1:26:00
. . .he would
permutate their performances. . .
1:26:05
. . .almost to the breaking point.
1:26:07
I remember. . .
1:26:11
. . .going on the set one day and there
were a thousand candles burning.
1:26:15
Outside there was a huge storm. . .
1:26:17
. . .and there were men outside, who,
because of the storm had to hold. . .
1:26:23
. . .the big lamps.
1:26:24
There was a huge gale in Dublin
and the rain was icy cold.
1:26:29
I thought "I hope they don't
have to do it too long. "
1:26:32
And then the candles are burning down
very gradually.
1:26:35
Stanley's just sitting there
with Hardy Krüger. . .
1:26:40
. . .discussing a problem
Hardy had and he's just saying:
1:26:44
"Well, Hardy, I think we should. . . . "
1:26:46
Krüger, I think, was getting
also in a state.
1:26:49
It was interesting, never getting
flustered, never raising his voice.
1:26:54
He was great working with
actors because it was one-to-one.
1:26:57
You had a relationship
with the director.
1:27:00
If he was working with any detail
on a role with an actor. . .
1:27:03
. . .the others were there,
but it was just you and him.
1:27:07
What is your call, Lord Bullingdon?
1:27:11
Heads.
1:27:20
It is heads.
1:27:23
Lord Bullingdon will have
the first fire.
1:27:30
Lord Bullingdon. . .
1:27:32
. . .will you take your ground?
1:27:34
And it was the fact that Stanley
was so open. . .
1:27:37
. . .and so engaging.
When I asked him a question. . .
1:27:41
. . .it might be about the lighting
or the camera, the lenses. . .
1:27:44
. . .he would take the trouble
to talk about it in a really. . .
1:27:50
. . .well-detailed way so that
I understood what was happening. . .
1:27:53
. . .and that really stimulated me.
1:27:56
If he came onto the floor,
he didn't know how to shoot a scene.