WEBVTT 00:01.840 --> 00:04.195 (Jeff) Six weeks sitting in a two-room apartment 00:04.360 --> 00:06.590 with nothing to do but look out the window at the neighbours. 00:06.759 --> 00:09.193 - Window shopper. - (Man) In Rear Window, 00:09.359 --> 00:13.557 you see the best example of what Hitchcock's cinema stood for. 00:13.720 --> 00:16.314 {Man) That's a secret private world you're looking into out there. 00:16.479 --> 00:18.310 (Stella) What are you gonna do if one of them catches you? 00:18.479 --> 00:21.437 (Man) James Stewart focuses on what's going on out there, 00:21.600 --> 00:22.794 and we're allowed to focus with him. 00:22.959 --> 00:27.350 We all become voyeurs, and we see these various dramas unfolding. 00:27.520 --> 00:30.478 {Jeff) I've seen bickering and family quarrels... 00:30.639 --> 00:34.632 {Glass Shatters) and mysterious trips at night, knives, saws and ropes. 00:34.800 --> 00:36.518 Since last evening, not a sign of the wife. 00:36.679 --> 00:40.069 (Woman) The way that he was able to shoot that was just unbelievable. 00:40.240 --> 00:43.038 (Jeff) You asked for something dramatically different. 00:43.199 --> 00:44.632 - Jeff! - You got it. 00:44.800 --> 00:48.634 {Man) It was really a masterpiece of Hitchcock's construction. 00:48.800 --> 00:50.791 (Man) Generally, the more important the film, 00:50.960 --> 00:54.157 the worse condition the original negative and sound elements are going to be in. 00:54.320 --> 00:58.074 Rear Window is no different than many others. 00:58.240 --> 01:01.073 {Man) Vertigo, The Man Who Knew Too Much, Trouble With Harry, 01:01.239 --> 01:04.868 We realised the horrible state these pictures were in. 01:05.040 --> 01:08.271 If something wasn't done about them, they were gonna be lost forever. 01:13.320 --> 01:17.598 (Man) If one were to ask, "What are the movies of Alfred Hitchcock like?” 01:17.759 --> 01:19.272 Somebody that knew nothing about movies. 01:19.439 --> 01:23.068 You could show them Rear Window, and in a sense, 01:23.239 --> 01:24.877 touch on everything in Hitchcock. 01:25.040 --> 01:28.476 You would immediately see his technical brilliance. 01:29.640 --> 01:35.909 You would see his ability to tell a story in a uniquely captivating way. 01:35.999 --> 01:38.115 - Jeff! - You certainly have his humour. 01:38.280 --> 01:40.396 Oh, why don't you shut up? 01:40.560 --> 01:44.712 And thematically, you deal with voyeurism, 01:44.879 --> 01:46.358 you deal with guilt, 01:46.519 --> 01:49.636 you deal with relationships, you deal with sexuality. 01:49.799 --> 01:51.755 We have all night. 01:53.680 --> 01:57.434 - We have all what? - Night. I'm going to stay with you. 01:57.600 --> 01:59.431 (Man) It's all there in Rear Window. 02:00.319 --> 02:02.879 (Man) Rear Window is sort of Hitchcock's testament film. 02:03.040 --> 02:06.396 I think it's a French term meaning that, in Rear Window, 02:06.559 --> 02:12.031 perhaps you see the best example of what Hitchcock's cinema, 02:12.200 --> 02:15.715 at its best, stood for, 02:15.880 --> 02:20.112 which was, essentially, the use of the subjective point of view. 02:20.280 --> 02:24.068 You have a shot of Jimmy Stewart, you show what he's looking at, 02:24.240 --> 02:26.117 you see his reaction. 02:26.279 --> 02:28.998 The entire movie is based on that 02:29.160 --> 02:32.152 He looks, you see what he sees, he reacts. 02:32.319 --> 02:36.835 That is kind of the heart of Hitchcock's film making. 02:37.000 --> 02:41.835 He has the incredible ability to put you 02:42.000 --> 02:47.120 in the point of view of the leading character or whatever character. 02:47.279 --> 02:49.349 And he does it with considerable dexterity. 02:50.240 --> 02:52.515 It's particularly noticeable in Rear Window 02:52.679 --> 02:55.034 where the entire picture plays in one apartment. 02:55.679 --> 02:57.397 (Hitchcock) You can have a man look, 02:57.520 --> 03:00.796 you can have him see something, react to it 03:00.959 --> 03:03.996 You can make him react in various ways. 03:05.160 --> 03:07.390 You can make him... 03:07.560 --> 03:10.233 look at one thing, look at another. 03:10.399 --> 03:15.632 Without him speaking, you can show his mind at work comparing things. 03:15.800 --> 03:17.791 It's limitless, | would say, 03:17.959 --> 03:21.918 the power of cutting and showing various images. 03:22.080 --> 03:25.231 The assembly of them, you know. 03:25.399 --> 03:28.152 The juxtaposition of imagery 03:28.319 --> 03:30.116 relating to the mind of the individual. 03:31.920 --> 03:36.198 {Man) It was really a masterpiece of Hitchcock's construction. 03:36.359 --> 03:39.829 He worked on the script with the writer, as he always did. 03:40.119 --> 03:43.236 The writers liked to work with him too, because 03:43.399 --> 03:45.867 he was stimulating. 03:46.040 --> 03:50.272 His ideas were always visual, cinematic. 03:50.560 --> 03:53.154 He never took a screen credit for writing. 03:53.319 --> 03:57.278 But I'd say he contributed at least half of the plot, 03:57.440 --> 03:59.112 working out the plot. 03:59.399 --> 04:01.754 (Woman) He knew a lot about crime. 04:01.920 --> 04:05.230 He had a fascination for English crime. 04:05.399 --> 04:08.277 In fact, one of his crime things was... 04:08.440 --> 04:10.908 he used part of it in Rear Window... 04:11.080 --> 04:12.911 was Dr Crippen. 04:13.080 --> 04:16.629 This was a famous, famous English case 04:16.799 --> 04:20.474 where he fell in love with the secretary 04:20.840 --> 04:25.118 and killed the wife and buried the wife in the back yard. 04:25.279 --> 04:30.114 Then, he took the secretary on a boat to get away 04:30.279 --> 04:33.237 and dressed the secretary up as a sailor. 04:33.400 --> 04:37.154 The thing was that the captain said, later on, 04:37.439 --> 04:40.590 he had wondered why these two, 04:40.759 --> 04:42.590 these two sailors, 04:42.760 --> 04:45.638 were very friendly towards each other. 04:45.800 --> 04:48.030 That's how they caught Dr Crippen. 04:48.319 --> 04:53.234 But he loved them. He had a whole set of stories at home. 04:53.519 --> 04:57.831 Rear Window was based on a short story entitled It Had To Be Murder 04:57.999 --> 04:59.352 published in 1942. 05:00.120 --> 05:02.190 It was written by Cornell Woolrich. 05:02.360 --> 05:04.590 His real name was William Irish. 05:05.719 --> 05:08.028 Many of his books were made into movies. 05:08.199 --> 05:11.794 My father hired John Michael Hayes to adapt the short story. 05:11.960 --> 05:14.872 Mr Hayes was a man of radio who had impressed my dad 05:15.440 --> 05:18.750 with his appreciation and knowledge of Shadow Of A Doubt. 05:18.919 --> 05:21.228 He went on to write four films for my father. 05:26.560 --> 05:29.916 The screenplay of Rear Window is very different from the book. 05:30.080 --> 05:33.197 The story was transposed to Manhattan for the film. 05:33.359 --> 05:37.147 The most important element missing in the short story is the romance, 05:37.319 --> 05:39.879 which plays a major role in the film. 05:40.039 --> 05:45.067 In the short story, it was just the Raymond Burr murdering his wife, 05:45.239 --> 05:47.195 and Jimmy Stewart watching. 05:47.359 --> 05:49.395 That was the only story. There was no Grace Kelly, 05:49.560 --> 05:52.711 there was no Thelma Ritter, no Miss Torso, no composer. 05:52.879 --> 05:54.597 There was nothing. It was just that story. 05:54.759 --> 05:59.275 So all of these little scenes came together to make this work. 05:59.439 --> 06:02.397 That's a secret, private world you're looking into out there. 06:02.560 --> 06:05.120 People do a lot of things in private they couldn't possibly explain in public. 06:05.279 --> 06:07.429 Like disposing of their wives. 06:07.599 --> 06:10.397 Get that idea out of your mind. It'll only lead in the wrong direction. 06:10.560 --> 06:13.950 What about the knife and the saw? 06:14.119 --> 06:16.917 (Curtis) There's that ridiculous comment about actors being cattle, 06:17.080 --> 06:19.548 or whatever, that is attributed to Hitchcock. 06:19.720 --> 06:22.996 Or the couple of hundred knives you've probably owned in your lifetime. 06:23.159 --> 06:26.037 Be that as it may, the performances in Rear Window, 06:26.200 --> 06:28.430 from top to bottom, are brilliant, 06:28.599 --> 06:30.555 absolutely brilliant, 06:30.720 --> 06:32.472 as they were in many of Hitchcock's pictures. 06:33.439 --> 06:36.636 (Pat) Jimmy Stewart, who made quite a lot of pictures with my father. 06:36.800 --> 06:40.918 My father loved him, because Jimmy represented 06:41.080 --> 06:42.911 the ordinary man. 06:43.080 --> 06:47.835 So a man that goes to see that picture can identify with Jimmy Stewart, 06:47.999 --> 06:49.876 whereas a lot of others, he couldn't. 06:50.679 --> 06:53.398 Jimmy was a very sweet, kind person. 06:53.559 --> 06:55.470 Actually, there was not a lot of difference 06:55.640 --> 06:57.756 between Jimmy the actor and Jimmy the person. 06:57.920 --> 06:59.956 What you saw was what you got with him. 07:00.119 --> 07:02.997 | had never worked with Jimmy Stewart 07:03.160 --> 07:06.994 before he came to Paramount to do Rear Window. 07:07.160 --> 07:11.517 | found Jimmy Stewart to be a charming man, to men as well as women. 07:11.679 --> 07:14.591 He was easy to like, easy to work with, 07:14.760 --> 07:19.231 and always carried his screenplay under his arm when he wasn't in a scene, 07:19.520 --> 07:21.829 and always was prepared when he walked on the set. 07:21.999 --> 07:26.038 He was the kindest man, and everybody was very fond of Jimmy Stewart. 07:26.320 --> 07:27.753 He and Hitch were like brothers. 07:27.920 --> 07:30.957 You could even occasionally see a little smile appear 07:31.119 --> 07:33.713 on Hitchcock's face when he and Jimmy were together. 07:33.879 --> 07:35.995 He and my father got along so well. 07:36.159 --> 07:39.071 | really think that Rear Window was one of their happiest pictures. 07:41.559 --> 07:43.356 Who are you? 07:45.360 --> 07:47.476 Reading from top to bottom, 07:47.639 --> 07:49.550 Lisa... 07:52.999 --> 07:54.910 Carol... 07:58.720 --> 08:00.438 Fremont. 08:01.080 --> 08:05.119 (Pat) Grace Kelly was one of the nicest people I've ever known. 08:05.279 --> 08:09.636 I think my father's feeling about Grace was she 08:09.959 --> 08:15.875 epitomised what he thought of the cool blond with the fire beneath. 08:16.040 --> 08:18.918 She and my father were very close, and my mother. 08:19.080 --> 08:22.629 | can remember going over on Sundays and Grace was over, 08:22.800 --> 08:25.792 and it would all depend on who she was going with at that particular time. 08:26.440 --> 08:28.431 But she was a brilliant actress. 08:28.599 --> 08:31.989 He could just tell her in a few words, what he wanted, 08:32.160 --> 08:33.991 and she was able to give it to him. 08:34.160 --> 08:36.196 She was very, very talented. 08:36.359 --> 08:41.228 | fell in love with her the moment | saw her on that set of Dial M for Murder. 08:41.399 --> 08:43.276 Everybody fell in love with her. 08:43.440 --> 08:45.670 Everybody fell in love with Grace Kelly 08:45.839 --> 08:47.875 who were fortunate enough to work with her. 08:48.039 --> 08:51.236 She was actually, | think, the most beautiful woman 08:51.399 --> 08:52.957 | ever saw in my life on film. 08:53.480 --> 08:57.996 There is a close-up of her in Rear Window , when she comes to see Jimmy. 08:58.160 --> 09:00.151 It's her introductory shot in the picture. 09:00.319 --> 09:04.597 This is the most beautiful shot of a woman I've ever seen in my life. 09:08.639 --> 09:10.436 (Curtis) There are two questions that confront 09:10.600 --> 09:13.353 James Stewart's character, Jefferies, in Rear Window. 09:13.519 --> 09:16.431 One is, What's going on in his personal life? 09:16.600 --> 09:18.511 Is he going to marry Grace Kelly or not? 09:18.840 --> 09:22.833 And what's going on outside the window of his apartment, 09:23.000 --> 09:26.037 in the windows of all the apartments across the way? 09:26.199 --> 09:29.111 To some degree, to avoid looking at his own problem, 09:29.279 --> 09:32.157 he focuses on what's going on out there, 09:32.319 --> 09:33.718 and we're allowed to focus with him. 09:34.199 --> 09:39.034 We all become voyeurs, and we see these various dramas unfolding 09:39.199 --> 09:45.308 that are all, in one way or anther, illustrating life in relationships for better or ill. 09:45.480 --> 09:48.756 The people who want a relationship and can't have one, Miss Lonelyhearts, 09:49.000 --> 09:51.673 the couple across the way that are fighting all the time , 09:51.959 --> 09:55.235 the newlyweds that are apparently having sex all the time. 09:55.519 --> 10:01.594 We are watching Grace Kelly comeinto his apartment and present the promise 10:01.759 --> 10:05.991 of a relationship that could be unbelievably good, but he is resisting. 10:06.160 --> 10:08.515 You mean leave the magazine? For what? 10:08.680 --> 10:11.353 For yourself and me. 10:11.520 --> 10:14.796 Jefferies, and, at times, other characters, 10:14.959 --> 10:19.828 use the apartments opposite as a kind of cinema screen. 10:20.880 --> 10:25.112 And they do what | think most of us do when we watch movies, 10:25.280 --> 10:28.670 they partly identify with other people, 10:28.840 --> 10:32.355 they partly compare their lives to other people's lives . 10:32.519 --> 10:37.957 They use these lives to talk about their own lives in various ways. 10:38.119 --> 10:44.433 {Man) You should get married, or you'll turn into a lonesome, bitter man. 10:44.519 --> 10:46.828 Yeah, can't you just see me... 10:47.959 --> 10:52.032 rushing home to a hot apartment to listen to the automatic laundry 10:52.200 --> 10:56.557 and the electric dishwasher and the garbage disposal 10:56.719 --> 10:58.550 and the nagging wife? 10:58.719 --> 11:04.077 So you could say that Stewart has a lot of different choices in the movie. 11:04.239 --> 11:07.709 The original story doesn't have a love interest, 11:07.880 --> 11:11.190 but that seems to be the thing that interests Hitchcock the most 11:11.480 --> 11:13.835 I'm just not ready for marriage. 11:14.000 --> 11:17.072 Every man is ready for marriage when the right girl comes along. 11:17.239 --> 11:21.471 Lisa Fremont is the right girl for any man with half a brain with one eye open. 11:21.640 --> 11:25.918 (Herbert) The scenes between Jimmy Stewart and Thelma Ritter... 11:26.079 --> 11:27.910 She was just marvellous in it. 11:28.079 --> 11:30.991 She revealed a lot of the life of Jimmy Stewart in those scenes with Jimmy. 11:31.319 --> 11:35.028 You didn’t know much about him until she started playing those scenes. 11:35.360 --> 11:37.396 Look, Mr Jefferies, I'm not an educated woman, 11:37.560 --> 11:39.391 but | can tell you one thing. 11:39.560 --> 11:42.711 When a man and woman see each other and like each other, 11:42.880 --> 11:46.839 they ought to come together - wham - like a couple of taxis on Broadway. 11:47.480 --> 11:51.189 (Pat) The humour that Thelma Ritter brought to Rear Window 11:51.360 --> 11:53.191 was absolutely wonderful. 11:53.360 --> 11:55.191 My father loved that, 11:55.359 --> 11:58.715 because he knew that you couldn't keep going. 11:58.880 --> 12:00.711 You had to give the audience a break. 12:00.880 --> 12:02.791 You had to have them laugh at something. 12:03.759 --> 12:07.149 His whole life was the importance 12:07.319 --> 12:10.755 of having a sense of humour in whatever you do. 12:10.919 --> 12:13.717 The thing that we all loved about Hitchcock forever, 12:13.880 --> 12:19.637 is his ability to deal with these very grim subjects, 12:19.800 --> 12:21.995 to deal with our darkest fears and emotions, 12:22.159 --> 12:23.638 but deal with them with humour. 12:23.920 --> 12:27.117 Just where do you suppose he cut her up? 12:28.680 --> 12:31.956 Of course! The bathtub. 12:32.119 --> 12:34.952 That's the only place where he could have washed away the blood. 12:35.119 --> 12:37.508 All the different characters were so well cast. 12:37.800 --> 12:40.712 They had Thelma Ritter, Wendell Corey, 12:40.880 --> 12:43.348 and of course, Ray Burr as the murderer. 12:43.519 --> 12:46.079 (Herbert) When Mr Hitchcock started casting the picture, 12:46.240 --> 12:48.708 he left certain parts for me to cast. 12:48.880 --> 12:52.475 He cast the very important ones, like Raymond Burr and his wife, 12:52.759 --> 12:56.911 the composer, Ross Bagdasarian and Miss Lonelyhearts, 12:57.120 --> 12:58.872 and the couple with the little dog, 12:59.120 --> 13:01.031 and left the others for me to cast. 13:01.199 --> 13:04.635 I cast them all from people that had worked with me in the past. 13:04.800 --> 13:09.396 Mr Hitchcock said he wanted a ballet dancer to do the part of Miss Torso. 13:09.560 --> 13:14.031 But he said, ‘I don't want her to appear as a professional ballet dancer.” 13:14.199 --> 13:18.078 He said, "When you find the right person, 13:18.240 --> 13:21.949 "don't you dare let her go to the dance department, 13:22.119 --> 13:26.397 "and rehearse or be taught steps... 13:26.680 --> 13:28.432 "for the scenes she's going to be doing over there. 13:28.599 --> 13:30.988 ‘I want you to give her a record of the music 13:31.159 --> 13:34.356 and let her figure out her own moves and things.” 13:34.519 --> 13:37.511 Hitchcock left the choreography up to me. 13:37.680 --> 13:39.159 It was kind of, like, wing it. 13:40.199 --> 13:42.429 He was not very... 13:42.600 --> 13:48.072 He didn't care too much about getting everything perfect. 13:48.240 --> 13:51.835 | think he liked to see a little of whatever you had to do. 13:52.000 --> 13:55.834 I remember going to a bungalow one day with the music 13:56.000 --> 13:58.798 and Herbie Coleman, who was the assistant director. 13:59.040 --> 14:01.838 | remember saying, "I'm so scared. | don't want to do this. 14:02.000 --> 14:04.195 | need a choreographer.” He said, "No, you're gonna be fine.” 14:04.359 --> 14:06.634 She says, "I'm scared to death. 14:06.800 --> 14:10.156 | haven't the slightest idea what to do.” 14:10.319 --> 14:14.107 So | had to go over there with her and talk to her. 14:14.280 --> 14:17.875 | said, "I'm not gonna try to tell you what ballet steps to do, 14:18.039 --> 14:20.473 certainly not a rehearsed kind of a step.” 14:20.639 --> 14:24.348 {Georgine) | went and | fiddled around and came up with a couple of steps. 14:24.519 --> 14:26.749 (Herbert) He saw the routine and thought it was great. 14:33.279 --> 14:35.395 What do you think? 14:35.560 --> 14:39.235 (Pat) I think Edith Head was one of the most important people 14:39.399 --> 14:41.230 that my father worked with. 14:41.400 --> 14:43.231 And he thought the same way. 14:43.399 --> 14:47.836 My father did, as far as costumes in a movie was concerned, 14:48.000 --> 14:50.070 and especially with Edith Head... 14:50.239 --> 14:55.597 He felt that the costumes’ colour, style, everything, 14:55.759 --> 14:57.954 had to help the scene. 14:58.120 --> 15:01.715 It was all part of the feeling and the character. 15:01.880 --> 15:03.438 He didn't just say, "Oh, wear this.” 15:03.719 --> 15:07.314 If there's one thing | know, it's how to wear the proper clothes. 15:07.959 --> 15:11.952 (Pat) He and Edith worked terribly closely together on the costumes 15:12.120 --> 15:14.588 long before he really cast the picture. 15:14.800 --> 15:18.076 Why don't | slip into something more comfortable? 15:18.240 --> 15:22.119 Edith Head designed all the clothes that | wore. 15:22.280 --> 15:25.511 Whatever was left of them. Not too much. 15:27.360 --> 15:30.477 They painted every inch of my body every day. 15:30.639 --> 15:35.349 | mean, | came to work the next day sometimes with still some of it left on me, 15:35.519 --> 15:37.669 because | couldn't reach all the parts that they covered. 15:39.319 --> 15:44.029 (Pat) I can remember going on the set of Rear Window, and it was fascinating. 15:44.199 --> 15:47.271 | think of all the pictures that he made, 15:47.440 --> 15:50.238 that was the most fascinating set to go on, 15:50.400 --> 15:54.029 because you literally saw all the different apartments, 15:54.200 --> 15:56.031 all the different people. 15:56.199 --> 15:59.555 (Man) Mac Johnson was the art director on Rear Window 15:59.960 --> 16:04.192 Mac came in and told me about this picture, and how was he gonna do it. 16:04.760 --> 16:06.876 He had to do this whole courtyard, 16:07.040 --> 16:09.838 and we didn't have stages that high. 16:10.880 --> 16:15.032 So | suggested to him... Paramount wasn't a real large studio. 16:15.200 --> 16:19.512 Two or three of the stages we stored furniture underneath. 16:19.679 --> 16:23.194 1 told Mac, "Why don't you cut the floor out?” 16:23.360 --> 16:25.749 They were gonna cut the floor out, 16:25.920 --> 16:27.638 remove everything that was in the basement 16:28.440 --> 16:33.070 and make Jimmy Stewart's second-floor room 16:33.240 --> 16:35.708 on the actual stage level. 16:35.880 --> 16:39.316 The lawns and the first floor 16:39.480 --> 16:42.950 were gonna be the basement floor. 16:43.120 --> 16:45.588 He said, "They wouldn't let me do that, would they?” 16:45.759 --> 16:47.954 | said, "I bet they will for Hitchcock.” 16:48.120 --> 16:49.951 Sure enough they did. They let him. 16:50.120 --> 16:54.989 The set went from the bottom of that basement to the grids. 16:55.560 --> 16:58.313 It was an enormous problem for the lighting crew 16:58.599 --> 17:02.035 and very hot for anybody who had to work up there at the top, 17:02.199 --> 17:06.272 because we didn't have the same kind of lighting we have today. 17:06.439 --> 17:09.351 We didn't have the same film, the same camera lenses. 17:09.520 --> 17:12.353 So all of it conspired against us. 17:12.520 --> 17:15.432 It was really an enormous task. 17:15.599 --> 17:18.352 The people who had to work up there took a beating, 17:18.520 --> 17:20.875 and the actors took a beating up there too. 17:21.039 --> 17:24.827 In fact, we found this out from Georgine Darcy the other day, 17:24.999 --> 17:29.151 that the set was lit for four periods of the day. 17:29.880 --> 17:33.350 {Georgine) They had for the morning, the afternoon, 17:33.640 --> 17:36.234 twilight and then at night-time. 17:36.400 --> 17:41.030 So they didn't have to do changing all the lights for every shot. 17:41.199 --> 17:43.315 They would just, night-time". 17:43.480 --> 17:46.040 All the lights would change automatically. It was wonderful. 17:46.320 --> 17:48.311 It was like a little city. 17:48.480 --> 17:53.076 There was Hitchcock in a big old dollhouse that he was playing with. 17:53.239 --> 17:55.070 But it was a great set. 17:55.240 --> 17:58.357 People came from all over the world to view it and to take pictures of it. 17:58.519 --> 18:01.750 I think it had been written up in Life or Look magazine. 18:01.919 --> 18:05.832 Of course, you know we wore the little earpieces. 18:05.999 --> 18:10.515 We could not talk back to Mr Hitchcock, but he could talk to us. 18:10.679 --> 18:15.469 One day, Hitchcock called me and he said he wanted me to watch something. 18:15.640 --> 18:19.713 He was getting ready to shoot the scene of the couple on the fire escape. 18:19.880 --> 18:22.917 They had a mattress on the fire escape, and it started to rain. 18:23.080 --> 18:26.197 He told the wife to take her earpiece out, 18:26.360 --> 18:28.828 and he gave the direction to the husband. 18:29.000 --> 18:31.275 Then he asked the husband to take his out, 18:31.439 --> 18:34.078 and he gave the direction to the wife. 18:34.239 --> 18:37.151 Now he turned around and he winked. He said, "Now watch this.” 18:38.319 --> 18:40.435 He'd given them both different directions. 18:40.599 --> 18:43.636 The husband was pulling the mattress to one window. 18:43.799 --> 18:45.517 The wife was pulling the mattress to the other one. 18:45.679 --> 18:48.637 They were going back and forth and were fighting. 18:49.360 --> 18:54.514 Finally, he pulled the mattress and somebody fell into the window. 18:54.679 --> 18:57.512 It was quite funny and real. 18:58.679 --> 19:01.147 Those are the kinds of things he would do. 19:01.919 --> 19:03.796 {Bogdanovich) One of his great talents, of course, 19:03.959 --> 19:09.079 was that he saw the film in his head and knew just where to be at every moment. 19:09.239 --> 19:11.673 There was a reason why he was where he was. 19:11.840 --> 19:14.718 One of the great things about Hitchcock is... 19:14.880 --> 19:17.838 and most of the great directors, 19:18.000 --> 19:20.150 but Hitchcock is a notable example 19:20.319 --> 19:23.152 of a director who's always got the camera 19:23.319 --> 19:27.153 in the right place for each given moment, and it's always there for a reason. 19:27.319 --> 19:31.153 It's not there arbitrarily or because it might be nice to shoot from there now. 19:31.320 --> 19:34.153 It's never decorative and never just frivolous. 19:34.320 --> 19:36.276 It's always with a point and a reason. 19:36.840 --> 19:40.753 The two greatest schools of cinema in the silent era 19:40.919 --> 19:42.750 were the American and the German. 19:42.919 --> 19:46.832 Because he was trained by the Americans and the Germans, 19:46.999 --> 19:52.153 he understood that telling a story visually was what movies were about. 19:52.599 --> 19:55.875 So you can see, in all his films, 19:56.039 --> 19:59.668 he's striving to tell the story visually. 19:59.839 --> 20:02.672 In Rear Window, 20:02.839 --> 20:06.548 you introduce Jimmy Stewart with his broken leg, 20:06.720 --> 20:09.188 you see a broken camera, 20:09.360 --> 20:11.590 you see that he's a photographer, 20:11.760 --> 20:15.309 you see a magazine cover, et cetera, 20:15.480 --> 20:19.678 all done in one continuous shot, as | remember, 20:19.839 --> 20:22.228 where you are told this is what you're seeing. 20:22.400 --> 20:24.436 This is what he is, and the audience understands it, 20:24.600 --> 20:26.716 as a result, very quickly. 20:26.880 --> 20:30.031 That's, again, really good storytelling 20:30.199 --> 20:32.508 and what Hitchcock was particularly good at. 20:32.679 --> 20:35.352 He had already, in his mind, made that movie. 20:35.520 --> 20:38.159 He had already drawn every single shot. 20:38.319 --> 20:40.913 So he always said, when he got on the set, 20:41.079 --> 20:43.195 that it was a little boring making the picture. 20:44.000 --> 20:46.195 (Herbert) Everything was in the screenplay. 20:46.360 --> 20:51.718 The cameraman knew all the time what he was expected to deliver on the film. 20:52.039 --> 20:54.507 When Mr Hitchcock walked in in the morning, 20:54.679 --> 20:58.638 the camera was usually all ready to go, the lights were set, 20:58.799 --> 21:02.474 the actors were in place, and they were all ready to go. 21:02.639 --> 21:04.630 (Pat) The way that he was able to shoot that, 21:04.799 --> 21:07.313 looking in at all the different apartments, 21:07.480 --> 21:09.038 was just unbelievable. 21:09.199 --> 21:11.667 And that's why it was so fascinating being on the set. 21:11.839 --> 21:14.717 You literally saw these apartments. 21:14.919 --> 21:17.797 They were all real. People were in them. 21:17.959 --> 21:21.076 - It was fascinating. - (Woman) Gary. 21:21.239 --> 21:23.230 (Robin) What 1 think is being shown here, 21:23.399 --> 21:27.915 seems to be one of the absolutely central themes of all Hitchcock's work. 21:28.079 --> 21:30.115 This goes right back to British period. 21:30.280 --> 21:33.556 It goes right through the American films. 21:33.719 --> 21:38.395 The terrible incompatibility of male and female positions, 21:39.439 --> 21:45.833 as they've been defined and have evolved within our culture. 21:46.000 --> 21:48.560 According to you, people should be born, live and die on the same spot. 21:48.719 --> 21:49.708 Shut up! 21:49.959 --> 21:54.669 The man's viewpoint is one thing. The woman's is always another. 21:54.839 --> 21:58.718 And with all this is the idea of romantic love, 21:58.880 --> 22:00.916 what Miss Lonelyhearts is longing for, 22:01.079 --> 22:03.593 what the newlyweds were expecting, 22:03.760 --> 22:06.069 what Lisa wants. 22:06.239 --> 22:11.791 Hitchcock's view of romantic love is extremely sceptical, to say the least. 22:12.400 --> 22:15.073 What would you think of starting off with dinner at '21'? 22:15.239 --> 22:17.912 You have perhaps an ambulance downstairs? 22:18.079 --> 22:20.354 No, better than that. 22:20.520 --> 22:22.750 22:22.919 --> 22:26.673 (Curtis) Hitchcock had a very complicated relationship with food, 22:26.840 --> 22:30.196 and here in Rear Window, you have Grace Kelly, 22:30.360 --> 22:33.830 one of the most beautiful actresses ever to grace the screen, 22:34.000 --> 22:37.879 playing one of the most incredibly idealised females in movie history, 22:38.039 --> 22:41.873 and she's having to be seducing James Stewart 22:42.039 --> 22:46.271 by demonstrating her ability to provide food to him. 22:46.440 --> 22:50.513 She literally brings almost a restaurant into that apartment 22:50.679 --> 22:52.112 to cater to his every whim. 22:52.399 --> 22:54.515 At least you can't say the dinner isn't right. 22:55.439 --> 22:57.191 Lisa... 22:57.360 --> 22:59.032 It's perfect... 23:00.239 --> 23:01.638 as always. 23:01.839 --> 23:03.397 {Bogdanovich) Stewart's character in Rear Window, 23:03.559 --> 23:06.835 like a lot of Hitchcock characters, is rather ambiguous. 23:06.999 --> 23:11.277 He's wrong a number of times. He seems to be wrong about Grace Kelly. 23:11.520 --> 23:16.992 It's interesting that the biggest close-up that Hitchcock gives Jimmy Stewart 23:17.160 --> 23:20.755 is at that moment when she gets finally interested in the murder, 23:20.919 --> 23:23.752 and actually when she risks her life 23:23.919 --> 23:27.355 and comes back very excited from having gone over there. 23:27.519 --> 23:29.714 He looks at her with tremendous affection at that moment, 23:29.880 --> 23:33.668 because she's become adventurous, and he's an adventurer. 23:33.919 --> 23:35.750 Wasn't that close? 23:35.919 --> 23:39.229 What was his reaction when he looked at the note? 23:39.399 --> 23:43.233 (Ritter) It wasn't the kind of expression that would get him a loan at the bank. 23:43.400 --> 23:44.674 {Bogdanovich) It's almost as though he's testing her, 23:44.919 --> 23:48.628 and she's doing what she does, in a way, to get his affection. 23:49.039 --> 23:53.430 Isn't Grace Kelly the dominant partner in the relationship? 23:54.600 --> 23:56.477 In that film, she actually does everything. 23:56.640 --> 23:59.393 He's basically impotent in the picture. 23:59.559 --> 24:01.675 (Hitchcock) To put it mildly. 24:01.839 --> 24:03.113 She's a very active... 24:03.280 --> 24:06.078 She's a typical, active New York woman. 24:06.240 --> 24:10.438 There are many of those in New York, work for Harper's Bazaar. 24:10.599 --> 24:13.477 They're almost like men, some of these women. 24:14.559 --> 24:18.837 (Herbert) Mr Hitchcock always discussed the scene with the cameraman first. 24:19.119 --> 24:23.670 He would tell them what lens to use and what he wanted to include in the scene. 24:24.479 --> 24:30.031 (Doc) Bob Burks was a wonderful talent and a hard-working, lovely man. 24:30.359 --> 24:31.997 He was enjoyable to be around. 24:32.160 --> 24:34.799 He had been with Hitch for several films 24:34.959 --> 24:38.793 and had perfect knowledge of what Hitch required. 24:38.960 --> 24:43.317 He worked very hard, took it very seriously, sometimes too seriously. 24:43.479 --> 24:48.712 He would almost get sick over shots he was trying to accomplish for Hitch. 24:49.480 --> 24:52.040 But a wonderful man and a very great talent. 24:52.200 --> 24:55.909 {Man) Shooting in Jimmy's apartment was very difficult, 24:56.079 --> 24:57.956 because it was small. 24:58.120 --> 24:59.678 It wasn't big. 25:00.240 --> 25:05.155 Hitch never liked to use wide-angle lenses. 25:05.719 --> 25:09.712 The lens that Hitch liked to use was a 50 millimetre. 25:09.880 --> 25:12.917 That's about what your eyes see. 25:13.080 --> 25:15.958 Everything we see in that story 25:16.120 --> 25:19.590 is told from either James Stewart's point of view, 25:19.760 --> 25:22.718 or there's that very dramatic moment 25:22.879 --> 25:26.269 where Hitchcock takes the audience into his confidence, and says, 25:26.439 --> 25:28.634 1 am now showing you something 25:28.799 --> 25:32.155 that James Stewart, who's asleep, is not seeing.” 25:32.319 --> 25:35.311 It lets us get ahead of James Stewart. 25:35.479 --> 25:37.549 That's Hitchcock's recipe for suspense 25:37.719 --> 25:39.914 because now we're going, "0h, my God. 25:40.080 --> 25:44.995 "What's gonna happen when James Stewart, who, up till now has been us, 25:45.160 --> 25:47.196 finds out what we know?’ 25:47.359 --> 25:52.228 This is Hitchcock's genius of making us complicit in what's going on. 25:53.400 --> 25:57.154 (Hitchcock) | always remember, Lejeune of the Observer, 25:57.319 --> 26:02.109 called it a horrible film, ‘cos a man was looking in windows. 26:02.280 --> 26:04.316 1 thought it was a crappy remark, 26:04.480 --> 26:09.190 because who cares about that kind of thing? 26:09.359 --> 26:12.829 Because everybody is tainted. A known fact, you know. 26:12.999 --> 26:17.311 Providing you don’t make it too vulgar. 26:17.480 --> 26:20.552 Keep it to a point of curiosity. 26:20.719 --> 26:23.631 People, don't care who you are, cannot resist it. 26:24.199 --> 26:28.715 {Jeff) Gunnison, how did you become a big editor with such a small memory? 26:28.880 --> 26:34.079 (Gunnison) Industry and hard work and catching the publisher with a secretary. 26:34.239 --> 26:39.518 In the screenplay there was a scene in Jimmy Stewart's boss's office. 26:39.679 --> 26:41.271 His name was Gunnison. 26:42.239 --> 26:46.517 I didn't think they should ever go away from the Greenwich Village set. 26:46.679 --> 26:51.753 I remember that day that he finished the dictation to John Michael Hayes. 26:51.919 --> 26:54.877 We walked into the office, and Mr Hitchcock said, 26:55.039 --> 27:00.557 ‘Mr Coleman, | think we need to salute the screenplay of Rear Window. 27:00.719 --> 27:02.949 What do you think about the screenplay?” 27:03.120 --> 27:05.429 | said, "| only have one comment, Mr Hitchcock. 27:05.599 --> 27:08.671 "| don't think you should ever go away from the Greenwich Village set. 27:08.839 --> 27:13.708 | think you shouldn't use Gunnison's office.” 27:13.879 --> 27:16.632 We discussed it a couple of minutes. 27:16.799 --> 27:18.517 It was the last | heard of it, 27:18.679 --> 27:21.637 until the day we had finished shooting a scene 27:21.799 --> 27:25.075 with Jimmy Stewart on the big set 27:25.240 --> 27:27.959 in his apartment. 27:28.120 --> 27:30.918 I'd sent Jimmy home, and we were moving to the new stage, 27:31.080 --> 27:32.479 where Gunnison's office had been built. 27:33.360 --> 27:35.112 Mr Hitchcock and | were walking together 27:35.280 --> 27:38.317 on the way to the new set when he stopped and said... 27:38.479 --> 27:40.947 By this time we were now Hitch” and "Herbie. 27:41.119 --> 27:44.475 "Herbie, do you still have the same feeling about Gunnison's office? 27:45.039 --> 27:46.028 | said "Yes, Hitch, | do. 27:46.200 --> 27:48.998 I don't think you should ever go away from the Greenwich Village set.” 27:49.160 --> 27:51.594 He said, "Cancel it. We won't shoot it.” 27:51.760 --> 27:53.637 I said I thought we should go ahead and shoot it, 27:53.799 --> 27:56.871 because the actors are there, the set's been built, and you'll have the dialogue 27:57.160 --> 28:00.311 in case you ever want to let the audience hear Gunnison's voice. 28:00.480 --> 28:03.199 So we went over and shot the scenes, but we never used it in the picture. 28:03.359 --> 28:04.428 Just Gunnison's voice. 28:04.600 --> 28:07.797 (Gunnison) You're too valuable to the magazine for us to play around with. 28:07.960 --> 28:10.428 - I'll send Morgan or Lambert. - (Jeff) Morgan or Lambert. 28:10.600 --> 28:12.318 That's fine. 28:12.480 --> 28:17.315 | get myself half killed for you, and you reward me by stealing my assignments. 28:17.479 --> 28:20.277 (Gunnison) | didn't ask you to stand in the middle of that automobile racetrack. 28:20.439 --> 28:23.158 (Robin) | think one of Hitchcock's central concerns 28:23.319 --> 28:26.152 is the isolation of people within our society. 28:26.319 --> 28:29.868 The apartments reflect the sense that everybody is in a prison. 28:30.039 --> 28:31.518 You've got to get me out of here. 28:31.679 --> 28:34.147 Six weeks sitting in a two room apartment 28:34.319 --> 28:36.992 with nothing to do but look out the window at the neighbours. 28:37.160 --> 28:40.232 Each person is in his or her own little prison. 28:40.400 --> 28:43.153 That all comes to a head, of course, 28:43.320 --> 28:47.996 in what | see as the crucial scene of the film, from this point of view anyway. 28:48.160 --> 28:50.958 The scene where the woman 28:51.120 --> 28:54.476 comes out on her balcony and sees her dog has been killed... 28:54.640 --> 28:56.358 (Woman Screams) 28:56.520 --> 28:58.033 ...and accuses all the neighbours. 28:58.359 --> 29:00.827 You don't know the meaning of the word “neighbour”! 29:00.999 --> 29:03.035 Neighbours like each other, 29:03.200 --> 29:05.191 speak to each other, 29:05.359 --> 29:07.554 care if anybody lives or dies! 29:07.719 --> 29:10.358 But none of you do! 29:10.520 --> 29:12.078 (Sobbing} 29:14.400 --> 29:16.516 | couldn't imagine any of you being so low 29:16.679 --> 29:20.069 that you'd kill a little, helpless, friendly dog. 29:22.000 --> 29:25.959 The only thing in this whole neighbourhood who liked anybody. 29:26.120 --> 29:29.112 (Robin) It's a kind of central statement, | think, in Hitchcock, 29:29.280 --> 29:33.671 is this whole idea of people not being able to reach out. 29:33.839 --> 29:36.558 {Bogdanovich) You think of several films of his which were very limited 29:36.959 --> 29:38.836 in terms of... 29:39.000 --> 29:41.230 in terms of, um, the location. 29:41.400 --> 29:43.834 Rope all plays in one apartment. 29:44.120 --> 29:46.475 Lifeboat all plays in a lifeboat. 29:46.760 --> 29:49.069 Dial M for Murder, basically, with very few exceptions, 29:49.240 --> 29:52.676 plays in the London flat of Grace Kelly and Ray Milland. 29:52.960 --> 29:55.474 Rear Window all plays in Jimmy Stewart's room. 29:55.640 --> 29:57.471 Of course, there was a whole world going on out there 29:57.640 --> 30:01.519 and you see just a little part of the street, 30:01.679 --> 30:04.910 but he really doesn’t go out into the courtyard. 30:05.080 --> 30:07.435 Once or twice, but always in long shot, 30:07.599 --> 30:09.988 or, certainly, wide shots. 30:10.160 --> 30:13.357 Even when the dog is killed, when he does cut a little bit closer. 30:13.799 --> 30:16.438 He liked to limit himself in that way. 30:24.319 --> 30:30.110 (Curtis) In Rear Window, Hitchcock uses very sparing, precise sounds 30:30.280 --> 30:32.157 (Woman Screams) Don't! 30:32.319 --> 30:36.551 and music to create the sounds and atmosphere 30:36.719 --> 30:38.949 of the world in which that story takes place, 30:39.120 --> 30:42.430 a world that is defined by that courtyard. 30:48.959 --> 30:51.314 Good morning. | said, "Good morning!” 30:51.480 --> 30:53.391 Oh, good morning. 30:53.559 --> 30:55.390 {Bogdanovich) You basically had no score. 30:55.559 --> 30:57.390 The only score, the only music, 30:57.559 --> 31:00.756 was when somebody was playing music across the way. 31:00.919 --> 31:03.149 Somebody would be listening to a record, and you'd hear it. 31:03.320 --> 31:05.151 Or somebody was playing the piano. 31:05.319 --> 31:09.312 Other than that, there was no score, which was a very unusual, 31:09.479 --> 31:13.711 and at that time, rather daring soundtrack. 31:13.880 --> 31:16.474 It gives a kind of verisimilitude 31:17.760 --> 31:21.799 and a sense that nobody's intruding on this, that this is real. 31:21.959 --> 31:24.951 And Hitchcock was aware of that 31:25.119 --> 31:27.349 (James) The interesting thing is how he shot it 31:27.520 --> 31:32.036 in order to get the sound quality that he did. 31:32.199 --> 31:36.989 He actually shot live sound from Jimmy Stewart's point of view 31:37.160 --> 31:42.439 to capture the distance between the window Stewart was sitting in 31:42.679 --> 31:45.876 and the various apartments across the way. 31:46.039 --> 31:50.749 So there's that hollow sound in there which is pretty genuine. 31:57.959 --> 32:01.508 Rear Window was the last of four pictures that Franz Waxman 32:01.679 --> 32:04.193 composed scores for Hitchcock films. 32:04.360 --> 32:06.794 First was Rebecca in 1940, 32:06.959 --> 32:10.508 which was followed by Suspicion in 1941, 32:10.840 --> 32:13.513 and then The Paradine Case and finally, Rear Window. 32:17.599 --> 32:22.115 The score comes two years after A Place In The Sun, 32:17.599 --> 32:21.433 which was an Academy Award-winning score, also with Paramount, 32:26.280 --> 32:29.317 with its famous saxophone love theme, 32:29.479 --> 32:30.832 lush love theme for Elizabeth Taylor. 32:31.439 --> 32:37.309 It was, historically, today, considered one of the first jazz scores. 32:37.480 --> 32:41.473 In a way, Rear Window is a little bit in that idiom. 32:43.160 --> 32:46.152 It opens with a jazz, which is supposed to be 32:46.320 --> 32:50.632 the streets of Greenwich Village circa 1950s. 32:59.919 --> 33:02.717 There is one cue from A Place In The Sun, 33:02.880 --> 33:05.110 the famous "Farewell and Frenzy” cue, 33:05.280 --> 33:08.352 and he re-recorded it forRear Window. 33:17.199 --> 33:20.111 The use of source music was not uncommon in films. 33:20.280 --> 33:22.510 In those days, if they used source music, 33:22.679 --> 33:24.556 in the case of Rear Window , 33:24.719 --> 33:27.358 Paramount's publishing arm, which was Famous Music, 33:27.520 --> 33:31.308 they took a famous or popular song at the time, like That's Amore. 33:31.480 --> 33:34.552 So you do hear "That's Amore” in one scene. 33:46.720 --> 33:52.113 So in that sense, a composer was given the company music catalogue, 33:52.280 --> 33:54.350 and said, "Choose here.” 34:06.520 --> 34:08.988 Where is that wonderful music coming from? 34:09.159 --> 34:13.277 The song, Lisa,” is an integral part of the development of the story 34:13.560 --> 34:17.758 where a piece is being put together before your very eyes and ears. 34:17.919 --> 34:23.152 It begins where a struggling songwriter is trying to find the melody 34:23.319 --> 34:26.516 and the harmony and develop something. 34:26.679 --> 34:30.558 Throughout the course of the film, he finds the song, 34:30.719 --> 34:32.755 which you finally hear, full-blown, at the end. 34:33.480 --> 34:36.552 Miss Lonelyhearts , a very tragic character, 34:36.719 --> 34:39.552 who is across the courtway from Jimmy Stewart, 34:39.840 --> 34:42.035 is inspired by this 34:42.200 --> 34:46.318 and hearing this music actually saves her life. 34:46.479 --> 34:49.835 (Stella) Mr Jefferies, the music stopped her. 34:54.679 --> 34:57.716 (Curtis) One of the reasons his movies last as well as they do 34:57.879 --> 35:01.588 is not only his technical brilliance, obviously, 35:01.760 --> 35:03.671 but it's Hitchcock's humanity, 35:03.840 --> 35:07.753 Hitchcock's ability to deal with Everyman. 35:07.919 --> 35:12.709 Hitchcock finds humanity, even in his darkest villains. 35:12.879 --> 35:15.268 There's something always sympathetic. 35:15.439 --> 35:19.557 Norman Bates is an incredibly sympathetic character to me, 35:19.719 --> 35:23.234 certainly the way Anthony Perkins portrayed him. 35:23.680 --> 35:28.549 Even in Rear Window, where we only know Raymond Burr 35:28.720 --> 35:32.429 from peeping through his window from across the courtyard. 35:32.719 --> 35:35.358 We begin to suspect this man. 35:35.520 --> 35:38.478 We ultimately become afraid of him, but at the same time, 35:38.639 --> 35:41.233 you find yourself being oddly sympathetic with him 35:41.560 --> 35:45.394 and feel that he was trapped in that life over there 35:45.560 --> 35:47.152 and driven to what he did. 35:48.199 --> 35:50.155 (Jeff) Look, the wedding ring! 35:55.960 --> 35:58.554 Turn out the light! He's seen us! 36:00.359 --> 36:04.477 {Bogdanovich) In that film, we're on Stewart's side, 36:04.759 --> 36:09.355 because basically, you have made us, the audience, Peeping Toms too. 36:09.520 --> 36:10.509 (Hitchcock) Definitely. 36:10.599 --> 36:13.033 Isn't there something rather pathetic 36:13.199 --> 36:17.750 and rather sympathetic about the murderer's confrontation at the end? 36:17.919 --> 36:19.989 - (Hitchcock) There is. - Stewart doesn't even answer him. 36:20.159 --> 36:23.708 (Hitchcock) He can't. The poor man, you know. 36:26.599 --> 36:30.035 It's the climax of the Peeping Tomism, isn't it? 36:30.320 --> 36:33.676 (Bogdanovich) Yes. Why did you do it? 36:34.840 --> 36:38.355 (Hitchcock) if you hadn't been a Peeping Tom, I'd have gotten away. 36:38.519 --> 36:41.113 (Bogdanovich) At that point, 36:41.280 --> 36:44.352 for the first time, one says to oneself, 36:44.479 --> 36:47.789 "That Stewart's a bit of a bastard.” 36:49.840 --> 36:51.751 What do you want from me? 36:55.679 --> 36:58.830 Your friend, the girl, could have turned me in. 36:59.239 --> 37:03.710 You feel for Burr. He says, "Why'd you do that?” and Stew doesn't answer. 37:03.879 --> 37:07.076 (Hitchcock) He can't. What can he say? 37:07.239 --> 37:11.994 He's really caught, in a sense, he's caught with his pants down. 37:12.159 --> 37:15.117 (Hitchcock) Caught with his plaster down. 37:15.279 --> 37:17.839 (Bogdanovich Laughs) 37:18.080 --> 37:19.798 Can you get me that ring back? 37:21.479 --> 37:22.992 No. 37:23.080 --> 37:25.036 Tell her to bring it back! 37:25.119 --> 37:27.713 | can't. The police have it by now. 37:32.359 --> 37:36.147 (Robin) 1 think another of Hitchcock's concerns 37:36.320 --> 37:41.997 is the way in which people build these protective facades around themselves, 37:42.160 --> 37:44.276 and claim this as their identity. 37:44.439 --> 37:46.873 It's a way of defending themselves 37:47.039 --> 37:52.113 against the unpredictability and chaos... of life. 37:53.559 --> 37:56.119 All the things we don't understand, 37:56.280 --> 37:58.077 not simply in the world, but within ourselves. 37:58.840 --> 38:02.389 Jefferies has this. Certainly his job, his camera. 38:02.560 --> 38:07.588 Jefferies uses the camera at the end as his protection against Thorwald, 38:07.759 --> 38:11.308 the camera being a symbol of his whole existence, 38:11.480 --> 38:15.268 and the inadequacy of that becomes clear. 38:15.439 --> 38:20.069 The flashes hold Thorwald back, but they don't stop him. 38:20.239 --> 38:22.389 They delay it, but they don't stop him. 38:25.639 --> 38:27.550 (Herbert) Soon after the finish of the screenplay, 38:27.719 --> 38:29.675 1 got worried about the scenes 38:29.840 --> 38:32.673 when Raymond Burr comes to kill Jimmy Stewart, 38:32.840 --> 38:37.595 and Jimmy Stewart had nothing to protect himself with except Hashbulbs. 38:37.760 --> 38:40.797 So | decided to have a test with 38:40.960 --> 38:43.599 Bob Burks and Hitch there, 38:43.759 --> 38:47.229 and John Fulton, the special effects head, 38:47.400 --> 38:50.949 and a few other people there. 38:51.119 --> 38:54.794 I'd get their impression of what Raymond Burr would see 38:54.959 --> 38:58.474 when Jimmy Stewart flashed the flashbulb in his face. 38:58.639 --> 39:02.996 | arranged a meeting in the art department. 39:03.159 --> 39:07.710 | had a still man there with flashbulbs, 39:07.879 --> 39:12.077 and | had him flash those bulbs in our faces, 39:12.239 --> 39:17.871 and then ask everybody what they saw as a result of that flash in their eyes. 39:18.800 --> 39:23.920 We all agreed that we saw kind of a faint yellow mist. 39:24.080 --> 39:28.232 Everybody agreed this mist just blocked out everything. 39:28.400 --> 39:31.153 And we went away. One day | got a call from John Fulton. 39:31.320 --> 39:33.356 He'd like to show this to us. 39:33.520 --> 39:38.753 So | got Bob Burks and the people who'd been involved in this, 39:38.919 --> 39:41.752 | went to see it, and | didn't tell Hitch about it. 39:41.919 --> 39:44.228 What | saw on the screen, | couldn't believe. 39:44.399 --> 39:47.232 Floating through the air were rings. 39:47.399 --> 39:50.709 They looked to be about an inch wide 39:50.879 --> 39:52.710 and like a hoop. 39:52.880 --> 39:56.555 They were all different colours floating through the air 39:56.720 --> 39:58.551 and none of the effect we saw at all. 39:58.720 --> 40:00.836 When it was over, | said to John, 40:00.999 --> 40:04.787 T'm not gonna let Mr Hitchcock think that this is the kind of work 40:04.960 --> 40:06.791 that John Fulton turns out.” 40:06.960 --> 40:11.829 We insisted that Mr Fulton redo the colour that came over the faces, 40:12.000 --> 40:15.629 and it turned out to be, what was finally used, a faint red colour. 40:18.759 --> 40:19.908 (Jeff) Lisa! Doyle! 40:22.399 --> 40:23.468 (Hitchcock) In Rear Window, 40:23.640 --> 40:26.598 where Jimmy Stewart is thrown out of the window at the end, 40:26.760 --> 40:30.230 I just photographed that with feet, legs, arms, heads. 40:30.399 --> 40:32.117 Completely montage . 40:32.279 --> 40:35.351 | also photographed it from a distance. 40:35.519 --> 40:38.079 There was no comparison between the two. 40:38.239 --> 40:40.434 There never is, you know? 40:40.599 --> 40:45.354 Bar room fights or whatever they do in Westerns when they knock the heavy, 40:45.520 --> 40:51.197 or one man knocks another across a table, which breaks. 40:51.359 --> 40:54.237 -They all break a table in bars. - (Bogdanovich) Or the railing. 40:54.400 --> 40:56.675 (Hitchcock) Or the railing. 40:56.840 --> 40:58.717 They're always shot at a distance. 40:58.879 --> 41:03.509 But it's much more effective if it's done in montage, 41:03.679 --> 41:05.715 cos you involve the audience much more. 41:05.880 --> 41:08.838 That's the secret of that type of montage in films. 41:10.840 --> 41:12.034 (Woman Screams) 41:14.320 --> 41:16.914 I've heard the story, | don't know if it's true, 41:17.080 --> 41:19.275 that when they finished the editing of the picture, 41:19.440 --> 41:25.675 They took all the trims and outakes and just put them all on one reel. 41:25.840 --> 41:27.478 That's how few trims there were. 41:27.879 --> 41:30.393 (Herbert) He only shot a scene up to a certain point. 41:30.560 --> 41:32.391 Then he would change the angle of the camera, 41:32.560 --> 41:36.473 and start back maybe a few frames and start the new scene. 41:36.639 --> 41:39.551 Then he would stop and go to another one. 41:39.719 --> 41:42.313 That's the way he shot his pictures. 41:42.840 --> 41:44.717 I'm sorry. | got here as fast as | could. 41:44.880 --> 41:47.917 Don't let anybody touch him. Get my medical bag! 41:48.080 --> 41:51.356 - Lisa, if anything had happened to you - I'm alright. 41:52.239 --> 41:53.831 Gee, I'm proud of you. 41:54.000 --> 41:56.275 Robin) What the film eventually moves to at the end, 41:56.439 --> 42:01.069 is a kind of resolution of the Jefferies-Lisa relationship. 42:01.240 --> 42:04.994 A lot of people have found it cynical because Lisa, 42:05.159 --> 42:09.072 although she's dressed in adventure-type clothes, 42:09.240 --> 42:14.314 presumably ready to take off with Jefferies on some expedition, 42:14.480 --> 42:17.597 and is reading a book called Beyond The High Himalayas 42:17.759 --> 42:19.590 or something like that, 42:19.760 --> 42:22.911 puts it aside when she sees he's asleep and picks up Harper's Bazaar. 42:23.879 --> 42:28.236 It seems to me what Hitchcock is saying is not exactly cynical. 42:28.400 --> 42:29.719 It's realistic. 42:29.879 --> 42:33.633 Male and female positions are, within the culture, incompatible, 42:33.800 --> 42:35.631 within the culture as it exists today. 42:35.799 --> 42:37.915 And to a great extent it exists now. 42:38.080 --> 42:41.868 Lisa is showing us, at the end, that she must retain 42:42.039 --> 42:45.873 a certain perspective of her own and interests of her own, 42:46.040 --> 42:48.918 that she will not abandon her own interests in life 42:49.080 --> 42:51.275 and her values in life for his. 42:51.440 --> 42:52.873 1 think that's wonderful 42:53.040 --> 42:55.031 # Lisa # 42:57.720 --> 43:03.078 The last day of filming on stage 17, at Paramount on Rear Window, 43:03.240 --> 43:05.800 really was a very sad day for all of us 43:05.959 --> 43:10.191 because we had been on that picture for a long, long time. 43:10.359 --> 43:12.873 We'd all become very close friends. 43:13.040 --> 43:16.350 | remember they opened the big doors, 43:16.520 --> 43:20.752 and Grace Kelly and Hitch 43:20.919 --> 43:24.275 and Bob Burks and | all walked out at the same time. 43:24.439 --> 43:26.953 There was a slight rain coming down. 43:28.080 --> 43:31.038 We all stopped and looked back at the set 43:31.440 --> 43:34.000 All the lights were going out in various places on the set 43:34.160 --> 43:36.435 until there was complete darkness inside. 43:36.599 --> 43:42.515 And Ray said, "You know, it's almost like leaving home, to leave this stage.” 43:44.239 --> 43:46.389 Show's over for tonight. 43:51.119 --> 43:53.838 Preview of coming attractions. 43:54.000 --> 43:57.595 (Robert) A real restoration is gathering together all the materials 43:57.879 --> 44:01.315 that exist on a film throughout the world, going through each of them, 44:01.840 --> 44:05.833 and bringing together the best of those elements, both picture and sound, 44:05.999 --> 44:10.709 to create a preservation negative, 44:10.880 --> 44:13.633 which can, in effect, take the place of the original, 44:13.800 --> 44:16.519 which is either unusable, or parts are unusable. 44:17.439 --> 44:20.749 (James) The project started when we actually acquired 44:20.919 --> 44:23.558 the films for Universal in 1984. 44:23.719 --> 44:29.191 (Stewart) This is Jimmy Stewart, and | want to tell you about a special event. 44:29.359 --> 44:34.274 The return of five Hitchcock pictures unseen for more than a decade. 44:34.440 --> 44:36.510 (James) Those were Rear Window, Vertigo, 44:36.679 --> 44:39.751 The Man Who Knew Too Much, Trouble With Harry and Rope. 44:39.919 --> 44:43.309 We bought the films from the Hitchcock Foundation, 44:43.480 --> 44:47.393 actually, leased them for a period of five years at that time. 44:47.560 --> 44:51.030 But it was at that time, when Bob and | got together, 44:51.200 --> 44:55.432 we realised the horrible state all these pictures were in, 44:55.599 --> 44:57.715 and that if something wasn't done about them, 44:57.879 --> 44:58.994 they were gonna be lost forever. 44:59.840 --> 45:04.356 (Stewart) To me, this is Hitchcock at his best. 45:04.520 --> 45:07.080 One of the interesting things about films, 45:07.240 --> 45:09.674 especially classic films, is that, generally, 45:09.840 --> 45:11.910 the more important the film, the better the film, 45:12.080 --> 45:16.517 the worse condition the original negative and sound elements are going to be in. 45:16.679 --> 45:19.239 Rear Window is no different than many others. 45:19.840 --> 45:21.751 Normally, in large-format films, 45:21.919 --> 45:24.911 Spartacus and Lawrence Of Arabia and... 45:25.080 --> 45:26.957 (James) My Fair Lady and Vertigo- 45:27.119 --> 45:30.714 Robert) any film shot in 65 millimetre, all of the original prints 45:30.879 --> 45:32.710 were made from the original camera negative. 45:33.039 --> 45:36.509 But 4-perf 35, which is the way Rear Window was shot... 45:36.679 --> 45:40.035 It's unusual when you get into the '50s and '60s 45:40.199 --> 45:42.633 that they would have used an original camera negative 45:42.800 --> 45:45.792 from which to create a number of prints. 45:46.200 --> 45:51.274 But to our horror, when we first pulled the original camera negative out, 45:51.440 --> 45:55.991 we found that there were 389 release prints made from the camera negative. 45:56.159 --> 45:59.674 During the '50s and '60s, before wet-gate printing, 45:59.840 --> 46:04.152 a lab would put a lacquer on the original negative, 46:04.319 --> 46:07.117 and they'd run it, make as many prints as they needed. 46:07.280 --> 46:10.317 When the lacquer began to get scratched, 46:10.479 --> 46:12.310 they would remove the lacquer and relacquer it. 46:12.760 --> 46:15.069 When that would get scratched, they'd relacquer it again. 46:15.240 --> 46:17.913 But when they removed the lacquer from Rear Window, 46:18.080 --> 46:21.277 they actually stripped away about 40% of the yellow layer. 46:21.440 --> 46:23.317 One of the things that held us up initially 46:23.479 --> 46:26.869 was that we had to come up with an entirely new preservation concept 46:27.040 --> 46:32.160 of replacing only the yellow layer to an original negative where it was gone. 46:32.320 --> 46:34.311 This was done without computers. 46:34.479 --> 46:37.915 We did it in league with Pacific Title. 46:38.080 --> 46:41.277 {James) One of the things we deal with all the time on these restorations 46:41.439 --> 46:44.749 is whether we go for sharpness or colour. 46:45.039 --> 46:47.109 When you deal with a close-up, 46:47.280 --> 46:49.635 such as the entrance of Grace Kelly into the picture, 46:49.800 --> 46:52.917 one of the great entrances into a film, 46:53.080 --> 46:56.789 we're really trying to deal with sharpness to the nth degree. 46:57.199 --> 47:00.077 This was a particularly difficult shot. 47:00.240 --> 47:03.437 It's the shot where we see her moving toward Jimmy Stewart 47:03.599 --> 47:05.874 and then moving into the slow-motion kiss. 47:06.040 --> 47:10.397 These are moments that are of such impact in a film 47:10.560 --> 47:13.120 that we want to make them as perfect as we can. 47:13.280 --> 47:15.157 (Robert) And that shot was gone. 47:15.320 --> 47:20.155 It was actually gone by 1962, in the film's first reissue, 47:20.320 --> 47:22.276 which was actually in dye transfer. 47:22.440 --> 47:24.670 And the colour is bad in 1962. 47:24.840 --> 47:28.753 By the time we got the negative, the yellow layer was 90% gone. 47:28.920 --> 47:33.436 We printed the shot, and it came out a wonderful shade of orange-green. 47:33.599 --> 47:37.194 This was why we had to take six months 47:37.359 --> 47:41.432 and work out a way of putting back that yellow layer. 47:47.320 --> 47:49.788 (James) We tried to go through camera reports. 47:49.959 --> 47:53.474 We'd look at all of the extras that were in the film. 47:53.640 --> 47:55.471 We'd try and find the set designers. 47:55.639 --> 47:58.711 We'd try and find the publicists who were working on the film, 47:58.879 --> 48:02.269 because they had an overview of the picture at that point, 48:02.439 --> 48:05.317 and they also had a lot of information about how it played 48:05.480 --> 48:09.359 to the audiences of the day and can give us a real comparison. 48:09.520 --> 48:11.875 We talked to the director's assistants. 48:12.040 --> 48:14.235 We'd talk to the director if we can. 48:14.399 --> 48:17.436 But the last few films we've done, 48:17.599 --> 48:20.352 we've unfortunately not had a director to work with. 48:20.519 --> 48:26.037 These are all important, not only to this record that we try to keep, 48:26.199 --> 48:29.794 but it also addresses the ethical side of film restorations, 48:30.040 --> 48:32.759 which is : Should we change something? 48:32.919 --> 48:36.195 Can we change something? Do we have the right? 48:36.359 --> 48:39.271 This gives us an insight into, in this case, 48:39.439 --> 48:41.509 Hitchcock's point of view on the film. 48:41.760 --> 48:45.070 Let's go down and find out what's buried in the garden. 48:45.239 --> 48:47.070 Why not? 48:47.240 --> 48:49.435 I've always wanted to meet Mrs Thorwald. 48:50.279 --> 48:52.349 (James) We're gonna play this to audiences who don't know how it ends. 48:52.520 --> 48:54.670 Those are the best audiences, 48:54.840 --> 48:57.115 because that's when you see the value of this film, 48:57.280 --> 49:01.478 and you see how these Hitchcock films hold up over the years 49:01.639 --> 49:04.551 from the standpoint of dialogue, from the standpoint of acting, 49:04.720 --> 49:07.792 from the standpoint of concept, from the standpoint of directing. 49:07.959 --> 49:12.350 They're really pieces of our heritage, and they have to be saved, 49:12.520 --> 49:14.351 because what's going to happen 49:14.519 --> 49:16.794 to our grandchildren or our great-grandchildren? 49:16.959 --> 49:18.836 They're not going to be able to see these. 49:19.000 --> 49:21.958 This is why we try to impress on studio executives 49:22.119 --> 49:25.714 that they are just the guardians of these films. 49:25.879 --> 49:27.710 They're like curators of a museum. 49:27.879 --> 49:30.996 Sure they have to make it pay, sure they have to balance their books, 49:31.159 --> 49:32.990 sure they have to come up with new concepts, 49:33.159 --> 49:36.276 but they also have to maintain their libraries. 49:36.439 --> 49:39.272 They have to maintain the heritage of the industry. 49:39.440 --> 49:44.639 (Robert) A lot of entities use the term ‘restoration’ as a marketing tool. 49:44.799 --> 49:49.395 It not only damages the concept of film restoration worldwide, 49:49.560 --> 49:54.554 but it damages the films and is shortening the lives of the films 49:54.719 --> 49:57.916 that people are saying are restored when, in fact, they're not, 49:58.079 --> 49:59.398 because no one's gonna bother to restore them. 50:00.119 --> 50:02.917 {James) It's something that takes a very long time to do, 50:03.080 --> 50:05.799 the quality of restorations that we do, 50:05.960 --> 50:08.394 and to maintain the standards that we've set for ourselves , 50:08.559 --> 50:11.392 in an industry, by the way, that has no standards. 50:11.559 --> 50:15.108 There is no standards whatsoever in the restoration community. 50:15.279 --> 50:18.749 This is something that we're trying to address, 50:18.919 --> 50:21.717 and it's been very, very difficult. 50:22.559 --> 50:28.191 (Jeff) Is it ethical to watch a man with binoculars and a long-focus lens? 50:29.239 --> 50:31.116 Do you... 50:31.280 --> 50:35.273 Do you suppose it's ethical, even if you prove that he didn't commit a crime? 50:37.239 --> 50:39.309 I'm not much on rear window ethics. 50:40.280 --> 50:44.876 (Curtis) Rear Window is one of those pictures where you just feel that 50:45.119 --> 50:48.555 everything in that movie is perfectly realised, 50:48.719 --> 50:52.234 exactly the way that Hitchcock imagined it. 50:52.399 --> 50:55.516 We are able to be, in a sense, 50:55.679 --> 50:57.635 caught up in the storytelling, on the one hand, 50:57.800 --> 51:01.509 but also overwhelmed by its perfection on the other. 51:01.679 --> 51:03.749 The salesman's looking out of his window. 51:03.919 --> 51:06.274 Get back. He'll see you. 51:06.440 --> 51:08.670 I'm not shy. I've been looked at before. 51:08.840 --> 51:11.957 (Jeff) That's no ordinary look. 51:12.119 --> 51:14.110 That's the kind of look a man gives 51:14.279 --> 51:16.349 when he's afraid somebody might be watching him. 51:18.520 --> 51:20.988 {Bogdanovich) I think Rear Window was a film that he liked 51:21.159 --> 51:23.070 and was fond of and proud of. 51:23.519 --> 51:26.317 | think Rear Window shows him at the absolute peak of his powers. 51:26.479 --> 51:29.357 | think it's also the beginning of his last great period. 51:29.519 --> 51:33.034 | think from there on, he really doesn't make a wrong move. 51:33.199 --> 51:35.872 {Bogdanovich On Tape) Someone said there are two kinds of people. 51:36.040 --> 51:39.316 There are people who are voyeurs 51:39.479 --> 51:42.551 or people who observe the world that passes by, 51:42.719 --> 51:48.191 and there are people who are active, adventurers who are part of the world. 51:48.360 --> 51:51.193 Would you say you are a person who observes? 51:51.359 --> 51:53.827 (Hitchcock On Tape) Observes, sure. 51:53.999 --> 51:59.119 {Bogdanovich) So you must, in a way, identify with Jimmy Stewart's character. 51:59.240 --> 52:01.117 (Hitchcock) Possibly. Yeah, sure. 52:01.280 --> 52:03.430 Those are just a few of my neighbours. 52:03.599 --> 52:05.590 At first | watched them just to kill time. 52:05.759 --> 52:08.114 | couldn't take my eyes off them, as you won't be able to. 52:13.399 --> 52:18.917 | was visiting him at the St Regis. | think it was when Marnie was opening in '64. 52:19.080 --> 52:20.877 We had a few drinks in his room. 52:21.039 --> 52:24.918 Then we went to the elevator. We were going down. 52:26.959 --> 52:28.836 We get into the elevator, 52:28.999 --> 52:31.911 and there was silence from the 24th floor to the 18th floor. 52:32.079 --> 52:34.752 On the 18th floor, three people come in dressed for dinner. 52:34.919 --> 52:39.071 Hitch turns to me out of the blue and says, It was quite horrible, you know. 52:39.239 --> 52:42.072 "He was lying there in a pool of blood. 52:42.239 --> 52:46.312 There was blood coming out of his ear, blood coming out of his nose. 52:46.479 --> 52:49.357 | thought, "What on Earth is he talking about?” 52:53.479 --> 52:55.390 | mean, you know... 52:55.560 --> 52:58.120 I'd had a little drink, and | thought maybe | missed something. 52:58.279 --> 53:01.191 | felt like an idiot. I'm listening to him. 53:01.359 --> 53:04.112 Then the doors open on the 15th floor more people come in. 53:04.279 --> 53:08.830 He goes on with his, "It was really quite horrible, you know. 53:08.999 --> 53:11.672 "There was blood everywhere, all over the walls. 53:11.839 --> 53:15.673 "| said, 'Good God, man! What's happened to you?’ 53:15.839 --> 53:19.752 And do you know what he said to me?” 53:19.919 --> 53:24.356 At this point, just as he says that, the doors open to the lobby. 53:24.520 --> 53:26.875 So everybody in the elevator who knew who he was, anyway, 53:27.039 --> 53:29.951 cos he was very well-known, 53:30.119 --> 53:32.917 sort of hesitated, you know? 53:33.079 --> 53:35.957 The didn't want to leave the elevator. They wanted to hear what happened. 53:40.040 --> 53:44.670 Of course, he didn't say a word. They all had to get out of the elevator. 53:44.840 --> 53:47.593 Hitch just walks right by them. 53:47.759 --> 53:51.274 They're all kind of clustered near the front of the elevator, listening. 53:51.439 --> 53:54.909 He didn't say anything. He starts walking across the lobby. 53:55.080 --> 53:57.310 I'm completely confused. | don't know what's going on. 53:57.480 --> 54:01.473 | said, "What did he say, Hitch?" 54:01.640 --> 54:05.394 He said, "What? Oh, nothing. That's just my elevator story.” 54:09.519 --> 54:11.908 Obviously, that was something he did quite often 54:12.080 --> 54:13.957 in elevators just to amuse himself.