1:05:01
not knowing if he would
engage me to do this or not.
1:05:04
Then I got a call from Mr Garfield
the next day.
1:05:06
He said, Hitchcock, yes,
he would like you to do the score.
1:05:14
The business of working
with Alfred Hitchcock
1:05:16
was really very professional
and very strong.
1:05:19
We had a few meetings as I wrote
the music. He didn't ask to hear it.
1:05:23
I would tell him what I was doing, this
or that scene. We talked about that.
1:05:28
And then the conversation
might change to Edward Elgar
1:05:30
or some other musical interest of his,
you know? We chatted about that.
1:05:34
So, on the one hand, it was
very professional and very specific.
1:05:37
On the other hand,
very easy and congenial and so on.
1:05:41
I don't know what's come over
me tonight. I'm tingling all over.
1:05:45
I told you about danger, didn't I?
1:05:48
First, it makes you sick.
1:05:51
Then, when you get through it,
it makes you very...
1:05:54
very loving.
1:05:57
(Williams) He told me a story having
nothing to do with Bernard Herrmann.
1:06:00
Some other composer, I don't know,
on a film that he made about a murder.
1:06:04
And he instructed the composer
to make the music light.
1:06:08
So, he said he went
to London to record the music,
1:06:10
and this composer had every
double bass and bassoon and timpani,
1:06:14
and every instrument
in the city of London
1:06:16
capable of making an ominous,
lugubrious sound.
1:06:19
Just the opposite of what
he wanted, so I said to him,
1:06:22
"Mr Hitchcock, seems like for a murder
that's very appropriate."
1:06:25
Put that thing away.
1:06:27
I always quote his exact words.
1:06:30
He said, "Mr Williams,
murder can be fun."
1:06:34
So, he had this idea
1:06:36
of irony and many sides
to the prism of what one sees.
1:06:41
- (Man) Where'd you put the diamond?
- (Woman) Where everyone can see it.
1:06:45
- You didn't.
- I did.
1:06:47
- Are you going to tell me where?
- You'll have to torture me first.
1:06:51
(Woman Giggling) Oh, I intend to...
in a few minutes.