:02:01
Joan Harrison, who had come over
to this country with Hitchcock
:02:04
and had worked with him
on Rebecca, as a matter of fact
:02:07
Peter Viertel and, uh,
eventually Dorothy Parker.
:02:11
Joan Harrison left to do Phantom Lady,
which he produced, and
:02:17
this left Hitchcock with, uh,
:02:21
just Peter Viertel,
who was about to go into the marines.
:02:24
Selznick, finally getting this script,
:02:27
did what he
often did with his players
:02:30
and in this case, his director
:02:32
he tried to sell them to other people,
:02:35
because he didn't want to make it.
:02:38
And he was not successful in selling it.
:02:42
He tried RKO, and he was finally
successful in selling it
:02:47
to Jack Skirball and
Frank Lloyd, who had a company.
:02:57
l always considered Saboteur
:03:00
as my first reasonably important film.
:03:04
I had done
a couple of things before that.
:03:07
One was Wolf Man,
:03:10
which became a kind of
a cult movie in itself.
:03:16
And Hitchcock,
when he started Saboteur,
:03:20
wanted to have
somebody who could do
:03:23
the continuity drawings,
the storyboards.
:03:26
And I was there,
so I was introduced to Hitchcock,
:03:29
and we seemed to hit it off
on the first go-round.
:03:34
And much to my surprise,
l suddenly found myself
:03:37
working as the chief designer
for Alfred Hitchcock.
:03:43
The idea was frightening, of course,
as this was going to be a big picture.
:03:48
lt was Hitchcock's first picture
at Universal.
:03:53
lt was an odd film, because it had to
do with the beginning of World War ll.
:03:59
My first meeting with Hitchcock