:30:01
They said, "George Stevens would like you
to come and see him this afternoon...
:30:05
"at such and such a time."
:30:06
I said, "I really don't want
to do the picture...
:30:09
"'cause there's no part."
:30:12
They said, "Go talk to him anyway.
You can tell him, but talk to him."
:30:16
I came out,
and they were shooting the interior.
:30:19
They were shooting the dinner scene,
where Elizabeth...
:30:23
kind of attacks Rock...
:30:26
or Leslie attacks Bick...
:30:28
about how we took Texas away
from the Mexicans.
:30:35
While they were re-lighting,
George took me around...
:30:37
and we walked around the block.
:30:39
I needed to tell him
that I appreciated the interest...
:30:43
but there was no part. I got to tell you...
:30:47
he started talking about how he saw this
as a Booth Tarkington character.
:30:53
Anybody who has ever met George
knows what a charmer he was.
:30:57
By the time we got through
with our walk around the studio...
:31:00
I would have done anything for him.
:31:03
So that's how I got into Giant.
:31:05
I never once told him the part was small.
:31:08
I didn't have the guts after that.
I was thrilled to be working with him.
:31:12
My history with Giant was
that I had graduated from college...
:31:15
and was supposed to go
into the Air Force...
:31:17
but the Korean War ended,
so I had one year with nothing to do.
:31:21
I spent most of that year
working with my father on the screenplay.
:31:25
He and Fred Guiol and lvan Moffat
would meet each day...
:31:29
out in Dad's apartment
on Riverside Drive...
:31:32
in North Hollywood,
and we'd sit and work on the screenplay.
:31:37
Then my time came
to go into the Air Force...
:31:41
and I had time to serve
my two years in the Air Force...
:31:44
visit the locations
in Charlottesville, Virginia...
:31:47
Marfa, Texas, and here at the studio...
:31:50
serve my time and get out
just in time to work with my father...
:31:54
on the completion of the editing...
:31:57
the scoring of the music with
Dimitri Tiomkin here on the Warner lot...