:14:01
He had this tremendous confidence
and if he hadn't. . .
:14:05
. . .I don't think he could have worked
with Lucien Ballard as he had.
:14:09
The cameraman was Lucien Ballard.
:14:11
Lucien had, I believe,
won an Academy Award. . .
:14:14
. . .was regarded as one of the top 1 2
or so photographers in the business.
:14:20
He was a particularly stylish fellow,
married to Merle Oberon. . .
:14:27
. . .a classic example of the old-style
cinematographer.
:14:29
Stanley had done his own photography
on his two previous films. . .
:14:34
. . .so he knew exactly what he wanted,
and I think that Ballard. . .
:14:37
. . .resented this kid from New York.
:14:40
The first shot of the picture,
first day, first shot. . .
:14:44
. . .Stanley set up a shot.
It was quite complex.
:14:48
It was a long dolly shot.
:14:51
And he's lined it up specifically
with a 25 mm lens.
:14:54
He set it up and turned it over
to Lucien and Lucien said, "Fine" . . .
:14:59
. . .and began the elaborate business of
lighting and setting a dolly track.
:15:03
Stanley went over to talk to Jimmy
or do something. . .
:15:07
. . .and looked back over his shoulder
and noticed that the dolly track. . .
:15:12
. . .was much further away
from where he had set the camera.
:15:16
He said to Lucien,
"What are you doing, Lucien?
:15:21
I put the camera here,
you're pulling it way back.
:15:24
Why haven't you put it
where I've asked?"
:15:27
He said, "I haven't changed anything.
:15:30
I'm using a 50 mm lens. . .
:15:32
. . .to give you precisely the same
coverage that you've asked for. . .
:15:37
. . .but with the 50. It makes. . .
:15:40
. . .my job a lot easier and it'll go
a lot faster. "
:15:43
Stanley listened to this and said:
:15:46
"What about the change
in perspective that occurs?"
:15:51
He said, "That doesn't matter. "
:15:53
That particular piece of information
is dead wrong.
:15:56
The perspective changes.
It's a different shot.