:24:02
And there, from beginning to end,
:24:06
is the Statue of Liberty sequence.
:24:10
In all the film schools,
they talk about the fact
:24:14
that he always did all these
drawings and laid out the shots.
:24:18
It's not true.
:24:20
He did many. He did many.
:24:23
And he loved to draw.
He drew beautifully.
:24:26
The profile on the television show,
he drew.
:24:31
But this sequence
on the statue, he drew.
:24:34
For obvious reasons, he had to,
:24:36
because it involved some
very special technical work.
:24:42
They built the torch and arm
:24:46
of the statue to scale.
:24:48
lt was the same size as the statue.
:24:51
So, when l finally come out
on that balcony of the statue,
:24:57
and Bob Cummings was out there,
:24:58
he makes
this move which frightens me,
:25:01
and l go backwards over the railing
:25:04
and catch between the thumb
and the forefinger of the hand.
:25:08
Hitchcock said to me,
:25:10
''Can you do a back flip over that...
:25:14
that railing?''
:25:15
But l was a young actor,
flexible and so forth.
:25:19
l said, "Of course".
:25:20
And he was pleased, because it meant
:25:22
that he could be right on me,
:25:26
instead of, you know, an angle
or a double doing it from the back.
:25:31
He was right on me, and l go.
:25:38
Come on, Fry!
:25:40
Now, the next cut
:25:43
was my going through the air.
:25:47
And that was done by
:25:50
Davey Sharp,
:25:52
who was the greatest stuntman.
:25:56
And he looked a little like me.
:25:57
We were built about the same way.