: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
:04:03
was here at Universal on a Sunday.
:04:06
We were working out some sequences,
:04:09
and he was making his little drawings.
:04:12
Late morning, the door burst open and
:04:16
a man came in with
one of these blocked hats.
:04:20
You know, the hard hats.
:04:23
And he said,
'What are you doing here?''
:04:25
He said, "Haven't you heard?
The Japs just bombed Pearl Harbor."
:04:31
That was my beginning of Saboteur.
:04:37
At the time war broke out,
:04:41
I can remember that distinctly,
September 3rd,
:04:44
and my father going to the phone
to call his mother in England.
:04:48
And the operator saying, "l'm sorry,
no more calls . That country is at war."
:04:54
And he was just devastated.
:04:57
My father was actually
very roundly criticised,
:04:59
He and David Niven
and other English people,