WEBVTT 00:07.080 --> 00:10.914 (Man) There are moments in life when we all need a little help. 00:14.640 --> 00:18.713 (Woman) Mr Bernard is a very mysterious man. 00:18.879 --> 00:22.474 | know this is mysterious Morocco, but we're not gonna lose our head. 00:31.879 --> 00:34.393 - (Woman) We're being watched. — Oh, come on. 00:34.559 --> 00:36.754 (Whistle Blows) 00:36.919 --> 00:39.308 Hey, look there. 00:42.999 --> 00:48.312 A statesman is to be killed, assassinated in London soon. 00:48.559 --> 00:54.270 (Man) If you tell even one word, your little boy will be in serious danger. 00:54.439 --> 00:57.237 {Man 2) Those people kidnapped your boy in order to keep your mouth shut. 00:57.400 --> 00:59.834 (Sobbing) | want my boy! 00:59.999 --> 01:03.469 {Man) | don’t care who you fellas are gonna kill. All | want's that boy. 01:03.640 --> 01:06.108 - (Woman) Why didn’t you tell me? - Where is he? 01:06.280 --> 01:08.669 - Now sit down. - How dare you! 01:08.839 --> 01:11.114 Ben, what can we do by ourselves? 01:15.360 --> 01:17.555 You have a very nice little boy, madam. 01:17.720 --> 01:18.948 Where is he? 01:21.159 --> 01:22.956 Hank McKenna! 01:28.280 --> 01:30.919 Where's our son? Where have you got him? 01:35.559 --> 01:37.550 (Screams) 01:43.360 --> 01:44.998 01:46.959 --> 01:48.870 Daddy! 01:53.400 --> 01:56.312 It's a scene from our new picture, The Man Who Knew Too Much. 01:56.480 --> 02:00.075 As you know, Alfred Hitchcock has an uncanny knack 02:00.239 --> 02:02.707 for coming up with the unusual in entertainment. 02:02.880 --> 02:05.713 Well, The Man Who Knew Too Much can certainly be put in that category. 02:07.280 --> 02:12.149 {O'Connell} In the early ‘30s, my father developed, with Charles Bennett, 02:12.319 --> 02:15.516 a project based around the Bulldog Drummond stories. 02:15.679 --> 02:19.069 Bulldog Drummond was a kind of amateur James Bond. 02:19.240 --> 02:21.834 And one of the story lines they were working on 02:22.000 --> 02:23.911 involved the kidnapping of a baby 02:24.080 --> 02:26.469 and international spying. 02:26.639 --> 02:28.550 When that project fell through, 02:28.720 --> 02:30.950 they kept the frame of the story 02:31.439 --> 02:34.078 and reshaped it into The Man Who Knew Too Much. 02:37.080 --> 02:40.038 My father directed the first version of The Man Who Knew Too Much 02:40.759 --> 02:42.954 in England in 1934. 02:43.119 --> 02:45.110 The film was a huge success 02:45.840 --> 02:50.118 and really built my father's reputation in England and in America as well. 02:54.119 --> 02:57.077 The title was taken from a collection of short stories 02:57.240 --> 02:59.913 entitled The Man Who Knew Too Much, 03:00.479 --> 03:02.868 by English novelist, G K Chesterton. 03:03.039 --> 03:05.155 My father owned some of the stories 03:05.320 --> 03:08.995 and simply decided to use the title for the film. 03:09.440 --> 03:15.515 {Murmuring) (Whispering) Don't breathe a word... to anyone. 03:19.159 --> 03:23.118 There were a lot of amazing visual sequences in the film. 03:23.279 --> 03:25.110 (Man) It smashed the window. 03:25.280 --> 03:28.352 (0'Connell) A lot of humour, despite the grim subject matter. 03:29.000 --> 03:31.036 Poor old boy. 03:31.200 --> 03:33.316 - Five shillings. - Five shillings. 03:33.479 --> 03:35.913 Give him five shillings for me, will you, please? 03:41.360 --> 03:46.195 {0'Connell) And a great, climactic scene during a concert at the Albert Hall. 03:46.360 --> 03:50.239 (Choir) 04:02.959 --> 04:04.358 (Screams) 04:07.240 --> 04:09.834 Sounds like it went off all right. 04:09.999 --> 04:11.796 | hope so, for all our sakes. 04:12.200 --> 04:15.351 (O'Connell) The film was released in December, 1934, 04:15.520 --> 04:17.397 and was very well received. 04:17.560 --> 04:22.680 My father discussed doing a remake of it in the United States in 1941, 04:22.840 --> 04:26.196 but he set the project aside until 1956. 04:26.759 --> 04:30.069 Although 1 think my father was proud of his original version 04:30.240 --> 04:32.071 of The Man Who Knew Too Much, 04:32.240 --> 04:35.835 he once told French filmmaker, Francois Truffaut, 04:35.999 --> 04:38.559 that the first film was done by an amateur 04:38.719 --> 04:41.108 and the remake by a professional. 04:56.200 --> 04:58.794 As far as the second The Man Who Knew Too Much, 04:58.960 --> 05:01.155 he didn't want to remake it at all 05:01.319 --> 05:06.439 He didn't want to remake any of his films, but he owed one to Paramount, 05:06.599 --> 05:12.117 and they felt that that was the one that could adapt 05:12.279 --> 05:14.554 to present day better than any of the others. 05:15.800 --> 05:17.597 Hitch said to me one day, he said, 05:17.759 --> 05:20.353 "Do you think we oughta remake The Man Who Knew Too Much?’ 05:20.520 --> 05:24.399 | said, "The Man Who Knew Too Much’? | never heard of that title before. 05:24.560 --> 05:28.109 He said, "Didn't you see any of my pictures before we worked together?” 05:28.279 --> 05:31.032 1 said, "Well, I certainly never saw that one.” 05:31.200 --> 05:33.236 He said, "Will you get a print and look at it 05:33.400 --> 05:35.868 and see whether we should remake that picture or not?” 05:36.040 --> 05:39.669 So, I was able to get a print and looked at it. 05:39.840 --> 05:43.799 Darling... where are you? 05:43.960 --> 05:45.951 (Girl} Mommy... 05:47.359 --> 05:49.350 Darling? 05:49.719 --> 05:51.710 Betty! 05:52.680 --> 05:54.511 (Sobbing) Steady, old girl, steady. 05:54.680 --> 05:57.752 (Coleman) So, after | saw this, 1 went back to the set 05:57.920 --> 05:59.751 and Hitch said, "Well, what do you think?" 05:59.919 --> 06:04.197 | said, "Well, Hitch, all | can say is you and films have progressed together.” 06:04.840 --> 06:08.833 I never would have said that to him if I'd known how much it'd hurt him 06:08.999 --> 06:10.830 but it really hurt him. 06:10.999 --> 06:13.467 And forever after that, | was sorry for saying it. 06:13.640 --> 06:17.110 And he said, "Well, what about the gun coming around the curtain to fire?” 06:17.280 --> 06:21.512 I said, "I love the touches in there, but I'm talking about the whole story.” 06:21.679 --> 06:25.957 Hitch was, of course, forming in his mind a new story completely. 06:26.119 --> 06:28.679 And, of course, that's what we finally ended up making 06:28.839 --> 06:33.310 was a completely new story about The Man Who Knew Too Much. 06:37.199 --> 06:39.872 In the case of The Man Who Knew Too Much, 06:40.039 --> 06:44.078 uh, Alfred Hitchcock wouldn't let me see... 06:44.640 --> 06:47.552 the early picture or read the script. 06:47.719 --> 06:49.550 He wanted me to stay away from it. 06:49.720 --> 06:52.598 What he did was sit me down and tell me a story. 06:53.080 --> 06:58.393 And | took notes from it and went home and did an outline based on that. 06:58.759 --> 07:01.751 I had no knowledge at that time of the early picture. 07:01.920 --> 07:06.118 If | did, | saw it when | was 12 years old or something and didn't recall it. 07:06.279 --> 07:09.874 Betty. You know your child is going to cost me the match, don't you? 07:10.040 --> 07:12.031 Well, she's your child as well as mine, isn't she? 07:12.199 --> 07:15.032 Well, if | lose this game, I'l disown her forever. 07:17.319 --> 07:20.834 (Hayes) I created those characters partly out of what Hitch told me, 07:20.999 --> 07:23.957 and partly out of what | envisioned they should be like. 07:24.119 --> 07:28.590 Daddy, you sure I've never been to Africa before? 07:28.760 --> 07:31.194 It looks familiar. 07:31.360 --> 07:34.955 We saw the same scenery last summer driving to Las Vegas. 07:35.120 --> 07:38.317 (Hayes) Hitch thought intensely about each scene. 07:38.480 --> 07:43.110 He'd start to dissect it and tell me how he would use the camera. 07:43.280 --> 07:45.999 On the way to the studio, he'd pick one scene 07:46.160 --> 07:50.472 and think about it all the way, on how many ways he could do it. 07:50.639 --> 07:54.029 And going home, he may have picked the same scene or another one. 07:54.199 --> 07:56.474 And so used his time valuably. 07:56.640 --> 07:58.676 Well, this eases the pain. 07:58.839 --> 08:01.194 - What pain, Mommy? - Just an expression, 08:01.360 --> 08:03.191 Can you take care of the driver? 08:03.360 --> 08:05.191 My name's McKenna, Dr McKenna. 08:05.360 --> 08:08.193 I'll take care of everything, sir. 08:08.360 --> 08:12.194 (Hayes) Hitch would insert his own little Hitchcockian touches. 08:12.360 --> 08:16.239 There's no question of it. And it's, of course, what made the films good. 08:16.399 --> 08:18.867 They had solid people. 08:19.039 --> 08:21.314 They had good dialogue. 08:21.480 --> 08:26.508 And mechanically, he had such an expertise for suspense. 08:27.040 --> 08:30.999 He inserted it where you least suspected it was going to be. 08:39.319 --> 08:42.629 (Speaking French} 08:42.799 --> 08:45.632 (Coleman) While Hitch started working on his screenplay, 08:45.799 --> 08:51.271 Doc Erickson, our production manager, and | flew to Marrakech 08:51.440 --> 08:54.591 and met with the officials there. 08:59.479 --> 09:01.037 You couldn't make a film there 09:01.199 --> 09:03.952 until they had read and approved the screenplay 09:04.120 --> 09:06.680 as is the case in most countries. 09:06.839 --> 09:10.514 And | told this story to the superintendent... 09:10.680 --> 09:13.592 that was in charge of people coming there to make films. 09:13.759 --> 09:15.750 Then he told me about Ramadan. 09:15.920 --> 09:20.152 He said, "You know, Ramadan starts about the third of June, 09:20.319 --> 09:23.595 and you will not be able to film here during Ramadan, 09:23.759 --> 09:27.434 because the people, they go without food or water 09:27.600 --> 09:30.194 from sunrise to sunset. 09:30.360 --> 09:35.388 ‘It's very difficult for you, so you must plan to be here early enough 09:35.560 --> 09:40.759 to finish filming before Ramadan starts.” 09:42.359 --> 09:43.678 09:45.319 --> 09:48.311 We went out and looked for locations 09:48.480 --> 09:51.153 that we thought would be fine for the picture. 09:51.319 --> 09:54.834 - Isn't this exciting? - Just like the county fairs. 09:55.000 --> 09:57.389 They got everything but the balloon ascension. 09:57.560 --> 10:00.791 And then Hitch had to concentrate on the casting. 10:00.959 --> 10:02.551 What's so funny about that? 10:05.039 --> 10:07.394 Hitch and Jimmy Stewart had already agreed 10:07.560 --> 10:10.233 to make The Man Who Knew Too Much 10:11.159 --> 10:15.596 so that part of the casting was settled before we worked on the screenplay. 10:16.520 --> 10:19.557 Daddy, come with us. We're going to see the medicine man. 10:19.720 --> 10:22.553 - Maybe you'll learn something, Daddy. - | wouldn't be a bit surprised. 10:22.720 --> 10:26.156 {0'Connell) With Jimmy Stewart, they were very, very good friends. 10:26.319 --> 10:30.597 And the reason that he loved using him so much is that... 10:30.759 --> 10:33.557 he typifies the ordinary man. 10:33.720 --> 10:38.236 So that a man goes to the movies with his wife, 10:38.399 --> 10:42.915 he can sort of imagine him doing the things up on the screen , 10:43.079 --> 10:46.992 because Jimmy Stewart, you know, reminded bim of himself. 10:47.159 --> 10:49.275 Just a minute. Just a minute. 10:49.440 --> 10:51.908 | want you to take these. They'll relax you. 10:52.079 --> 10:55.276 Relax me? I'm so relaxed, I'm tired. 10:55.440 --> 10:59.149 (Coleman) Then Hitch started talking about casting his wife, 10:59.319 --> 11:03.198 and he had made up his mind he wanted Doris Day. 11:03.359 --> 11:06.795 And | didn't want Doris Day cos | only knew her as a singer. 11:06.959 --> 11:09.075 She's a beautiful singer and a beautiful voice, 11:09.240 --> 11:11.435 but | knew her as a singer with those famous bands. 11:11.839 --> 11:16.037 And | was afraid she couldn't do the dramatic scenes in Marrakech , 11:16.199 --> 11:20.431 where she finds that her son has been kidnapped. 11:26.079 --> 11:30.311 And so | fought Hitch constantly against her, but he finally won out 11:30.480 --> 11:34.632 and cast her, and she turned out to be absolutely perfect for that scene. 11:34.800 --> 11:38.554 They've taken him away. 11:38.720 --> 11:41.518 But Mrs Drayton brought him back to the hotel. 11:41.680 --> 11:44.638 Mrs Drayton never got back to the hotel. Neither did Hank. 11:44.799 --> 11:46.630 - But Mr Drayton - - Listen, Jo. 11:46.800 --> 11:49.917 Mr Drayton checked out of the hotel 40 minutes ago. 11:50.079 --> 11:52.115 Now come on, Jo. Now sit down. 11:52.279 --> 11:54.952 How dare you! You gave me sedatives! 11:55.120 --> 11:57.509 Sit down. (Sobbing) 11:57.680 --> 11:59.591 - Jo, please. - Why didn't you tell me? 11:59.759 --> 12:02.956 - | wasn't sure until now. - You did! You did! 12:03.120 --> 12:06.112 {0'Connell) The sequence where Doris Day is given the drug 12:06.279 --> 12:10.477 before Jimmy Stewart tells her that their son has been kidnapped... 12:10.639 --> 12:14.552 Doris Day was excellent in that. She was wonderful in that. 12:14.719 --> 12:18.951 And that's when he realised what a good actress she was. 12:19.519 --> 12:22.079 - (Mumbling) - Jo, please. Jo. 12:22.240 --> 12:23.912 Where is he, Ben? 12:27.160 --> 12:31.392 (Hayes) I felt the relationship between the husband and wife 12:31.560 --> 12:34.074 was a reasonably sound relationship. 12:34.240 --> 12:37.994 They loved each other. They had their spats now and then. 12:38.159 --> 12:41.788 She made the decision to marry a doctor in a small town... 12:41.959 --> 12:44.678 instead of staying on the stage. 12:44.840 --> 12:47.308 So she had... He didn't force her to. 12:47.479 --> 12:52.872 She may have regrets about it, but she was solely responsible. 12:53.040 --> 12:56.271 Honey? 12:56.440 --> 13:01.560 Now we don't have much time. You'll have to get up and start getting ready. 13:01.719 --> 13:04.916 Please, Jo. 13:05.079 --> 13:07.877 Please, Jo. 13:08.040 --> 13:11.316 (Man) | was at Paramount, and 1 was kind of under contract there, 13:11.639 --> 13:16.872 and | was doing a picture called Vagabond King. 13:17.280 --> 13:20.238 And Bob Burks was the cameraman. 13:20.400 --> 13:23.631 And, of course, Bob had worked with Hitchcock. 13:23.799 --> 13:26.871 And apparently, Hitch asked Bob, he says, 13:27.039 --> 13:31.032 "You know of any young art directors you think I'd get along with?” 13:31.199 --> 13:33.076 And he says, "Yeah, I'm working with one right now.” 13:33.960 --> 13:38.556 In my wildest dreams, | never thought I'd ever work with Alfred Hitchcock. 13:39.279 --> 13:43.318 | had a meeting with him, and we got along fine. 13:43.479 --> 13:47.313 And so he chose me to do The Man Who Knew Too Much. 13:47.479 --> 13:51.074 It was, it was quite an experience, and, gee, it was hot. 13:51.600 --> 13:55.275 You just couldn't stand on the tarmac, you had to get in the shade. 13:55.440 --> 13:57.078 Towards the end of the picture, 13:57.240 --> 14:02.234 Hitch was directing from the front seat of an old Chevrolet. 14:02.399 --> 14:05.471 The driver would honk the horn, and then the assistant would come over 14:05.639 --> 14:08.676 and Hitch would tell him what they wanted him to do. I'll never forget. 14:10.120 --> 14:12.315 In those days, we all - especially with Hitch - 14:12.479 --> 14:14.470 we aff wore suits and ties. 14:15.079 --> 14:17.752 You know, nowadays, you got to look like you're shot out of a cannon. 14:17.920 --> 14:21.435 They'd think you were off to a funeral if you wore a jacket and a tie. 14:21.599 --> 14:26.354 But Marrakech was the first time I've ever seen Hitch in a T-shirt 14:27.319 --> 14:30.117 But it was buttoned right up . But it was short-sleeved. 14:30.279 --> 14:32.588 And he was cute, | remember. 14:32.759 --> 14:35.478 And the flies buzzing around. He was... (Blows) 14:35.639 --> 14:40.315 He could do it better than me, but he was blowing the flies off of him. 14:42.040 --> 14:44.679 (Coleman) When Hitch came to Marrakech, 14:44.839 --> 14:50.038 he said, "Ask Doc to send down some Dover sole from London.” 14:50.199 --> 14:52.554 And | said, "Hitch, you won't have to have it sent down from London.” 14:52.719 --> 14:55.153 | said, "We're gonna take you to dinner tonight, 14:55.719 --> 14:58.028 and they have the best Dover sole in the world.” 14:58.199 --> 15:01.396 He said, I don't believe it.” So, we went to this restaurant. 15:02.040 --> 15:04.679 We walked in and, of course, everybody was sitting on the floor. 15:04.839 --> 15:08.195 (Chuckles) He says, "You mean | gotta sit on the floor?” 15:08.360 --> 15:12.911 I said, "No, they have another room for people that want tables.” 15:17.479 --> 15:20.710 That scene was always in, but Hitch decided to do it that way 15:20.880 --> 15:23.553 when he saw the way people sat on the floor. 15:28.600 --> 15:33.799 {O'Connell} | think my father always wanted to have humour in his pictures. 15:33.959 --> 15:35.790 And in The Man Who Knew Too Much, 15:35.959 --> 15:40.430 obviously the greatest humour is the eating in the restaurant. 15:41.120 --> 15:43.031 (All Laughing} 15:43.199 --> 15:47.272 And | think he and Jimmy just worked that out. 15:47.440 --> 15:51.433 Boy, could | use this hand now. | can't... 15:51.599 --> 15:53.715 It's all right. Nobody minds. No one minds. 15:53.880 --> 15:55.871 (Stewart) I play the part of an American doctor. 15:56.480 --> 15:58.755 Doris Day's my wife. 15:58.919 --> 16:01.149 And the story's about our trip abroad 16:01.319 --> 16:04.470 that started out as a holiday and ended up as a nightmare. 16:04.640 --> 16:06.949 {Whistle Blowing) 16:10.599 --> 16:13.397 Hey, hey, look there. 16:15.880 --> 16:18.440 You'd better stand back. Go on. Stand back. 16:18.600 --> 16:20.716 (O'Connell) When Louis Bernard is murdered, 16:20.880 --> 16:24.509 my father wanted the paint on his face to come off 16:24.680 --> 16:25.999 on Jimmy Stewart's hands. 16:26.159 --> 16:30.471 They made many tests, but the make-up would not come off. 16:30.639 --> 16:34.154 So, finally, Daniel Gelin, who portrayed the victim, 16:34.319 --> 16:36.549 came up with a great idea. 16:37.400 --> 16:40.790 He said, "Jimmy Stewart should have white powder on his hands, 16:40.959 --> 16:44.747 And that's how they did it, and it looks very convincing. 16:57.319 --> 16:59.958 (Coleman) As Ramadan came closer and closer, 17:00.120 --> 17:04.636 and the people began to realise it, we rushed all of Hitchcock's work 17:04.799 --> 17:06.790 to have it done before Ramadan. 17:06.959 --> 17:11.635 And as soon as he finished, then he flew out for London 17:11.799 --> 17:14.074 to get ready to work in the Royal Albert Hall, 17:14.240 --> 17:19.189 And | started my work there, and | had about ten days work there, 17:19.360 --> 17:23.876 but after the fifth day, we were now in the third day of Ramadan, 17:24.039 --> 17:26.473 and the people were getting very unruly. 17:26.640 --> 17:32.158 On the fourth morning when | arrived, there were armed, uniformed soldiers 17:32.319 --> 17:34.753 on the roofs of all the buildings... 17:34.919 --> 17:37.558 to be able to control the crowd. 17:37.719 --> 17:40.358 And we started working, but before noon, 17:40.520 --> 17:43.830 the superintendent said to me, "Mr Coleman, will you please stop now, 17:44.000 --> 17:46.560 because I'm not going to be able to control the people.” 17:46.719 --> 17:50.314 We had to stop. | had, oh, | guess two or three days work left, 17:50.480 --> 17:52.198 but we had what we needed. 17:52.799 --> 17:54.551 And that was just the beginning. 17:54.719 --> 17:56.198 From there, we flew to London, 17:56.360 --> 17:59.477 for backgrounds of a whole strange series of events 17:59.640 --> 18:03.758 that ended up that final night in the great concert hall, 18:03.919 --> 18:06.149 where the cue for murder... 18:06.319 --> 18:08.787 was one single crash of the cymbals. 18:11.199 --> 18:14.794 (Coleman) Before | arrived in London, I sent Kay Selby, 18:15.399 --> 18:18.232 who was the head of the Paramount office in London, 18:18.400 --> 18:21.551 the scenes about the taxidermist shop. 18:21.719 --> 18:24.358 And when we arrived, she said, "I have it all set for you, 18:24.519 --> 18:26.430 to go and see the taxidermist shop.” 18:26.600 --> 18:28.591 So, we got in our car and drove to a place. 18:28.760 --> 18:32.469 We got out of the car, and | looked at this beautiful, great, big glass window, 18:32.640 --> 18:37.350 a beautiful polished wooden floor, with white bear rugs on the floor, 18:37.520 --> 18:40.114 and heads and things all on the walls. 18:40.280 --> 18:43.238 A beautiful place. Not what we wanted at all. 18:43.400 --> 18:46.756 And Kay Selby went into the office and brought out a man in a tail coat, 18:46.919 --> 18:49.387 and with morning clothes, you know, 18:49.880 --> 18:52.189 and introduced me to him and he says, 18:52.359 --> 18:56.796 "Why can't you Americans do things in a proper English manner?” 18:56.960 --> 18:59.474 You know, and | looked at him and said, "What do you mean?” 18:59.640 --> 19:02.871 He said, "Why couldn't you have communicated with me directly?” 19:03.039 --> 19:06.714 | said, "Kay, | don't have to listen to this kind of story. Let's go.” 19:06.879 --> 19:10.269 So, we turned and walked out. | said, "Kay, didn't you understand 19:10.439 --> 19:13.317 that this had to be in a working shop?” 19:13.479 --> 19:16.312 So she said, "I have one place for you to see.” 19:16.479 --> 19:20.870 “It's, it's in the low-rent district.” 19:21.519 --> 19:24.636 And we went out, and it was just ideal. 19:24.799 --> 19:27.711 And the owner of this place, he said, "It's fine.” 19:27.879 --> 19:32.873 He says, | won't accept a penny from you. I'd like you to use my shop.” 19:33.039 --> 19:34.870 Good afternoon, sir. 19:35.039 --> 19:37.951 | am Ambrose Chappell. What can | do for you? 19:38.480 --> 19:41.074 (O'Connell) My father loved to put 19:41.240 --> 19:44.391 a few little red herrings in his pictures. 19:44.559 --> 19:48.711 Such as using the name "Ambrose Chappell,” 19:48.879 --> 19:50.870 and them thinking it was a taxidermist, 19:51.039 --> 19:52.916 and then finding out it's a place. 19:55.400 --> 19:57.277 William! Edgar! Davis! Help! 20:11.199 --> 20:13.030 (McKenna) I made a mistake. 20:13.200 --> 20:18.228 {O'Connell} My father felt that he had to have a break in the suspense... 20:18.400 --> 20:23.793 Because you can only take suspense for a certain amount of time. 20:23.960 --> 20:27.350 It can't stay with you for an hour and a half, or a two hour movie. 20:27.520 --> 20:29.351 You have to relieve it. 20:29.520 --> 20:34.116 And one obvious example was Ambrose Chappell. 20:34.280 --> 20:37.636 And then, you know, then they go on this wild-goose chase. 20:37.799 --> 20:40.791 - Jo? - Ben, what happened? 20:40.959 --> 20:45.874 - No, it was a wild-goose chase. - It must be the chapel. | found it. 20:46.039 --> 20:47.518 It's just a short way from here. 20:47.679 --> 20:50.477 (Bumstead) Hitch was a master at going on location 20:51.160 --> 20:53.515 and getting all the long shots and everything. 20:53.679 --> 20:56.716 And, in other words, he gets the meat on location, 20:56.879 --> 21:00.838 and then you do everything else back in the comfort of the stages. 21:06.319 --> 21:08.514 There it is. 21:08.679 --> 21:10.670 Whenever he shot the exterior of a building 21:10.839 --> 21:13.194 that | had to do the interior of, 21:13.359 --> 21:18.308 | always went inside and took some photos and looked at the building, 21:18.479 --> 21:20.674 cos many times Hitch would ask me, 21:20.839 --> 21:24.548 ‘Bummy, does this set look anything like the interior of the building 21:24.720 --> 21:27.359 we filmed the exterior of, you know?" 21:27.520 --> 21:30.353 And apparently, he'd looked at it, you know, and I'd say "Yes". 21:30.519 --> 21:34.956 So, you know, | mean, | was very careful that way. 21:35.120 --> 21:37.111 (Congregation Singing) 21:40.719 --> 21:43.597 {Bumstead) One thing about Hitch, when you did a set for him, 21:43.759 --> 21:46.557 he shot the whole set, you know what | mean? 21:47.760 --> 21:50.718 Some directors, you do a nice set, and they get themselves in the corner 21:50.879 --> 21:53.074 and all you ever see is the corner. 21:53.240 --> 21:55.674 Well, this is a pleasant surprise, Doctor. 21:55.840 --> 21:57.990 Where's my boy, Drayton? 21:58.160 --> 22:00.390 He's upstairs. As a matter of fact, 22:00.559 --> 22:03.073 you've come just in time to help my wife with his food. 22:03.240 --> 22:06.596 It seems Hank doesn't care very much for our English cooking. 22:06.760 --> 22:09.593 What do you want? I'll give you money. 22:09.759 --> 22:11.795 I'll keep my mouth shut. All | want is my boy. 22:11.960 --> 22:17.034 And what about your wife? Did she go out just to get a breath of fresh air? 22:17.199 --> 22:21.112 (Bumstead) | learned how Hitch laid out shots, how he cut films. 22:21.280 --> 22:24.636 You know, Hitch shot very little film, 22:24.799 --> 22:27.552 and there's really only one way you could put it together. 22:27.719 --> 22:30.677 | mean, from what | noticed, you know, 22:30.839 --> 22:33.876 he knew what he wanted to do so well. 22:34.039 --> 22:35.950 As far as we can make out, there's no sign of life. 22:36.119 --> 22:38.952 - Report back here. - Very good, sir. 22:39.119 --> 22:41.838 Walden, you standby till the car arrives from The Yard. 22:41.999 --> 22:45.309 - You're not leaving. - Orders. Can we give you a lift? 22:47.000 --> 22:49.912 - Take me to Albert Hall. - I'm afraid it's a bit off our beat. 22:50.080 --> 22:52.719 - We could drop you at a taxi rank. - Alright. 22:57.319 --> 22:59.708 My father, of course, knew the Albert Hall so well, 22:59.879 --> 23:02.677 because he was a great lover of music when he was, 23:02.840 --> 23:05.115 you know, a young boy in England. 23:05.280 --> 23:10.070 And he loved to use famous places in his movies. 23:12.520 --> 23:17.514 He loved to travel early on. He and my mother loved travelling. 23:17.679 --> 23:21.035 And we would go to Switzerland almost every Christmas. 23:22.600 --> 23:24.955 So, he would find a place, 23:25.120 --> 23:29.636 and then he would see how he could incorporate it into the story. 23:37.480 --> 23:42.235 {Bumstead) We started shooting in Albert Hall and we shot in the lobby. 23:44.959 --> 23:47.678 And the long shots in the hall. 23:48.839 --> 23:53.151 - Your tickets, madam? - I'm sorry. I'm looking for someone. 23:53.319 --> 23:56.072 And then |... We did the boxes, 23:56.240 --> 24:00.074 and a lot of that stuff | reproduced back at the studio. 24:00.639 --> 24:05.349 Hitch liked to go up to a certain point, then I'd have to duplicate it back here. 24:05.520 --> 24:06.953 (Applause) 24:12.840 --> 24:15.798 {Man) More than any of the other Herrmann-Hitchcock collaborations, 24:15.959 --> 24:19.076 music is almost a character in The Man Who Knew Too Much. 24:19.240 --> 24:21.754 It's very important. It's right there in the opening titles, 24:21.919 --> 24:26.037 letting us know that music is going to be key to this story. 24:26.200 --> 24:29.351 And, naturally, that was a wonderful opportunity for Bernard Herrmann, 24:29.519 --> 24:33.228 because he loved projects when music was featured very prominently, 24:33.399 --> 24:36.869 and it's a sign of just how much Hitchcock trusted Hermann... 24:37.039 --> 24:40.031 after just one previous collaboration. 24:40.199 --> 24:43.635 The filming went very well, and the orchestra was very impressed 24:43.799 --> 24:46.916 with Bernard Herrmann's knowledge, his musicality, 24:47.080 --> 24:50.550 his ability to work in both the film and concert media. 24:51.079 --> 24:55.436 After filming, the London Symphony gave him a book, which they inscribed, 24:55.600 --> 24:58.239 "To Bernard Herrmann, the man who knows so much.” 24:55.600 --> 24:59.115 1 think it's no accident that there is so little dramatic scoring 25:02.559 --> 25:05.596 in The Man Who Knew Too Much, because Herrmann knew... 25:05.759 --> 25:08.319 how important music was going to be at the climax, 25:05.759 --> 25:07.989 so he doesn’t over score the rest of the film. 25:10.880 --> 25:13.838 In a way, he makes us wait for the big musical statement. 25:14.000 --> 25:18.437 But there are a few wonderful cues before that sequence at the Albert Hall, 25:18.599 --> 25:20.669 There's a very exciting main title, 25:20.839 --> 25:24.434 which utilises percussion very effectively and dramatically. 25:32.039 --> 25:38.558 And there are some very imaginative Herrmann cues throughout the score. 25:39.199 --> 25:41.633 For example, when they get the telephone call about the kidnapping, 25:41.799 --> 25:44.029 there's a wonderful cue that sort of looks ahead 25:44.200 --> 25:48.113 to some of the Herrmann music for films like, say, Vertigo. 25:48.280 --> 25:50.271 {Phone Clicking) 25:57.919 --> 26:00.592 Or when Jimmy Stewart is going to the taxidermist, 26:00.760 --> 26:03.718 there's a wonderful kind of music that Herrmann could write to suggest 26:03.880 --> 26:06.792 the anxiety that people were feeling in this situation, 26:06.959 --> 26:11.271 as well as to make that anxiety be felt in the audience as well. 26:23.239 --> 26:26.072 But, by and large, Herrmann makes us wait 26:26.239 --> 26:31.154 until we reach the Albert Hall and finally music becomes part of the story. 26:49.079 --> 26:51.877 The original work was "The Storm Clouds Cantata,” 26:52.039 --> 26:56.157 written by an Australian-born composer named Arthur Benjamin. 27:00.439 --> 27:06.150 Hitchcock gave Herrmann the chance to write a new concert work 27:06.319 --> 27:08.435 for the climax of the film, set at the Albert Hall, 27:08.599 --> 27:11.989 and it was a wonderful showpiece for a composer. 27:12.160 --> 27:17.359 Most composers would have jumped at the chance to write something new. 27:17.520 --> 27:19.750 But Bernard Herrmann so admired the music 27:19.919 --> 27:21.910 that had been written by Arthur Benjamin 27:22.079 --> 27:24.673 for the earlier 1934 version of The Man Who Knew Too Much, 27:24.839 --> 27:27.831 that he chose to keep that music. 27:27.999 --> 27:30.877 He said that he didn’t think anyone could write anything better 27:31.039 --> 27:32.950 than what Benjamin had done. 27:39.359 --> 27:42.112 Herrmann did reorchestrate the music to some degree. 27:42.280 --> 27:44.236 He made it bigger. He took advantage of the fact 27:42.280 --> 27:44.953 that he had the London Symphony at his disposal. 27:47.239 --> 27:51.118 And | think it is even more effective in the remake than in the first film. 27:57.599 --> 28:00.432 (Hayes) In the end of that picture, Jimmy Stewart made a comment 28:00.600 --> 28:04.115 that they threw out all of the dialogue in the Albert Hall scene. 28:04.280 --> 28:06.669 Well, it's not true that they threw it out. 28:06.840 --> 28:10.310 We had written a scene and written it with dialogue 28:10.479 --> 28:13.676 to see if we could do it silent or we needed the dialogue. 28:13.839 --> 28:15.670 And discovered we didn't need it. 28:15.839 --> 28:18.592 We had it in case we needed it. 28:31.039 --> 28:33.837 (Smith) In the original film of The Man Who Knew Too Much, 28:34.000 --> 28:35.956 we don't really see the conductor. 28:36.120 --> 28:37.997 He isn't a character, if you will. 28:38.160 --> 28:41.357 And when Hitchcock reimagined the sequence for the remake, 28:41.959 --> 28:45.952 he wanted to make the conductor more featured in the sequence. 28:46.120 --> 28:48.998 Well, then, the question was, "Who do we hire to be the conductor?” 28:49.160 --> 28:50.479 His choice was finally made, 28:50.639 --> 28:54.871 and I'm guessing it was Hitchcock's decision to use Bernard Herrmann, 28:55.039 --> 28:57.599 the man who was writing the score for the movie. 28:57.760 --> 29:00.115 So, it becomes almost an in-joke, 29:00.280 --> 29:03.317 that we have the composer of the dramatic score, 29:03.480 --> 29:07.598 who is appearing as himself conducting the London Symphony, 29:07.760 --> 29:10.354 and he's featured rather prominently in the sequence. 29:20.679 --> 29:25.469 The idea to have the cymbals play such an interesting role in the story, 29:25.919 --> 29:28.558 was inspired by a comic strip that showed a little man 29:28.719 --> 29:32.712 known as "the one-note man” in his daily routine - 29:32.880 --> 29:34.916 getting up in the morning, going to work, 29:35.080 --> 29:38.356 doing a single note with the cymbals and going back home. 29:55.919 --> 29:57.989 (Screams) 30:12.399 --> 30:14.390 (Screaming) 30:20.000 --> 30:22.150 (Smith) Hitchcock needed a song for the film, 30:22.319 --> 30:24.355 since, after all, Doris Day was in the movie, 30:24.519 --> 30:27.352 and Paramount wanted a song more than Hitchcock did. 30:27.520 --> 30:30.876 So, the team of Jay Livingstone and Ray Evans was brought in. 30:31.039 --> 30:33.075 And Hitchcock met with them and told them very frankly 30:33.240 --> 30:36.152 that Paramount wanted a song more than he did in the movie, 30:36.319 --> 30:38.879 and he said, "I don't know what kind of song | want in the movie, 30:39.039 --> 30:41.030 so go write me a song.” 30:41.559 --> 30:44.869 They came back with the song Que Sera, Sera. 30:45.039 --> 30:49.032 They played it for Hitchcock. He listened in somewhat stern silence, 30:49.639 --> 30:51.675 and at the end, he said to them, 30:51.840 --> 30:54.513 "Gentleman, | told you I did not know what kind of song | wanted.” 30:54.679 --> 30:56.476 "Well, that's the kind of song | want.” 30:57.000 --> 30:59.195 He walked out. That was it. The song was in the movie, 30:59.359 --> 31:02.157 and it proved to be a tremendous commercial success, 31:02.320 --> 31:05.232 as well as | think a very dramatically effective one. 31:05.400 --> 31:09.473 In fact, it won the Academy Award for the best song of 1956. 31:09.639 --> 31:14.190 # Que sera, sera 31:14.360 --> 31:18.148 # Whatever will be will be 31:18.319 --> 31:21.675 (Hayes) We consciously thought about Doris Day, 31:21.839 --> 31:25.115 uh, in relationship with her husband, 31:25.280 --> 31:29.273 as far as leaving the professional circuit that she did. 31:29.439 --> 31:31.430 And she missed something in her life. 31:31.599 --> 31:36.150 And as the events took place, she got it back, 31:36.320 --> 31:38.880 at least for a short time. 31:39.039 --> 31:42.315 # The future's not ours to see 31:42.480 --> 31:45.950 # Que sera, sera 31:46.119 --> 31:49.236 # What will be, will be # 31:49.400 --> 31:51.391 We accomplished everything we set out to do 31:51.559 --> 31:53.197 in The Man Who Knew Too Much. 31:54.559 --> 31:58.313 I don't think we gave up anything at all. 31:58.480 --> 32:01.472 (O'Connell) I loved the movie The Man Who Knew Too Much. 32:01.640 --> 32:03.835 | didn't remember the first one, because | was too young, 32:04.439 --> 32:05.872 so | loved the second one. 32:06.039 --> 32:08.837 That's one of my favourite movies. 32:09.760 --> 32:13.719 Movies meant a tremendous amount to my father and my mother, 32:14.559 --> 32:16.914 cos that was their life. 32:17.080 --> 32:21.835 We keep going to see his movies because they are pure entertainment. 32:23.799 --> 32:25.630 (Bumstead) He was a master filmmaker. 32:25.799 --> 32:29.428 On every film | worked with Hitch, he knew every shot - 32:29.599 --> 32:32.477 every shot really was in his mind. 32:33.479 --> 32:36.471 I remember Hitch is sitting there, you know, 32:36.640 --> 32:38.710 and they're lighting, 32:38.880 --> 32:41.235 and | said, "Hitch, what are you thinking about?” 32:38.880 --> 32:42.429 And he says, "I am thinking about my next film.”