:36:01
Alma was Hitchcock's wife, and he was
very devoted to her. He loved her.
:36:05
She came by occasionally
during preproduction
:36:09
and came by a couple
of times during filming.
:36:12
She used to come by on Tuesdays
and leave the dog
:36:17
and sometimes have lunch with him.
:36:20
She was very much a part of him, and...
:36:23
she was very much a part
of selecting projects for him,
:36:29
and he would always consult
with her on the pictures.
:36:32
Never outwardly on the set
would she ever say anything,
:36:35
but I know behind the scenes
:36:37
she was very involved.
:36:44
(Kazanjian) Casting for Hitchcock
was a little different
:36:47
than most directors or producers,
:36:49
and he saw a great many films.
:36:52
And Bill Batliner, who was head
of feature casting at Universal Studios,
:36:57
would bring in films for Hitchcock
to see in his private projection room.
:37:01
And he would relate to Bill Batliner,
"This is the guy,
:37:04
but I want him different
or I want him taller."
:37:07
Or he was to be sweeter,
he has to be tougher-looking.
:37:10
And if you think about
all of the Hitchcock pictures,
:37:12
he really had
very distinguishable people.
:37:16
And so many of them look the same,
whether it be Grace Kelly,
:37:20
followed by Tippi Hedren,
they were the same type of women
:37:24
and the same type of romantic men.
:37:27
And he was deviating a little bit here,
but that's what he was looking for.
:37:30
He knew what he wanted.
And so, we cast the picture.
:37:33
(Sobbing) You ain't afraid of a little bit
of lightning, are you? Huh?
:37:39
When I met him in '63,
when we were doing Marnie,
:37:43
I was the flashback sequence
in Marnie, so...
:37:48
we shot on another stage from the stage
that Tippi and Sean Connery
:37:51
and everybody was working on,
which was the main stage,
:37:53
and he would come over
to the stage I was on.
:37:56
And he shot the flashback
sequence with a huge lens.
:37:59
It was a German lens
that looked like a light bulb,