exciting DVD presentation 00:09.559 --> 00:11.470 of Alfred Hitchcock's Frenzy. 00:11.639 --> 00:14.312 For those of you familiar with the trailer of Frenzy, 00:14.479 --> 00:17.152 Alfred Hitchcock was shown floating on the River Thames. 00:17.320 --> 00:20.517 As you can see, | settled for something a little more simple. 00:20.679 --> 00:23.068 Yet, since | traveled all the way to London 00:23.240 --> 00:25.037 to meet with the screenwriter of Frenzy, 00:25.199 --> 00:27.838 Anthony Shaffer, and the cast members from the film, 00:27.999 --> 00:32.197 I've decided to introduce this exciting documentary from the famous Tower Bridge, 00:32.360 --> 00:34.237 where the movie begins. 00:35.160 --> 00:39.631 So here are some very exciting stories about the making of Alfred Hitchcock's Frenzy. 00:39.799 --> 00:42.472 And for those of you wondering what happened to my tie, 00:42.640 --> 00:46.189 well, some very suspicious fellow borrowed it from me last night. 00:46.360 --> 00:48.555 How do you like my tie? 00:49.920 --> 00:52.718 My God! The tie! 00:52.879 --> 00:54.551 (Screaming) 00:56.440 --> 00:59.637 (Woman) Frenzy was one of those movies where 00:59.800 --> 01:01.870 the Hitchcock touch came back. 01:02.039 --> 01:04.314 Now, do | look like a sex murderer to you? 01:04.479 --> 01:09.997 {Man) This was just a good, rumbustious Hitchcock with a few scary bits in it. 01:10.159 --> 01:12.036 You strangled her like all the others! 01:12.400 --> 01:15.597 He wanted to become more explicitly violent. 01:17.280 --> 01:20.431 There's a texture which you can get by using humour 01:20.600 --> 01:23.956 and giving it to the blackest character in the piece. 01:30.119 --> 01:32.235 (Woman) Hitch made a lovely atmosphere on the set. 01:32.400 --> 01:34.436 You got the whole of your life ahead of you. 01:34.600 --> 01:36.909 It was good fun. Good ironic fun. 01:37.080 --> 01:39.514 - (Spitting) - That man must be 01:39.680 --> 01:41.272 a sexual maniac. 01:41.440 --> 01:44.432 - The beast. - | haven't murdered anyone. 01:45.159 --> 01:47.389 Really, the world has become 01:47.560 --> 01:50.632 darker than ever in Frenzy. 01:50.799 --> 01:52.790 | wonder what the rest of the day has in store. 01:52.960 --> 01:54.996 {Woman Screaming) 02:02.399 --> 02:04.788 (Man) | had just done Sleuth on Broadway, 02:04.960 --> 02:06.359 and we had received a notice 02:06.960 --> 02:11.351 like the Second Coming, which was very gratifying. 02:11.519 --> 02:16.593 And Hitch, you know, always used successful writers. 02:16.759 --> 02:19.432 And | had had that success, 02:19.600 --> 02:24.151 and therefore | was not completely surprised that Hitch got in touch with me. 02:24.320 --> 02:26.550 Mind you, it's such an honour to be invited, 02:26.719 --> 02:29.631 because he was such an incredible legend. 02:29.800 --> 02:30.915 At first, I thought it was a bit of a hoax, 02:31.079 --> 02:33.547 because this happened on New Year's Eve, 02:33.719 --> 02:36.279 Someone, you know, answered the phone for me and said, 02:36.440 --> 02:37.998 "It's Alfred Hitchcock on the line.” | said, "Yeah." 02:38.160 --> 02:39.912 | thought it was one of my mates in New York. 02:40.079 --> 02:42.639 | said, "It's time to come out and have a drink." 02:42.799 --> 02:45.711 (Shaffer) A few minutes later, the actual book arrived, 02:45.879 --> 02:48.757 which was the book from which the film was derived. 02:48.920 --> 02:51.639 A book by a writer called Arthur La Bern 02:51.800 --> 02:54.837 called Goodbye Piccadilly, Farewell Leicester Square. 02:54.999 --> 02:59.436 This tended to convince me this was not a hoax, and we took it from there. 02:59.599 --> 03:01.715 And that's how that started. 03:06.920 --> 03:11.436 (Shaffer) Alma was, of course, his wife, and she was a tiny little lady. 03:11.599 --> 03:14.875 And whilst we were here trapping Frenzy, 03:15.679 --> 03:17.670 she had a heart attack. 03:17.840 --> 03:21.435 Not he. He had a pacemaker, you know. 03:21.600 --> 03:24.478 But the one who had the heart attack was Alma. 03:24.639 --> 03:29.269 It slightly affected the work necessary for doing the picture, 03:29.439 --> 03:31.714 but, um, she recovered very quickly, 03:31.880 --> 03:33.029 and, in fact, survived him. 03:47.519 --> 03:49.350 (Man) In this particular shot 03:49.519 --> 03:52.875 is a helicopter coming along the river, 03:53.040 --> 03:57.318 and turning around onto you all listening to the speech. 03:57.479 --> 04:00.516 Albeit, you're not sort of aware of the helicopter at all. 04:00.679 --> 04:02.351 It's purely a camera shot. 04:05.080 --> 04:06.433 (Man) Nobody looks at the helicopter. 04:06.600 --> 04:10.275 You're all looking at the minister, listening to his speech. OK? 04:11.280 --> 04:13.840 (Man) Alright, back around. And, action. 04:13.999 --> 04:18.436 All the water above this point will soon be clear. 04:18.600 --> 04:21.034 Clear of industrial effluent. 04:21.199 --> 04:23.110 Clear of detergents. 04:23.280 --> 04:26.033 Clear of the waste products of our society 04:26.199 --> 04:30.078 with which for so long we have poisoned our rivers and canals. 04:33.840 --> 04:36.798 (Shaffer) He was very strange about those cameo appearances. 04:36.959 --> 04:38.790 They were always very modest, weren't they? 04:38.959 --> 04:42.429 He wouldn't use makeup or make himself look in any way... 04:42.600 --> 04:44.750 fanciful or ridiculous. 04:44.919 --> 04:48.548 He was very shy of doing things like that. 04:48.720 --> 04:52.269 He would be himself, but he wouldn't be anybody else. Do you see what I'm saying? 04:52.440 --> 04:55.398 And he elects to do that on the Embankment. 04:55.559 --> 04:59.837 There are actually two shots of him looking fairly lugubrious under a bowler hat. 05:00.120 --> 05:02.998 - It's another necktie murder. - What are the police doing about it? 05:03.160 --> 05:04.479 Why can't they find him? 05:04.639 --> 05:08.712 - He's a regular Jack the Ripper. - Not on your life. He used to carve 'em up. 05:08.879 --> 05:12.110 Sent a bird's kidney to Scotland Yard once, wrapped in bit of violet writing paper. 05:12.280 --> 05:15.113 That'll do. I'm quite sure the lady doesn't want to hear any more about it. 05:15.280 --> 05:18.238 (Shaffer) We did research into the serial killer. 05:19.079 --> 05:24.312 In 1970, | don't think it was so prevalent a crime, 05:24.479 --> 05:29.712 and these serial killers are what are called “aggressive sexual psychopaths.” 05:30.800 --> 05:34.076 There are a lot of passive sexual psychopaths about. 05:34.239 --> 05:36.070 It's the aggressive ones you have to worry about, 05:36.240 --> 05:40.392 because they simply cannot control that impulse when it comes upon them. 05:40.560 --> 05:43.597 It was a very interesting character because little had been written 05:43.759 --> 05:47.149 about that kind of a character at the time. 05:47.319 --> 05:50.038 He fascinates us. He still does. 05:54.840 --> 05:57.195 (Man) Cheers, Squadron Leader. 05:57.959 --> 06:00.678 - Chin-chin. - Morning. 06:01.479 --> 06:04.357 It may come as something of a surprise to you, Blaney, but in this pub 06:04.520 --> 06:06.954 we sell liquor, we don't give it away. 06:07.120 --> 06:09.315 Still less do we expect our employees to steal it. 06:09.479 --> 06:11.754 - | was going to pay for it. - Oh, yeah, I'm sure you were. 06:11.919 --> 06:14.308 That's the last drink you're getting on this house. Get out. 06:14.480 --> 06:18.029 | told you | was going to pay for it. | always pay for my drinks. 06:18.199 --> 06:20.793 {Man) | think why Hitchcock asked me to play it was, 06:20.959 --> 06:24.315 at that moment, I hadn't had a big film released, 06:24.480 --> 06:28.189 but I'd just finished Macbeth for Roman Polanski, 06:28.360 --> 06:29.679 which was big news at the time. 06:30.400 --> 06:34.632 Hadn't opened. And, of course, | was gonna be cheap, you see. 06:34.800 --> 06:36.597 Now, it was a very cheap film, Frenzy. 06:36.759 --> 06:38.078 They didn't spend a lot of money. 06:38.240 --> 06:43.360 They didn't, for example, provide cars for anybody to go to the set or go to the studio. 06:43.520 --> 06:47.354 You just got your own taxi or you came on a bike or whatever you did. 06:47.520 --> 06:50.512 So, anyway, they asked me- just asked me to do it, see? 06:50.679 --> 06:52.510 They go through a book. You know, you got a casting director. 06:52.680 --> 06:56.355 Casting directors don't do a lot. | mean, there's not much they can do. 06:56.520 --> 06:59.080 But they say, "Well, this so-and-so. How about him?" 06:59.240 --> 07:02.391 And Hitchcock presumably said, "Yeah, | think he looks alright.” 07:02.560 --> 07:04.471 "What's he doing at the moment?” 07:04.640 --> 07:08.713 So suddenly my agent went, "Oh, yeah. Would you like, I'll get Roman Polanski?” 07:08.879 --> 07:11.074 Roman's doing everything down in Shepperton. 07:11.240 --> 07:14.073 He's saying, "I'l do anything. You wanna see the film?" 07:14.239 --> 07:16.833 "I'l show you rough cuts. I'll do this and do that." 07:16.999 --> 07:18.352 Hitchcock didn't want to see a frame. 07:18.520 --> 07:22.672 Nothing. But he said, "I've got to see whether he can act 07:22.840 --> 07:24.398 and what he looks like on film.” 07:24.560 --> 07:29.395 And my agent got a television movie that I'd done - simple thing shot in black and white 07:29.560 --> 07:31.676 in '69, 1 think it was - 07:31.999 --> 07:33.318 and showed it to him. 07:33.480 --> 07:35.232 So he said, "Yeah, he'll do." 07:35.400 --> 07:38.756 So | came to see him around the corner from the Dorchester, 07:38.919 --> 07:41.194 which is where we are now, 07:41.359 --> 07:43.919 and he said, "Jon, nice to see you." 07:44.079 --> 07:48.311 Ba-ba-ba-bom. I was, you know, like half in shock seeing the man anyway. 07:48.480 --> 07:51.836 ‘Do you like the script?” | said, "Yes, of course.” You know, as you do. 07:51.999 --> 07:56.993 And, uh, so he said, "I've seen the film that your agent showed me." 07:57.159 --> 08:00.310 "You can act. That's good. Would you like to do it?” 08:00.480 --> 08:03.916 "Yes, | would.” "0K. Let's go and have lunch.” 08:04.080 --> 08:05.672 And that was it. So it was done. 08:05.840 --> 08:08.593 And, |, you know - Of course | couldn't believe it. 08:08.760 --> 08:10.591 | was stunned. Absolutely stunned. 08:11.439 --> 08:14.397 - Don't let him talk to you like that. - | know. 08:14.560 --> 08:16.710 What are you gonna do, luv? 08:16.879 --> 08:19.313 | don't know. Another pub, perhaps. 08:19.480 --> 08:23.393 Are you alright? | mean, you just gave him back the ten quid you borrowed. 08:23.560 --> 08:28.429 | had to. He didn't think | had it. Don't worry. I've got a bit left. 08:28.600 --> 08:32.434 This is Covent Garden, not the garden of love. How 'bout starting work? 08:32.600 --> 08:34.192 Oh, get stuffed. 08:35.160 --> 08:38.869 (Woman) | went up, in fact, for the part of the secretary. 08:39.040 --> 08:41.076 I didn’t go up for Babs. 08:41.239 --> 08:43.548 And we went into this huge - 08:43.719 --> 08:48.076 | went alone - into this huge room in Piccadilly where he was doing the auditions. 08:49.480 --> 08:52.040 And he sat behind this desk. | sat down. 08:52.200 --> 08:54.668 And he started talking about deep refrigeration 08:54.840 --> 08:56.637 and how to make batter. 08:56.799 --> 09:00.838 There was this huge room he said he had in his house which was his fridge, 09:00.999 --> 09:04.514 and he told me how he made batter for batter pudding, 09:04.680 --> 09:07.433 and he kept it in this vast fridge. 09:07.600 --> 09:10.876 So | was completely mesmerised by this. Then he started talking about this barmaid. 09:11.040 --> 09:12.712 | was totally confused by this time, 09:12.879 --> 09:15.712 ‘cause he hadn't asked me to read for the secretary or anything. 09:15.879 --> 09:20.157 Anyway, this barmaid had to be quite short, 09:20.319 --> 09:21.877 and | found myself taking my shoes off. 09:22.040 --> 09:24.474 | don't know why, because | wasn't up for the barmaid. 09:24.639 --> 09:26.470 | was up for the secretary. 09:27.199 --> 09:29.474 Anyway, when I got up to go - I'd forgotten I'd taken my shoes off, 09:29.640 --> 09:33.679 so | had to put my shoes on - and he didn't say whether he wanted me or not. 09:33.840 --> 09:35.796 Nothing, and no script was given. 09:35.960 --> 09:41.080 And the next day, my agent rang, and said, "He wants you for the Cockney barmaid, Babs.” 09:41.239 --> 09:42.991 | said, "This is amazing." 09:43.160 --> 09:46.596 So | said, "Yes" to work with Hitchcock, of course. "Count me in.” 09:55.359 --> 09:56.712 - Hello, Dick. - Hello, Bob. 09:56.879 --> 09:58.995 | was just coming over for a quick one. 09:59.159 --> 10:01.753 Why aren't you polishing the sausages and watering the gin, 10:01.920 --> 10:04.957 or whatever it is you do there before opening time? 10:05.120 --> 10:07.509 | have just been given the push. 10:08.439 --> 10:11.749 What for? You weren't pissing in the beer again? 10:13.679 --> 10:17.957 {Man) I'd had a couple of successes in the West End on stage, 10:18.119 --> 10:22.829 and | was doing a play by David Mercer at the Criterion 10:22.999 --> 10:24.955 called After Haggerty, 10:25.720 --> 10:27.950 uh, with Billie Whitelaw. 10:29.480 --> 10:33.837 Someone said, "Oh, Alfred Hitchcock's in tonight.” 10:34.000 --> 10:35.513 "Oh, really. Mm-hmm." 10:35.679 --> 10:38.796 Uh, next morning, my agent said, 10:38.959 --> 10:42.315 ‘Mr Hitchcock would like to meet you at 100 Piccadilly.” 10:42.480 --> 10:48.112 So, along | went. He said, I'm making this picture about a murderer.” 10:48.280 --> 10:53.115 I'd like you to take the script away and tell me if you'd like to play it” 10:54.280 --> 10:56.748 So, well, the short story is 10:56.920 --> 11:01.869 he sent for a couple of books about a pretty well-known murderer we bad over here 11:02.040 --> 11:06.909 called Neville Clevely Heath, who masqueraded as a squadron leader. 11:07.720 --> 11:10.188 And | went off on a short holiday 11:10.359 --> 11:12.714 to read and came back and made the picture, 11:12.879 --> 11:16.792 and | always thought, when people asked, "How on earth did you get the part?” 11:16.960 --> 11:18.871 I said, "Well, he came to see the play.” 11:19.040 --> 11:21.270 It was halfway through shooting the picture. 11:21.439 --> 11:26.877 | was talking with his personal assistant, Peggy Robertson, 11:27.040 --> 11:31.909 and she said, "Oh, no, no, no. That isn't how you got the part.” 11:32.080 --> 11:35.914 Um, what happened was that I'd made a film a few years earlier 11:36.079 --> 11:38.673 called Twisted Nerve. 11:38.839 --> 11:41.034 Again with Billie Whitelaw. 11:41.200 --> 11:44.033 And this picture, in almost all the notices, 11:44.199 --> 11:47.714 they referred to it as sort of having 11:47.880 --> 11:49.791 a Hitchcock flavour to it, 11:49.959 --> 11:53.395 and, apparently, seeing me in the part | played in that, 11:53.559 --> 11:57.996 that decided him | would be OK for Bob Rusk in Frenzy. 11:58.160 --> 12:03.234 So, that's how wrong you can be about, uh, where you got where you did. 12:03.879 --> 12:06.871 Here you are. Take one of these back to your girlfriend Babs. 12:07.040 --> 12:10.669 Get her to peel you one. "Beulah, peel me a grape.” 12:10.840 --> 12:13.149 That's what my ol' mum used to say when | was a kid. 12:13.319 --> 12:15.549 - Well, at least you won't starve to death. - {Chuckles} 12:16.079 --> 12:18.798 (Shaffer) Food is continuously used in the movie. 12:18.959 --> 12:22.998 Look at the package of grapes that he is given at the beginning of the picture. 12:23.160 --> 12:28.712 He is completely broke, he cannot back the horse that Rusk has tipped him, 12:28.880 --> 12:32.270 and so he takes it out on the grapes. 12:32.440 --> 12:34.590 Twenty to one! 12:34.760 --> 12:37.354 Twenty to bloody one! Christ! 12:37.720 --> 12:39.312 Damn it to hell! 12:46.119 --> 12:49.475 (Man) Now turn. Go. 12:50.799 --> 12:53.233 - Better go faster than me, Paul. - Now, he's pretty furious. 12:53.400 --> 12:56.312 He's just flung the grapes on the floor previously. 13:00.999 --> 13:03.308 (Finch) He'd say, "Do you want to run the jokes?” 13:03.480 --> 13:06.995 Which is an old English way of saying, "Do you want to rehearse?” 13:07.160 --> 13:10.232 He'd say, "Does Jon want to run the jokes?” 13:10.400 --> 13:12.516 "| think he wants to run - Do you want to run the jokes, Jon?" 13:12.679 --> 13:16.228 I'd say, "I wouldn't mind." It does help, you know, get through, 13:16.400 --> 13:18.311 especially in, maybe, a bit of a wide shot, 13:18.480 --> 13:22.075 you know, where you've got more than two lines of dialogue. 13:22.240 --> 13:25.596 You're new here, aren't you? 13:25.759 --> 13:28.034 I've been here for over a year now. 13:28.199 --> 13:30.667 - What can | do for you, sir? - You can inform Mrs Blaney 13:30.840 --> 13:34.355 that one of her less successful exercises in matrimony has come to see her. 13:34.519 --> 13:37.795 - And who shall | say is calling? - Mr Blaney. 13:37.959 --> 13:40.553 So you do it. They say, "Right?" You say, "Yeah, of course.” 13:40.720 --> 13:43.792 "Alright." Shoot it. Bang. You just do it like that. 13:43.960 --> 13:46.076 But, of course, because it was Hitchcock, 13:46.239 --> 13:48.309 you didn't worry about it that much. 13:48.879 --> 13:52.394 - What's the matter? - Oh, I'm sorry. 13:52.559 --> 13:55.835 I've had a bad day, that's all. | lost my job. 13:56.999 --> 13:58.637 How? 13:58.799 --> 14:01.359 | got fired, that's how. What do you think, | mislaid it? 14:01.920 --> 14:06.471 He hired the actors the same way he hired the stage carpenter - 14:06.639 --> 14:09.995 on the assumption that they knew their job, they knew what to do. 14:14.920 --> 14:16.797 Oh, it's you again, Mr Robinson. 14:16.959 --> 14:19.757 Yes. I'm afraid so. 14:19.920 --> 14:22.434 So rehearsal was minimal. 14:22.600 --> 14:24.238 But on the other hand, 14:24.400 --> 14:29.394 the buildup to the rape and murder scene with Barbara - 14:29.559 --> 14:32.153 You're the one | wanted to see. 14:32.960 --> 14:34.916 (Foster) There | was completely free. 14:35.079 --> 14:38.594 He'd set up the camera for the scene, 14:38.759 --> 14:41.910 and | remember saying, "Well, I'd like to walk around there, 14:42.079 --> 14:45.833 and pull the file out and slam it back,” or do whatever he did. 14:45.999 --> 14:47.318 And he said, "That's fine. 0K." 14:47.480 --> 14:52.110 "Uh, we'll move the camera, accommodate what, uh, 14:52.280 --> 14:54.032 Mr Foster wants to do.” 14:54.200 --> 14:58.113 Absolutely no problem. Absolute freedom 1 felt. 14:58.280 --> 14:59.633 | like you. 15:03.959 --> 15:07.031 You're my type of woman. 15:12.920 --> 15:16.833 (Foster) The rape and murder scene with Barbara Leigh-Hunt 15:16.999 --> 15:19.069 took three days to shoot. 15:19.239 --> 15:20.991 15:22.080 --> 15:25.436 Before we started, we had Hitch's storyboard, 15:25.799 --> 15:27.118 15:27.280 --> 15:30.477 which is an incredibly helpful thing for the actor. 15:32.840 --> 15:37.356 Fortunately, it involved chopping up the action into short 15:38.840 --> 15:42.196 and intense sequences. 15:42.359 --> 15:47.353 Take the money out of my bag, but please leave me alone! 15:47.480 --> 15:49.277 There's a mid-shot of the two of us, 15:49.439 --> 15:51.999 Barbara splayed out on her swivel chair, 15:52.160 --> 15:54.230 (Whimpering) Please. 15:54.399 --> 15:55.912 me on top of her. 15:56.079 --> 15:58.798 We got to get through two or three lines, 15:58.960 --> 16:00.951 mostly hers, of course, protesting. 16:01.120 --> 16:04.556 There's enough money there to buy any woman you want. It's yours. 16:04.720 --> 16:06.517 Take it. Just take it! 16:06.679 --> 16:08.988 There might have been six or seven takes of that. 16:09.159 --> 16:12.037 That was extremely distressing. 16:12.760 --> 16:15.115 Don't tear my dress. 16:15.960 --> 16:20.078 (Foster) The flashes of nudity, of the breasts and so on, 16:20.239 --> 16:22.548 ere done by a professional model. 16:23.920 --> 16:25.638 Lovely! 16:26.759 --> 16:28.477 Lovely! 16:28.640 --> 16:31.632 It's not at all pleasant, doing that stuff. 16:31.799 --> 16:35.872 Women! They're all the same. 16:36.359 --> 16:38.919 My God! The tie! 16:39.640 --> 16:42.598 (Screaming, Gasping} 16:42.759 --> 16:45.592 (Foster) The tie, of course, is pre-tied 16:45.759 --> 16:48.148 and stitched so it can't move. 16:48.319 --> 16:50.196 Help me! 16:50.359 --> 16:52.919 | can do all this... 16:53.080 --> 16:55.719 till the cows come home, just as you'd have to do on stage. 16:56.960 --> 16:58.951 All the work is being done by the actress. 17:03.280 --> 17:05.669 We would just console each other. 17:05.839 --> 17:08.672 "Just another day and a half and we'll be through with this.” 17:15.519 --> 17:18.670 {Panting) 17:33.559 --> 17:35.789 She sticks her tongue out, as Hitch asked her to, 17:35.959 --> 17:38.996 and the effect is genuinely horrendous. 17:43.680 --> 17:48.470 Hitch did experiment with having an extremely close lens 17:48.640 --> 17:52.758 to her mouth, getting through makeup, saliva and blood. 17:52.920 --> 17:57.232 Hitch, | think, was trying to plumb the ultimate in horror there. 17:57.399 --> 18:00.709 And | saw it in, uh, rushes. 18:00.879 --> 18:05.669 1 said to Mr Hitchcock, "I don't think you should use that scene.” 18:05.839 --> 18:06.908 He said, "Why not?” 18:07.079 --> 18:09.877 | said, "Because it's disgusting.” 18:10.120 --> 18:12.315 "Nonsense, dear boy,” was his response, 18:12.479 --> 18:16.313 and he put it in the very first rough assembly of the film. 18:16.479 --> 18:18.674 He had taken it out by the time we got to the second assembly. 18:28.040 --> 18:30.190 (Shaffer) This was all part of setting up 18:30.359 --> 18:33.635 the framing of the wrong man. 18:33.800 --> 18:37.429 This was a key moment in the film, 18:37.599 --> 18:40.272 and for this act of synchronicity, 18:40.440 --> 18:43.193 if ever a man was in the wrong place at the wrong time, 18:43.359 --> 18:45.668 it's Blaney. 18:48.400 --> 18:51.198 We spent quite a long time looking for that location, 18:51.359 --> 18:56.877 because it had to have a number of streets that actually intersected. 18:58.360 --> 19:01.272 The light's a little too dark at the moment. 19:01.439 --> 19:04.954 Going to wait a minute. Would you like to rehearse it again? 19:05.119 --> 19:06.837 Yes, | don't see why not. 19:07.000 --> 19:09.389 - (Man) It's a timing thing. - (Hitchcock) Sure it is. 19:09.560 --> 19:11.755 Can we have the governor's chair here please, while we rehearse this? 19:11.920 --> 19:13.797 - I'll do without it. - Oh, it's there. 19:16.000 --> 19:18.355 {Man On Loudspeaker) Alright, Paul? Alright. 19:18.520 --> 19:20.715 Background action and... action. 19:31.640 --> 19:34.712 You've got to face the camera the whole time, 19:34.880 --> 19:38.077 until the very end, when she goes by the camera, 19:38.239 --> 19:41.914 and you pan ‘round with her, and she goes in this door. 19:42.079 --> 19:45.116 But she's full face the whole time. 19:45.279 --> 19:49.875 She'll look off. She'll be profile when she looks off down the alley. 20:12.520 --> 20:16.035 (Shaffer) Hitch was not afraid to hold that shot 20:16.200 --> 20:17.679 where nothing happened. 20:17.839 --> 20:21.036 Nothing happens at all, but you know what is going to happen 20:21.200 --> 20:25.159 because, obviously, the secretary is going to find 20:25.320 --> 20:27.151 the murdered woman. 20:29.320 --> 20:31.436 (Monica Screaming) 20:33.839 --> 20:37.036 {Monica) | saw him clear as day. It was Blaney, alright. 20:37.200 --> 20:40.397 He came out of the door downstairs and walked down the alley. 20:40.560 --> 20:42.232 The beast. 20:42.400 --> 20:46.598 (Foster) Blaney's wife's secretary, who's played by Jean Marsh - 20:46.759 --> 20:49.068 It was a stroke of genius to make her look so 20:49.239 --> 20:52.276 dowdy and dull and spinsterish 20:52.440 --> 20:54.158 and obviously very repressed. 20:54.320 --> 20:57.153 Because Jean was then, and still is, 20:57.320 --> 21:01.359 an extremely beautiful, vivacious, marvellous woman. 21:04.239 --> 21:05.831 Thank you. 21:10.159 --> 21:12.673 (Massey) At the Coburg Hotel, when Jon Finch and | 21:12.839 --> 21:15.399 went in for an amorous encounter, 21:15.560 --> 21:17.790 the lady at the desk, 21:17.959 --> 21:22.032 the hall porteress was Elsie Randolph, the famous actress. 21:22.200 --> 21:26.591 Would that be with two singles, or the matrimonial-size bed? 21:26.759 --> 21:29.637 The, uh, mat- double bed, please. 21:29.800 --> 21:32.792 Yes. | see. 21:32.959 --> 21:36.429 {Massey) She was in Rich and Strange, which Hitch directed in 1932. 21:36.599 --> 21:41.275 So they were old friends. He surrounded himself by people he liked and remembered. 21:41.599 --> 21:44.318 (Bottles Rattling) 21:47.440 --> 21:51.672 (Finch) The idea of showing a naked woman getting out of bed and then putting on socks 21:51.839 --> 21:56.549 is a wonderful piece of writing/direction combined. 21:56.719 --> 21:59.756 There's no deep significance to it. It just - You know. 21:59.919 --> 22:02.831 The girl gets out of bed. "It's gonna be cold.” Puts on socks. Simple. 22:04.800 --> 22:08.270 {Massey) At my interview, and certainly when I had other meetings with Hitch, 22:08.440 --> 22:12.911 he never said, "Do you mind stripping in the bedroom scene?” 22:13.079 --> 22:16.754 I'd assumed that I'd be doing it, but the double did it 22:16.919 --> 22:20.594 So, when you cut away, and this nude figure just wearing socks, 22:20.759 --> 22:23.671 goes into the bathroom, that's not me. 22:30.800 --> 22:34.315 (Blaney) Barbara, | swear I'm telling the truth, 22:34.479 --> 22:36.868 Now, do | look like a sex murderer to you? 22:37.440 --> 22:39.670 Can you imagine me creeping around London, 22:39.839 --> 22:42.399 strangling all those women with ties? 22:42.560 --> 22:46.473 That's ridiculous. For a start, | only own two. 22:50.160 --> 22:53.436 (Shaffer) | think Truffaut it was who said that Hitchcock 22:53.599 --> 22:56.716 made the same film many, many times, 22:57.560 --> 23:02.793 by which he meant that his formula was that a man, unjustly accused, 23:02.959 --> 23:06.998 runs and thus further incriminates himself. 23:07.160 --> 23:09.754 And Frenzy is one of those pictures. 23:09.920 --> 23:13.913 It's a middle-cut Hitchcock movie in that sense. 23:14.919 --> 23:18.229 We haven't seen you in ages, Dick. How's Brenda? Do you still hear from her? 23:21.920 --> 23:24.559 Well, uh, she's dead, I'm afraid. 23:24.719 --> 23:26.437 Yes. 23:27.320 --> 23:29.311 And you killed her! 23:29.839 --> 23:31.795 (Man) Alright, rehearsal bell. 23:32.679 --> 23:34.988 (Hitchcock) You know her very well. 23:35.680 --> 23:37.557 Something's up. 23:37.719 --> 23:41.394 Uh, on the other hand, Anna, 23:41.560 --> 23:43.710 you don't know her. 23:43.879 --> 23:45.631 (Massey) He was most respectful. Terribly kind. 23:45.799 --> 23:49.030 If you were in trouble, you could ask him anything. 23:49.200 --> 23:51.111 If you didn't understand how to play a scene, 23:51.280 --> 23:53.953 if you wanted a line changed, which sometimes we did - 23:54.680 --> 23:57.353 - May | say this? This has been put here. - Yes. 23:57.520 --> 24:00.353 It's fairly crucial later on. | don't know whether that's meant to be here. 24:00.520 --> 24:02.476 Wait a minute. 24:02.639 --> 24:05.312 A handbag with gloves 24:05.479 --> 24:08.073 have been placed in a strategic position. 24:08.239 --> 24:10.514 We were going to ask you before where you would like them. 24:10.679 --> 24:13.352 She says she's going shopping at the end, doesn't she? 24:13.519 --> 24:16.511 Yes, but a woman like that would leave 24:16.679 --> 24:19.477 her handbag and gloves in the bedroom. 24:19.639 --> 24:24.793 They would be on the dressing table if she went shopping... 24:24.959 --> 24:27.598 - or fishing. - (Man Chuckles) 24:27.760 --> 24:32.311 I used to write notes every single night to his secretary, Peggy. 24:32.479 --> 24:34.197 Oh, yes. Sure. 24:32.479 --> 24:36.267 (Finch) And he was very good. Most of the time he'd say, "Alright. Correct it.” 24:38.319 --> 24:41.231 He wasn't annoyed that I'd pointed out, 24:41.400 --> 24:44.278 maybe, a syntactical error or something like that. 24:44.440 --> 24:47.432 He did say once, "Jon, | said you could make alterations.” 24:47.599 --> 24:50.318 "| didn't say you could rewrite the whole script.” 24:50.479 --> 24:52.356 Which | was trying to do, | must have been. 24:53.079 --> 24:54.558 (Hitchcock) Action. 24:54.719 --> 24:57.279 # (Whistling) 25:00.599 --> 25:03.432 (Foster) Frenzy was shot almost entirely 25:03.599 --> 25:07.592 in Pinewood Studios in sets built in the studios. 25:07.759 --> 25:10.796 Things like the inter- the office 25:10.959 --> 25:13.996 where the famous murder took place. 25:14.159 --> 25:16.832 The interior of the pub and so on. 25:18.200 --> 25:21.078 The rest of it was shot mainly 25:21.240 --> 25:23.037 in Covent Garden itself. 25:30.680 --> 25:33.194 (Foster) Covent Garden was then the fruit and vegetable 25:33.359 --> 25:35.793 and floral market for London. 25:40.719 --> 25:44.268 (Shaffer) It's a very London film, and I know he wanted to make that. 25:44.440 --> 25:49.116 I think he thought - whether he thought rightly or wrongly is another matter - 25:49.279 --> 25:51.668 that people thought that he had rather sold out 25:51.839 --> 25:54.273 and gone to live in Hollywood. 25:54.440 --> 25:58.433 I personally don't think that he would have been the world success he became 25:58.599 --> 26:01.511 had he stayed here in England. 26:04.959 --> 26:07.951 Here is the scene of another horrible murder. 26:08.119 --> 26:12.590 This is the famous London wholesale fruit and vegetable market- 26:12.759 --> 26:14.158 Covent Garden. 26:14.320 --> 26:16.959 Here you may buy the fruits of evil, 26:17.119 --> 26:20.907 and the horrors of vegetables. 26:21.079 --> 26:23.274 I've heard of a leg of lamb, 26:23.440 --> 26:27.274 a leg of chicken, but never a leg of potatoes. 26:27.959 --> 26:30.632 (Shaffer) When we were filming in Covent Garden, 26:30.799 --> 26:35.111 a curious thing took place that a very old man came up to him. 26:35.279 --> 26:37.509 | remember security men running in very quickly 26:37.679 --> 26:40.477 because you know what goes on these days, or even in those days. 26:40.639 --> 26:43.073 It wasn't quite as bad, but nonetheless - 26:43.240 --> 26:46.994 And he said, "| remember your father here in the market.” 26:47.959 --> 26:52.237 (Woman) His father was a very well-off, uh... green grocer. 26:53.639 --> 26:57.996 He had a chain of stores, you know, where he sold fish, 26:58.160 --> 27:01.755 and green grocery and all that, so he grew up with this. 27:02.839 --> 27:04.670 (Shaffer) Hitchcock was delighted, of course. 27:04.839 --> 27:07.228 He said, "Leave him alone,” sat him down, 27:07.400 --> 27:10.039 had a long talk with him about his dad, 27:10.200 --> 27:12.555 gave him a great meal and sent him on his way. 27:12.719 --> 27:18.191 It's a nice touch, but he was finding and feeling his roots as they had been. 27:22.679 --> 27:24.237 (Massey) He had a crack team. 27:24.399 --> 27:27.596 You know, fabulous operator. Fabulous Gil Taylor. Fabulous lighting. 27:27.759 --> 27:31.718 (Finch) He had great fun with the cameramen, especially the camera operator. 27:31.879 --> 27:34.757 He used to say, uh, "One button up so,” or something like that. 27:34.920 --> 27:37.309 He'd be that precise. He'd know. 27:37.479 --> 27:39.834 Whatever lens you put on, he could tell exactly what 27:39.999 --> 27:43.753 the end result was gonna be in the camera. 27:43.920 --> 27:45.433 The sooner that madman'’s behind bars, the better. 27:45.599 --> 27:47.555 Don't you talk about him like that! 27:47.719 --> 27:49.835 Listen! You don't realise how lucky you are to be alive. 27:49.999 --> 27:53.992 Christ Almighty, Babs! If | wasn't shorthanded, I'd take you to Scotland Yard myself. 27:54.160 --> 27:57.311 - As it is, right after closing time - - | won't be here! 27:57.479 --> 27:59.390 - Stuff your job right up your jacksie! - Come back! 27:59.560 --> 28:01.118 Oh, balls! 28:01.280 --> 28:05.637 (Massey) When | come out of the pub, Paul, the camera operator, 28:05.799 --> 28:10.190 said to Hitchcock, "Where do you want to cut this shot?” 28:10.359 --> 28:14.318 Hitch said, "Two inches above her hem,” or | don't know what he said, 28:14.479 --> 28:16.595 but anyway he said something technical. 28:16.760 --> 28:20.594 We did the take, and Hitch was sitting at a really weird angle, 28:20.759 --> 28:22.477 because he had to be away from the camera. 28:23.079 --> 28:27.038 And he said to Paul, "You were an inch out, weren't you, on the cut - 28:27.200 --> 28:28.997 Where you cut on her skirt?” 28:29.160 --> 28:33.199 And Paul said, "How did he know, sitting from that angle?” And he did. 28:33.359 --> 28:36.829 His eye was so acute. 28:39.479 --> 28:42.596 - Got a place to stay? - Oh, it's you, Bob. 28:42.760 --> 28:46.878 (Foster) When she turns around, and there | am behind her, how did he do it? 28:47.039 --> 28:48.836 Well, it's quite simple. 28:49.000 --> 28:53.152 I'm just crouching, uh, just below the camera 28:53.320 --> 28:54.958 like a little urchin. 28:55.119 --> 28:57.269 Anna hits her mark. | come up behind her. 28:57.440 --> 29:00.671 The camera lens can't see me until she moves. 29:01.560 --> 29:05.951 | think, was it Truffaut who said to Hitchcock, after he saw it, 29:06.120 --> 29:07.599 "It's a young man's picture.” 29:07.760 --> 29:10.957 By that he meant it's a film with a lot of experimentation, a lot of risks. 29:11.120 --> 29:13.509 There's that moment when Anna Massey's walking into the street 29:13.680 --> 29:16.194 and all the sound goes away. 29:18.359 --> 29:23.831 That's unusual to do that. You have to have nerve to pull something off like that. 29:24.639 --> 29:28.678 You can stay at my place till you get something sorted out, if you want. 29:28.839 --> 29:31.478 | won't be in your way. I'm going up north for a few days. 29:31.639 --> 29:34.631 - No strings? - Now, do | look like that sort of a bloke? 29:34.800 --> 29:37.712 - All blokes are that sort of a bloke. - {Chuckles} 29:37.879 --> 29:40.188 (Shaffer) When we had done the first murder, 29:40.359 --> 29:45.717 it's a pretty graphic account of a rape and strangulation, 29:45.879 --> 29:48.188 and | didn't see any point in repeating ourselves. 29:48.959 --> 29:52.793 And so | introduced a phrase into the first murder. 29:53.440 --> 29:56.477 You're my type of woman. 29:58.280 --> 30:01.590 | said to Hitch, "Let's not see another murder.” 30:03.399 --> 30:08.075 Why don't we just have the murderer take her up to his apartment, 30:08.239 --> 30:10.799 open the door for her, and say, 30:10.959 --> 30:13.757 "You're my kind of woman” and close the door. 30:13.920 --> 30:18.550 | don't know if you know it, Babs, but you're my type of woman. 30:20.200 --> 30:24.079 We know exactly what is happening behind that closed door, 30:24.240 --> 30:27.073 and there's a wonderful shot that follows that. 30:27.239 --> 30:30.788 It's what Hitch called his "Good-bye to Babs.” 30:30.959 --> 30:35.714 The camera retreats and down a narrow, twisting staircase. 30:35.880 --> 30:40.317 (Foster) Along the hallway and out into the street. 30:40.479 --> 30:44.392 And I think it's a fairly well-known cinema trick. 30:44.959 --> 30:47.519 In the studio, 30:47.680 --> 30:50.638 we had the stairway built. 30:50.800 --> 30:56.557 The U-shaped stairway, and with a railway for the, uh, cradle, 30:56.719 --> 30:58.994 with the operator and the camera 30:59.160 --> 31:03.915 sitting in the cradle so that he's coming down and 'round the "U", 31:04.079 --> 31:08.357 and back down the stairs, along the hallway, 31:08.520 --> 31:11.432 and as the camera clears the lintel of the front door, 31:11.599 --> 31:13.476 which was built in the studio, 31:13.639 --> 31:18.030 an extra dressed like a Covent Garden porter with a huge sack of potatoes 31:18.200 --> 31:19.519 wipes the screen. 31:19.680 --> 31:21.875 Go out to location in Tavistock Street, 31:22.039 --> 31:26.317 have the man walk across and wipe the screen with the potato sack 31:26.479 --> 31:28.310 and track back. 31:28.479 --> 31:32.108 Cue pedestrians, cue the cyclists, cue the cars, 31:32.280 --> 31:35.431 and it seems to be an uninterrupted sequence. 31:36.719 --> 31:38.710 {Bogdanovich) Late in his career, Hitchcock was, you know, 31:38.880 --> 31:40.598 working on all cylinders, 31:40.759 --> 31:44.354 and that he was able to bring 31:44.520 --> 31:48.115 an enormous amount of creativity and excitement 31:48.280 --> 31:50.396 even, basically, at the end of his career. 31:56.599 --> 31:58.590 (Grunting) 32:05.079 --> 32:06.990 (Massey) He suddenly realises 32:07.160 --> 32:10.869 that the tie pin is in my clenched hand. 32:11.040 --> 32:13.952 The audience could not possibly have gathered that 32:14.120 --> 32:16.759 without a flashback sequence 32:16.920 --> 32:19.275 which Hitchcock storyboarded. 32:31.440 --> 32:33.795 Christ all-bloody-mighty! 32:48.920 --> 32:51.639 I knew from the start that | wasn't going to have to go in the potato sack, 32:51.800 --> 32:55.998 other than the close-up on my face, but | was never in the truck. 32:56.800 --> 32:59.189 Uh, they always had a double for that. 33:06.400 --> 33:10.279 (Foster) The potato lorry sequence was another three-day affair, 33:10.440 --> 33:14.035 though very much more lighthearted and bearable 33:14.200 --> 33:17.431 than the three days of rape and murder. 33:20.159 --> 33:23.515 It was something like 114 cuts. 33:24.800 --> 33:26.995 There again, how useful the storyboard was, 33:27.160 --> 33:31.631 because, uh... I'm scrabbling away, and all of a sudden 33:31.800 --> 33:35.190 this bare foot comes and hits me in the jaw. 33:35.359 --> 33:38.510 And, of course, Hitch's drawing was, 33:38.679 --> 33:40.431 uh, you know, quite grotesque, 33:40.599 --> 33:44.387 which immediately told the actor he wants a laugh there. 33:44.559 --> 33:47.312 Amidst all this gruesome business, 33:47.479 --> 33:48.798 the audience will laugh. 33:54.800 --> 33:59.351 That was the model's hand when 1 finally found the tie pin. 34:00.920 --> 34:03.798 Given the right sound effects, you could just... 34:05.359 --> 34:06.678 do that. 34:06.839 --> 34:09.114 If you've got the right sound effects, 34:09.279 --> 34:11.235 you'll think that really is a broken finger. 34:11.919 --> 34:13.671 (Bone Cracks} 34:15.639 --> 34:18.597 It was a very dusty, messy business, 34:18.760 --> 34:20.910 but on the whole most enjoyable 34:21.080 --> 34:24.550 and a most instructive three days. 34:25.680 --> 34:29.514 - (Siren Wailing) - ## (Whistling) 34:29.679 --> 34:31.431 (Siren Wailing) 34:31.600 --> 34:34.034 (Brakes Squealing} 34:36.159 --> 34:38.798 - {Lorry Driver) Who is it? - (Police) Perhaps you can tell us. 34:38.960 --> 34:41.030 You strangled her like all the others! 34:41.199 --> 34:43.838 (Blaney) I'm sorry, Bob, but | had nowhere else to go. 34:44.000 --> 34:46.468 You'd better hole up in my place for a day or two till we get something sorted. 34:49.959 --> 34:53.395 - Are you Richard lan Blaney? - Rusk! 34:53.560 --> 34:55.630 - It's Rusk! - You know what they say, Sarge. 34:55.800 --> 34:57.119 Virtue is its own reward. 34:57.719 --> 35:01.155 - Are you agreed upon your verdict? - We are. 35:01.319 --> 35:05.358 (Shaffer) We, the audience, know what has happened, We know why he's there. 35:05.520 --> 35:08.717 There is a courtroom, there is a judge, and there is the fellow in the box. 35:08.880 --> 35:10.791 You don't need to do more than that 35:12.000 --> 35:14.150 One thing we don't know is what sentence he's going to get. 35:14.319 --> 35:17.038 That's the one piece of information we're given when the door finally opens. 35:17.199 --> 35:18.518 That's all you need. 35:19.159 --> 35:22.788 ...lan Blaney, you have been found guilty of a terrible crime. 35:23.399 --> 35:25.959 (Shouting) Rusk, where are you? 35:26.560 --> 35:28.232 One of these days, you bastard! 35:29.399 --> 35:30.718 (Blaney's Voice) Rusk, where are you? 35:31.279 --> 35:35.352 Rusk! One of these days I'm gonna get out and kill you, you bastard! 35:35.520 --> 35:40.275 (Shaffer) The difference between the novel and the movie script 35:40.439 --> 35:43.351 is that we added a lot of comedy noir, 35:44.080 --> 35:46.594 which Hitch was always very fond of. 35:46.759 --> 35:51.549 And in particular, in those scenes of exposition, 35:51.720 --> 35:54.792 where the detective, Alec McCowen, 35:54.959 --> 35:57.154 is brought to realise 35:57.320 --> 36:00.676 that, on the basis of a lot of circumstantial evidence, 36:00.840 --> 36:03.798 he has arrested the wrong man who is currently in jail. 36:03.960 --> 36:08.351 And how does he come to realise that he has made that mistake? 36:08.519 --> 36:10.635 So the way to do it, | thought, 36:10.800 --> 36:13.189 was to do it as comedy. 36:13.359 --> 36:18.513 And the comedy comes, of course, from his wife, played by Vivien Merchant, 36:18.680 --> 36:20.910 who is a gourmet cook. 36:21.080 --> 36:25.631 And she keeps giving him the most repulsive and inedible meals. 36:26.759 --> 36:30.069 - It looks like a pig's foot. - That's what it is. 36:30.240 --> 36:33.630 Quail with grapes. 36:33.800 --> 36:38.510 - What exactly is in this soup? - It's a soupe de poisson, dear. 36:38.680 --> 36:41.513 - | know you'll enjoy it. - It's delicious. 36:41.679 --> 36:43.954 And he is struggling desperately, | think, 36:44.120 --> 36:47.510 with a pig's trotter or knuckle of pork or something like that, 36:47.680 --> 36:51.878 whilst reprising the entire deductive plot. 36:52.040 --> 36:55.749 (Mrs Oxford) What would he want to take the corpse out of the sack for? 36:55.919 --> 36:57.989 Obviously, he was looking for something. 36:58.159 --> 37:00.514 How do we know that? 37:00.679 --> 37:02.829 Well, the corpse was deep in rigor mortis. 37:03.000 --> 37:06.675 He had to break the fingers of the right hand to retrieve what they held. 37:10.159 --> 37:12.150 Even if you're laughing and you don't hear it, 37:12.319 --> 37:16.358 no one can complain later that there's a big hole in the picture. 37:16.520 --> 37:21.833 Because how did the detective suddenly realise that he had made a mistake? 37:22.000 --> 37:26.073 The audience have been actually told word by word. 37:26.239 --> 37:29.595 The only place our man could have escaped from that truck was at that cafe. 37:29.760 --> 37:34.311 | sent Sergeant Spearman to find anyone who could remember Rusk being there. 37:34.479 --> 37:38.438 Well, eat up, dear. You'll want to be finished by the time he arrives. 37:39.479 --> 37:41.993 Tasty, very tasty. 37:42.159 --> 37:43.877 Not a lot of meat on it, mind. 37:44.800 --> 37:46.358 No sense in gorging, dear. 37:46.520 --> 37:51.150 I'll take mine and eat it while I'm beating up my egg whites for the souffle. 37:51.319 --> 37:53.549 - {Doorbell Rings) - (Shaffer) It does seem to me 37:53.719 --> 37:58.315 that we had our cake and ate it, for once, which is always nice. 37:59.280 --> 38:01.999 Rather looks like we put the wrong man away this time. 38:02.159 --> 38:05.629 What do you mean, "we"? You put him away. 38:09.199 --> 38:10.518 (Guard) Get the doctor, quick. 38:14.679 --> 38:16.397 (Man} They've given him all their sleeping pills. 38:17.519 --> 38:20.272 I'm off. Blaney's escaped, and | bet | know where he's gone. 38:24.880 --> 38:28.156 (Shaffer) 1 think what we wanted to do was 38:28.319 --> 38:31.595 extend to the last possible moment 38:31.759 --> 38:35.354 the fact that our hero is in danger - 38:36.959 --> 38:39.871 that he's a loser; that he cannot win this one. 38:40.040 --> 38:45.398 He, uh... hits this creature in the bed, believing it to be Rusk, on the head. 38:50.320 --> 38:51.833 The arm falls out of the bed. 38:52.000 --> 38:54.912 We realise it's not a man at all. It's a woman. 38:56.399 --> 39:00.756 Just another victim of the Necktie Murderer. 39:01.360 --> 39:05.717 In the book, we have a different victim in the last scene. 39:05.880 --> 39:11.238 The secretary of Blaney's wife in the matrimonial agency is the victim, 39:11.399 --> 39:16.154 and in the film we have an anonymous lady 39:16.320 --> 39:18.311 who we never met before. 39:26.800 --> 39:30.315 The last scene of the picture 39:30.479 --> 39:34.950 is one of the few occasions 1 had direction from Hitch. 39:35.360 --> 39:38.158 {Thumping Noise) 39:40.040 --> 39:43.476 (Foster) I drag up this huge trunk 39:43.639 --> 39:45.436 up into my apartment. 39:46.679 --> 39:48.795 I get it through the door, 39:48.959 --> 39:54.238 and waiting in my room is the chief inspector of the police. 39:59.880 --> 40:02.997 And | sort of... 40:03.159 --> 40:07.630 dropped my head or something - something corny. 40:03.159 --> 40:06.037 And Hitch said, "Don't drop your head.” 40:10.840 --> 40:14.071 He says, "That is the last thing a serial murderer 40:14.239 --> 40:17.549 is going to do, as it were, admit defeat.” 40:17.720 --> 40:21.474 So he said, "Just don't - don't drop your head.” 40:21.639 --> 40:22.833 "Drop the trunk, but don't drop your head.” 40:25.719 --> 40:27.835 Mr Rusk. 40:28.919 --> 40:31.797 You're not wearing your tie. 40:32.679 --> 40:34.158 40:49.199 --> 40:50.917 (Bogdanovich) The music in Frenzy is good. 40:51.080 --> 40:54.834 It's one of the best scores he had without Bernard Herrmann. 40:57.519 --> 41:02.070 Henry Mancini, I think, did the original score, and then was let go. 41:02.239 --> 41:05.754 # (Organ Playing. Eerie Melody) 41:05.919 --> 41:08.911 41:09.079 --> 41:12.071 41:27.600 --> 41:30.990 He brought Ron Goodwin in after letting Mancini go, 41:31.159 --> 41:32.956 and 1 think he did a very good job. 41:33.120 --> 41:36.112 # (Triumphal Orchestration) 41:36.280 --> 41:39.272 41:43.720 --> 41:46.234 {Bogdanovich) It's the return to England, too, that Hitch 41:46.399 --> 41:48.867 probably infused that in the composer. 41:49.040 --> 41:53.238 There's a certain kind of nostalgia that Hitch must have felt 41:53.399 --> 41:56.357 that comes across in the score. 41:56.520 --> 42:00.069 Let's go, please. First positions, straight away. 42:00.240 --> 42:02.435 (Finch) He was a revered character. 42:02.600 --> 42:04.989 He's one of the greatest names in, uh, 42:05.159 --> 42:09.311 in 20th-century history, let alone the film industry. 42:09.480 --> 42:14.076 They should turn and look out, and then down. 42:14.240 --> 42:17.118 (Foster) 1 thought it was right up there 42:17.280 --> 42:18.793 in terms of his later work 42:18.959 --> 42:22.031 inasmuch as it had chasing the wrong man, 42:22.199 --> 42:24.713 the amusing villain, 42:24.880 --> 42:27.155 and the discussion of married life, 42:27.320 --> 42:29.595 and its ups and downs. 42:29.760 --> 42:32.320 It's a very brutal film, but it's 42:32.479 --> 42:34.515 {full of things he loves, 42:34.680 --> 42:37.797 like food and London. 42:37.959 --> 42:41.838 It's a very loving portrayal of the Covent Garden Market, 42:41.999 --> 42:44.467 because now that's moved over to Nine Elms in Battersea, 42:44.639 --> 42:47.836 and we knew that Covent Garden wasn't going to be there forever, 42:47.999 --> 42:49.796 and Barry and | remember saying to one another 42:49.959 --> 42:54.316 this will be a very exclusive piece of film. 42:59.399 --> 43:02.789 (Shaffer) By putting him in London with Frenzy, 43:02.959 --> 43:06.076 in touch with his roots, and by telling the story - 43:06.239 --> 43:11.791 when | say an old-fashioned way, | mean a very carefully constructed way - 43:11.959 --> 43:14.109 and | think the public responded to that very strongly. 43:14.279 --> 43:15.678 | know they did, 43:15.840 --> 43:19.310 and he got a big smash hit out of it, which cheered him up a lot 43:19.480 --> 43:23.234 and put him back on his pedestal again, 43:23.399 --> 43:25.867 where he remains to this day. 43:26.040 --> 43:29.157 - This whole business is insane. - The man who's killing these women 43:29.320 --> 43:31.914 is a criminal sexual psychopath. 43:32.080 --> 43:35.516 There are some women who ask for everything they get. 43:35.679 --> 43:37.874 Cross me heart and hope to die. 43:38.840 --> 43:40.592 Cut it.