:32:04
as well as doing
Alfred Hitchcock Presents.
:32:06
And in those days,
we'd do 39 of them, half hour shows.
:32:11
So, they sent for me and put me into
this position as associate producer .
:32:16
Eventually, l became producer
and then executive producer.
:32:21
What I loved when I worked
with him was,
:32:24
if he was pleased,
:32:26
there would be a kind of twinkle
in his eye
:32:30
at what he saw.
:32:32
And if you could produce that twinkle
in his eye you knew you were OK.
:32:39
When Hitchcock developed
this story ...
:32:42
which he developed initially
others wrote it ...
:32:46
he was very much influenced
by himself,
:32:48
namely his first really big hit,
which was The 39 Steps.
:32:54
The structure of that piece is a hero
:32:56
who is mistakenly fingered as
a guilty man and therefore has to flee.
:33:03
And the picture takes the form
of the various places he is fleeing to,
:33:08
until finally he achieves justice.
:33:12
This is a favourite Hitchcock structure.
:33:15
ln Saboteur, there was
a very strong resemblance
:33:19
in its structure to
:33:21
The 39 Steps,
:33:23
with the handcuffs and, of course,
the perennial blonde,
:33:27
which became
a trademark of all his pictures.
:33:32
Now I feel better.
:33:33
Hitchcock believed the hero
should be dark.
:33:37
That is to say like Cary Grant
or Robert Donat
:33:40
or Jimmy Stewart.
:33:43
And the heroine should be blonde ...
:33:45
Grace Kelly, Madeleine Carroll.
:33:48
He believed that this is
the best way to tell stories.
:33:52
The Hero and heroine
had to look like that.
:33:55
He repeated
these things with variations