: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,
:05:03
for not going back to England.
:05:05
English people sort of forgot
that these people are under contract,
:05:09
and I can't quite see either
David Selznick, or Samuel Goldwyn,
:05:13
letting their prize possessions
to just take off and go back.
:05:18
He did go back during the war,
:05:20
and he made
two films for the free French.
:05:25
(Boyle) Because of
the beginning of the war,
:05:28
because after that we were
completely involved in World War ll ,
:05:31
and you couldn't get anything ...
:05:34
We couldn't work
in any of the aircraft factories.
:05:37
lt all had to be done on the back lot.
:05:39
So Saboteur became
a real challenge.
:05:44
It would have been in any event,
but for a young art director,
:05:48
working with the master,
Alfred Hitchcock,
:05:51
it was not easy.
:05:54
It was in 1941,
:05:58
and I had been an actor
by that time...