:08:00
actually, in continuity,
:08:02
and the first l played
with Bob Cummings.
:08:05
A lovely man.
:08:06
A delightful man ,
who was very kind to me.
:08:11
Uh-oh. Bottleneck.
Mr Roosevelt should hear of this.
:08:14
I'm sorry.
I hope you didn't hurt yourself.
:08:17
- My friend says he's sorry.
- OK.
:08:20
l was trying to establish
a very vivid character
:08:24
right at the start of this piece,
:08:26
because he disappears
:08:29
and doesn't appear
until the latter part of the picture.
:08:32
Fry.
:08:34
How do you know my name?
:08:36
What do you care
how I know your name?
:08:38
I saw it on one of those
envelopes you dropped.
:08:40
l wanted to make some kind
of strong statement
:08:43
so that they would
remember me all through.
:08:53
Hitchcock was such
a wonderful communicator.
:08:56
And he said what he wanted was,
:08:59
and he drew a sketch...
:09:01
a little rough sketch,
and then he just scribbled over it.
:09:06
He said, "l want the smoke
to come in like that. ''
:09:08
And l thought, well,
of all the directors l had worked with,
:09:12
this was the first time somebody
not only told me what they wanted,
:09:16
but showed me.
:09:18
(Alarm Blaring)
:09:28
The paint shop!
It'll go up like dynamite!
:09:30
- Here, take this one.
- What about me? Don't I get to play?
:09:34
What l remember is that Hitchcock
cast as the victim of this fire,
:09:39
a man named Virgil Summers,
:09:42
and Virgil Summers
was the best boy on the crew.
:09:48
He was not an actor.
:09:50
Hitch took a look at Virgil,
and he thought,
:09:53
"This man looks like the perfect
worker in an aircraft factory."
:09:57
And he did.
He was young, wonderful-looking guy,