:03:00
my father brought in Sally Benson,
:03:03
who had just written a play
in New York called Junior Miss ,
:03:06
which was a big hit.
:03:08
Then he
and Sally Benson and my mother
:03:11
worked on the screenplay.
:03:13
It's one of my favourites
because I loved all the people in it.
:03:17
I thought it was very well cast,
right down to the last person.
:03:26
(Woman) I'd come out to California
to do The Little Foxes.
:03:30
and I went back
to New York to do a play.
:03:32
Then I came back to do Mrs Miniver
:03:35
because Billy Wilder had asked me,
:03:38
and by then,
Mr Goldwyn had signed me.
:03:39
I did that and then
Pride of the Yankees , almost in a row.
:03:43
I mean, each one lasted
almost four months.
:03:47
Then I was married and very caught up
in, you know, having my first home
:03:52
and all of that.
:03:54
Then this script came,
:03:56
and, of course, everybody
wants to do a Hitchcock film.
:04:01
I did not read the script.
:04:04
They said,
"He wants to tell you the script."
:04:06
So I went and I sat down
opposite him at a desk
:04:11
and he proceeded to tell the story.
:04:14
And he told the story
like no one else has ever told a story.
:04:18
He used anything on his desk as a prop,
:04:22
whether it was a glass
or a pencil or a book,
:04:26
to make a sound, do sound effects.
:04:29
He'd do steps. (Footsteps)
:04:31
He'd do anything he could
as a storyteller
:04:34
to lure you into his story.
:04:36
And he told that story so beautifully
:04:40
that I was just absolutely mesmerised.
:04:43
And when I finally saw the film,
:04:46
I said, "I've seen this film."
:04:49
"I saw it in his office."
:04:51
And I really meant it.
:04:56
I went out to California
:04:59
and I was shown into a big
waiting room at Universal.