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00:28I'm thinking about my next film
00:31This is all terribly boring
00:35Hitchcock always said he was bored making a movie
00:39The notion that he simply sat back in a chair and drew everything
00:45And then slept on the set
00:47Was very useful at intimidating people who wanted to interfere with his work
00:52I went into writing Hitchcock at work believing that myth
00:57But I had heard all of these other things about him
01:02That indicated that it was more like a bunch of kids in the backyard making a movie
01:08That's what it was, or an independent production
01:10I said, did anybody ever bother you from the studio?
01:15Were the unions ever a problem?
01:17Nothing
01:18But I'll tell you one thing
01:24No storyboards have ever been found for Hitchcock
01:27Out of England
01:28He was introduced to the concept by David O. Selznick
01:32Who had used them on Gone with the Wind to try to control the directors
01:37It's a producer's idea
01:40The producer doesn't go on the set
01:43But he wants to be able to control what happens on the set
01:46How's he going to do it?
01:47You have William Cameron Menzies draw every angle for you
01:51And then Hitchcock sort of took them over
01:54And used them for all sorts of purposes
01:57Including PR, educating people
02:00You see, this is the shot
02:01This is the image that I had in my mind
02:04And so on
02:04He really took them away from the producer
02:07And made them a tool of the director
02:10That's one of the things I learned fairly recently
02:12David O. Selznick worked with Hitchcock before
02:16And he greatly admired Hitchcock
02:19But he didn't like Hitchcock's angular cutting
02:22He didn't like the POV stuff
02:23It was as simple as that
02:24Some of the things that Hitchcock were doing
02:28Were definitely not conventional
02:29And also the pacing that those things created
02:31Because it almost automatically slows it down
02:33Selznick didn't like any of these kind of techniques
02:38Feel better?
02:42That overall general tension
02:44Between a director, producer and studio
02:45Led many of the better camera style directors
02:49Like Michael Curtiz
02:51And they would cut in camera
02:52And what that means is
02:54They would only shoot the shot they needed
02:56The other option is to have coverage
02:58So you shoot multiple things
03:00Now the editor gets all this stuff
03:01And he has five options
03:02I'll give you a little John Ford story
03:05He was being interviewed
03:06And from his own movie
03:07And they said
03:08Well why did you shoot that character
03:10So far away from camera
03:11And not use the close-up
03:12And he said
03:13Because then the studio would have used it
03:14Hitchcock
03:16Even more than most
03:18He didn't just camera cut
03:19Hitchcock gave them no options
03:22That was why the whole point
03:24Of doing every single panel
03:26That was the shot
03:27And when someone said
03:28Well can we move here
03:29And we said no
03:30That's the shot
03:31That's all we have
03:32That's all we shot that day
03:33But we know it works
03:35Because it's here on the storyboard
03:36Okay I'm reading from this book
03:40Truffaut Hitchcock
03:41It's a classic
03:42And Hitchcock and Truffaut
03:44Are discussing Notorious
03:45Notorious
03:47Notorious
03:48It's probably the picture
03:52Which I prefer
03:53Of all the black and whites
03:54C'est la quintessence
03:55D'Hitchcock
03:56It's the quintessence
03:57Of Hitchcock
03:58To me
03:58It's perhaps a picture
03:59Where one senses
04:00That
04:00Colle exactement
04:01That everything fits in
04:03At least overlapping
04:04Everything fits in
04:05And with the drawings
04:07And with the drawings as well
04:09That is that in an animated cartoon
04:14It couldn't be
04:14Have been more precise
04:15No
04:16No
04:16When it was
04:17Economic
04:19That's true
04:20In Notorious
04:29One of the things
04:30That was most interesting
04:31To me
04:31Was the sequence
04:32Where Elisa
04:33Comes to the house
04:35For the first time
04:35And she's introduced
04:36To the mother
04:37Good evening
04:56I'm Miss Huberman
04:58Will you tell Mr. Sebastian
04:59That I'm here
04:59That whole section
05:01Shows a use of POV
05:03That's very very unique
05:04And interesting
05:05One of the great shots
05:19Is when the mother
05:20Makes a grand entrance
05:21Down a staircase
05:22And this is all
05:22Very carefully designed
05:24She's probably 60 feet away
05:39And until she comes
05:40Into a close-up
05:41Right in front of the camera
05:42She doesn't blink once
05:44That is predator behavior
05:45Please forgive me
05:47For keeping you waiting
05:48Not at all
05:49May I take your breath
05:52Another very interesting
05:53Scene is the shot
05:54Where she comes in
05:56To meet the four
05:57Nazi conspirators
05:59They're in a drawing room
06:03It's very formal
06:04And they each come up
06:05And kiss her hand
06:06Very European
06:06Continental in the day
06:07And the way they shot
06:09That was
06:10Kind of looks like
06:10An over-the-shoulder shot
06:11But it's not
06:12In so far
06:13It's almost a POV shot
06:15And so each man
06:16Comes down
06:17And kisses her hand
06:17But they're very close
06:18That was also unusual
06:20It's almost invading
06:22The normal space
06:23That was a convention
06:24Meaning the size
06:25Of the shot
06:25And how people
06:26Got close to each other
06:27It violates that
06:29And it's way too intimate
06:30As they kiss her hand
06:31So it's a little bit creepy
06:32Which was intentional
06:33Dr. Anderson
06:34Kiss me greatly
06:36It's not a full POV shot
06:37Because the actors
06:38Don't actually ever
06:39Look up into the camera
06:40So they're looking
06:41A little bit to the side
06:42But I would still call
06:43That a modified POV shot
06:45You got their look
06:48But you never do
06:48The reverse to Elisa
06:49And what that provides
06:51Is she's even more powerful
06:53Not being in the shot
06:55Than if they had done
06:56The reverse
06:56Because that's a release
06:57So the whole time
06:58The audience is conditioned
06:59After years of watching cinema
07:01That you would expect
07:02Is cut
07:02And they never get it
07:03And so instead
07:04They're thinking
07:05Elisa's right here
07:05She's right here
07:06The whole time
07:07But she's not even
07:08In the shot
07:08The Birds and Marnie
07:12Were the most
07:13Intensively subjective films
07:15He had made
07:16And The Birds
07:17Even more than Marnie
07:19Because it's all
07:21Tippi's point of view
07:22It's the visual language
07:25Of cinema
07:25Which Hitchcock helped invent
07:27And which everybody
07:29Is still using
07:30The lake crossing scene
07:33In The Birds
07:34It's done entirely
07:36As a subjective sequence
07:37Except for two shots
07:39The shot when she is
07:43Inside the house
07:45And she puts the cage down
07:46That is the first
07:48You could call it
07:49Objective shot
07:50In the sequence
07:51And the shot when she looks
07:58Off to the side
07:59And sees the gull approaching
08:00You actually see the gull
08:02For a second
08:03But Hitchcock explained that
08:08He said
08:08I always try to go
08:10With the subjective
08:11But in that case
08:12I had to go with the objective
08:14Because otherwise
08:15People might just think
08:17It was a piece of paper
08:18That blew across the frame
08:19So I had to have her look
08:21See the bird
08:23And then have the bird
08:24Attack
08:25And that's like a big break
08:27In the sequence too
08:29But it was something
08:31That he did out of
08:32Always, always thinking
08:34About how the audience
08:35Was going to see
08:37Understand and react
08:38To the image
08:39He had it in his mind
08:42And I think it was Harold
08:44Who said to me
08:45He claimed that he could
08:46See the whole film
08:47In his head
08:48And I think he could
08:49Which doesn't mean
08:50That he didn't change it
08:51On the set
08:52What I learned from Harold
08:56Was that the storyboards
08:58Were really just
08:59The beginning of the process
09:01He always said
09:02That storyboards
09:03Are a suggestion
09:04Well I was given
09:06The script
09:07A certain part of the script
09:08And told to do
09:09The storyboard on the script
09:10I proceeded to do it
09:12And then I got some
09:12Great ideas
09:13And I got very excited
09:14And I did this script
09:17I was so proud of it
09:18And when we went
09:18To see Hitch
09:19He looked at it
09:20And said
09:20This is really very good
09:23This is really very good
09:24But I can't use it here
09:26And I thought to myself
09:27Boy this is a rejection
09:29If there ever was one
09:30And when I went back
09:33To the art department
09:34I realized
09:36Reading the rest of the script
09:37That this was
09:39An anticlimax
09:41And this was no way
09:42You do a picture
09:43Because a picture
09:44Is like a symphony
09:45Is like music
09:47It builds up
09:49It goes down
09:49You're the composer
09:50You have complete control
09:52Over the music
09:54And the emotions
09:55That it gives forth
09:56And so in this case
09:58He was absolutely right
10:00And I found out
10:01He was absolutely right
10:02In many cases
10:02Hitchcock was very good
10:09At making clear
10:10What he wanted to
10:11Have on film
10:12And as Harold here knows
10:13If you didn't get it
10:14You weren't around
10:15No
10:16The shower scene
10:19You know that
10:20That Saul
10:22Bass
10:23Bass took
10:24All the credit for
10:26But once Hitchcock says
10:28I want to have a scene
10:29In which
10:30We don't see a nude woman
10:32We don't see a knife
10:34Enter flesh
10:34And we'll do it
10:36In quick cuts
10:37And I thought
10:38You know
10:39After somebody tells you that
10:41The rest is just work
10:43Draw it up
10:44You do it
10:45And that's why I always felt
10:47That Saul Bass
10:48Took a little too much credit
10:50For that scene
10:51Yeah
10:51He was going to show Hitchcock
10:54How to do it
10:54Yeah well he did the
10:55He did the continuity
10:57But gee
10:58That's
10:59Well I can tell you
11:06What Hitchcock said
11:08He said
11:09What we will do
11:10Just before we shot
11:11He said
11:12We'll bring Melanie out
11:14She's very relaxed
11:16Nothing is
11:17Troubling anybody
11:18Particularly
11:19And she
11:19Comes over
11:20And sits down
11:21By a fence
11:22That was along here
11:23A rail fence
11:23I think
11:24Or whatever it was
11:25And she sat there
11:27And smoked a cigarette
11:28And Hitchcock said
11:30We'll just get a loose shot
11:32Of her
11:33As she comes out
11:34Sits down
11:35And then we'll become aware
11:37Of a bird flying in
11:38And landing on the jungle gym
11:40We go back to Melanie
11:42A little closer this time
11:44And she's still relaxed
11:48We cut away
11:49Another bird comes in
11:51We repeat this
11:53Several times
11:54And each time
11:55The camera's moving in closer
11:57And when we finally
11:58Get to a big head choker
12:00We'll let the camera
12:02Stay on Melanie
12:03Until they can't
12:04Stand it anymore
12:05A lot of the indications
12:10For how an action scene
12:12Would be done
12:12Would appear in the storyboards
12:14Not in the script
12:15A Hitchcock script
12:16Was a pretty simple thing
12:18Storyboarding is writing
12:20In a lot of ways
12:20You're telling more of the story
12:23Through the visuals
12:24In a film
12:25Than you are
12:25Through the dialogue
12:26Necessarily
12:27And at least
12:27Ideally that would be the case
12:29And certainly that was the case
12:30For somebody like Hitchcock
12:31The storyboards
12:33Are a working document
12:35That the crew can look at
12:37But really they're
12:38Sort of a visual screenplay
12:39Well actually
12:41You see
12:41This is not the script
12:43This is
12:44Pure Hitchcock
12:45The script doesn't say
12:47That these are individual shots
12:49Hitchcock put them up
12:52And slides
12:53He would show them
12:54On a screen
12:54And the editor
12:56Thomas Seedy
12:56And Hitch
12:57And myself
12:58Were in this room
12:59And he was cutting it
13:02By calling out
13:03How many frames he wanted
13:04He would say to the editor
13:0712 frames
13:08And the editor
13:09Would take it down
13:10A foot of film
13:11Or whatever
13:11And he actually sat there
13:13And in the screening room
13:15And edited
13:16This whole sequence
13:19And he would see
13:24These quick cuts
13:25Of absolute terror
13:27With blood running down
13:28And her screaming
13:29And everything
13:29And by God
13:31I couldn't believe
13:32What I was hearing
13:32That was
13:33Hitchcock
13:34I was there
13:35It was amazing
13:36Working on saboteur
13:43I learned a lot
13:44About the Hitchcock
13:46Way of thinking
13:47I won't call it
13:48A learning about the rules
13:50He didn't have
13:50Too many rules
13:51But I learned
13:53How he thought
13:54I know he was called
13:55The master of suspense
13:56But really
13:59It was the master
14:01Of the kind of suspense
14:03That we all feel
14:03In our daily lives
14:05Within a minute
14:06And he made you identify
14:13With it
14:14By the way
14:15He shot it
14:16And I think
14:17That's what I learned
14:18About it
14:18I learned to be able
14:19To think of it
14:20More in terms
14:20Of the human values
14:22What you became more
14:24Interested in
14:25Is how
14:26A man's hands
14:27Trembled
14:28When he was about
14:29To do something
14:30I'm very contrived
14:31Hitchcock made the audience
14:36Identify with what was
14:37Going on on the screen
14:38What happens
14:41To the smallest thing
14:43That happens on a set
14:44Which can sometimes
14:47Be more important
14:47Than the flashier
14:49Aspects of filmmaking
14:51It's in the minor details
15:08That we found
15:11Suspense
15:13A man's hands
15:15A man's hands
15:15Is how
15:16A man's hands
15:33Gracias por ver el video.
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