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Editor Dan here. Before we begin the episode, I wanted to give a content warning

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that this episode does discuss the topic of sexual assault and murder. We know that these topics

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can be incredibly difficult, especially if they've touched your life personally. Thank you

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for being here and listen with care. Hello and welcome to development purgatory.

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This is the podcast all about the movies that were never made. The scripts I were never

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written and the ideas that have ever made it to the page. My name is Daniel Kawka. And I'm Lexcee Riley.

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And I do not have a tie. You don't thank God. Or could that mean the opposite thing?

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Because I don't have a tie. That means I used it for other nefarious reasons.

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Good evening. Hi. Our story begins in St. Anne's Nottingham in 1899,

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where an intricate and important cog of cinematic history was born. On August 14th,

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lace makers Matthew and Lucy Revelle would welcome their second daughter, Almond Revelle.

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When she was young, Almond's family moved to London where her father took a job at Twiccom Film

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Studios. And as children do, Alma would visit her father at work, leading her to eventually become

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a tea girl. Do you know what a tea girl is? Is it a girl that provides drinks for people?

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It's basically a British term for a PA. A tea girl. At the tender young age of 16, she got promoted

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to a cutter. Do you know what it cutters? An editor? Yes. That is the British term for

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editing. And she would go on to write as well as become a director's assistant. And if we look at her

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timeline, she would be 16 in 1915. Film industry jobs. Pretty tough for a woman today. So mom, super

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rarely accessible to women back then. Even I mean, 1915, just having a film job, like a job in the film

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industry is a very rare thing. Mm-hmm. Alma said on editing, the art of cutting is art indeed,

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with a capital A, and is of far greater importance than is generally acknowledged. And I concur.

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Agree. It's like how editors are always contributed to like why directors are so great. It's like

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Martin Scorsese has had the same editor. Well, you repeat that sentence one more time.

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Editors can be the reason why directors are so great. I didn't pay him to say that, nor did I tell him

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to say that. But like Martin Scorsese had like the same editor for nearly all of his career. Everyone

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attributes to the reason why Star Wars was so good is because it was George Lucas's wife at the time.

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She was the one who was cutting the film together. She is actually the reason for all the wipes,

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because a lot of George Lucas' shots were like still like on sticks didn't move, didn't pan or

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anything like that. And she's like, we got to put some movement somewhere in this. And she did it in the

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edit. Did you look at my notes? I just know it's just not that fun fact, but like I'm like,

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I just know what this is. I didn't write this for him. I'm a product of film school. Yeah, I am not.

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I went to theater school. So moving along to 1919, Alma would take a job at the famous players

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Lasky. It's the British location for Paramount. It was based in Eilington, North London. Here she would

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work as an editor, a continuity supervisor. Lock that nugget away for later. As in like on the set,

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like script supervisor. Okay. So an editor, no, continuity supervisor. Very specific.

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Lock that specific continuity supervisor nugget away. Okay, because I've known a script supervisor

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and she's told me like she is the one who watches for continuity. They are on some sets different people.

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Okay. But this was like when she was at the basically British Paramount, these were her first

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sets of jobs was editing continuity supervising and then a director's assistant. Like an assistant

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to the director or like an AD? No, director's assistant. Okay. At the same time, there was another

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up in Commer at the company. Ironically, he was born just one day before Alma and he was working his

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way up the ladder at the exact same time as a title card designer. In 1922, Paramount would leave

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London, but the work that both of those players had done was recognized by director Graham Cuts.

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For 1923s, woman to woman, Cuts brought her on as the editor and script girl and Cuts brought

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him on to assist with producing, directing, set design and script writing. The world's finally

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collided, and Alma met Alfred, her future husband. Alma's husband stated that woman to woman was the

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first film that I really got my hands on to. Alma would remain a powerhouse going on to write the

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constant nymph and after the verdict as well as working with several other directors. But it was

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Alfred that would be her constant collaborator and life partner till death. Alma Revell married Alfred

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Hitchcock on December 2, 1926 and they would have one child, Patricia Alma Hitchcock in 1928.

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But it was in 1927 that they would share their first on-screen credit for co-writing the silent

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era film The Ring. A good old classic love triangle set the world of boxing. Where Jack and Bob

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duke it out over Maybell. What is it about every director out there needs to do a boxing movie?

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You know? Gotta start somewhere I guess. I mean that's how Stanley Kubrick got his start. He did a

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profile. It was like a short profile where he filmed a boxer in Scorsese again, Raging Bull.

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But that's a much sweeter story than what they would go to work on for the rest of their careers.

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As we know.

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By 1935 there was the spy thriller The 39 Steps.

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Directed by Alfred with both script and continuity supervision by Alma was a US and UK commercial hit.

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This led to in 1939 the couple would move to Hollywood.

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Hollywood.

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And they would bring on Joan Harrison to take over more of the secretarial duties from Alma

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so that Alma could work more in the creative duties with Alfred.

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It's almost like they're building a team of like their roster of players.

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And so Joan Harrison, while she starts with the secretarial duties, she also goes on to help write

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with Alma and they go on to adapt one of my favorites, which is 1940s Rebecca.

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She was lying on the floor, she struck her head on a heavy piece of ship's tackle.

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I remember wondering why she was still smiling.

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And I realized she was dead.

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But she didn't kill her. It was an accident.

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Who would believe me?

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With Lawrence Olivier and Joan Fontaine, they also adapt foreign correspondents and suspicion

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from 1941 and Sebatoire in 1942.

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Alfred's favorite film came in 1943 with Shadow of Adopt.

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And a sharp career rise begins.

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He brings on Jimmy Stewart in 1948 with Rope.

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Rope?

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I love Rope.

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I, we are starting to write in our notes.

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We know each other well enough to be like pause for Dan to talk about Rope.

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Whenever anyone brings up Hitchcock, there's always the big hitters.

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And I'm like of all my favorites, it's gotta be Rope.

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One, it's got my boy Jimmy.

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Jimmy Stewart.

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Jimmy Stewart.

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I actually wrote a whole essay in my playwriting class all about Jimmy Stewart and Harvey

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and how he revolutionized acting through that movie.

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Besides that, he was in Rope.

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It's one of the most perfect movies and it's a wonder as well.

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It reads like a play.

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A lot of his stuff reads like a play.

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Yeah.

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For the technical limitations at the time and what he was trying to achieve,

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like that's really the only way that he could truly achieve that.

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Yeah.

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Rope's great. If you haven't seen Rope, you've had time.

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I didn't see Rope until much later in my Hitchcockian viewing.

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I saw Rebecca as a kid.

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Rebecca, rare window, all that stuff.

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Rope is 1948 and then he would bring on another one of his players with Grace Kelly

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in 1954 with Dylem for Murder.

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Would I pick up the phone?

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He must have come from behind those curtains and attacked me.

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He got something around my neck.

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Or something.

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What do you mean by something?

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I think it was a stalking.

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I see.

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After Dylem for Murder, Kelly and Stewart would team up for a rare window,

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which is hailed as one of Hitchcock's best movies.

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Good bud, Jeff.

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Well you mean good night.

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I mean what I said.

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Well, well, laser.

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Couldn't we just, uh,

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couldn't we just keep things status quo?

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Without any future.

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Well, when am I going to see you again?

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I'm not for a long time.

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Kelly was the first of his infamous belongs only to leave Alfred for parents'

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premiere of Monaco, to which many claim that the director was incredibly heartbroken.

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He would go on to make Vertigo and North by Northwest,

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but Hitchcock's most memorable hit is going to come in 1960.

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With?

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You know this one.

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The hotel.

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Motel.

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The chocolates are up.

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The quick cuts.

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A mama's boy in a fear-inducing score.

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By Bernard Herman and a new famous blonde.

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Janet Lee.

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Oh, that's right.

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Janet Lee.

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Mother too?

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Jamie Lee Curtis.

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Correct.

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Psycho was really hard to get off the ground.

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And even though Hitchcock was contracted for another film with Paramount,

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they wanted him to keep doing his, you know, his like spy thrillers and that kind of thing.

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They didn't want him to branch out. And so he believed in Psycho so much that he moved the production

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to Universal.

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Waved his director fee in lieu that he would get 60% of the stake in the film negatives

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and finance the film through his own Shamley productions.

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A budgetary decision was done by choosing to film in black and white to keep the film under a billion dollars.

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A million dollars.

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We're not into that deep of inflation yet.

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It's like crazy.

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A billion dollar movie in the 60s.

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No wonder Universal was like, shut it down.

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Get it out of here.

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So that movie and that shower scene in particular are I think one of the most iconic moments in

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cinema history.

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And it's actually probably thanks to Alma.

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So because of her continuity supervision, she would go and watch Psycho over and over again.

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And she caught a shot of Janet Lee breathing and blinking.

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And he was like, it's not in there.

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And she was like, yes, it is.

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It absolutely is.

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And was very adamant about it.

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And it got removed.

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The fear of, oh my god, she looks dead.

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And it's not like a freeze frame like he had done in so many things.

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Thanks, Alma.

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To bring you back to my film school days,

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we had a Hitchcock week.

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The two movies that we studied in depth was Rare Window and Psycho.

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And within Psycho, we analyze the shower scene and like what made it so iconic.

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And what made it so groundbreaking, like this is the first of so many things in cinema history,

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like the water going down the drain or something like the first time we'd ever seen that.

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Even though it's not as revolutionary, but like we just had to say like that's the first time

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it ever happened.

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And then going behind the scenes with like we mentioned the chocolate syrup before,

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it was brought up in our studies, the fact that there was a moment where you saw her breathing.

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Because the scene has been like studied and looked at so closely, people are like, well,

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is she still alive?

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Could she still be alive?

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Something like that?

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And it was just an overlooked detail that she just like happened to breathe in that moment.

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And no one just like noticed that first.

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That's her, what?

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It's like her last breath.

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There's like, there's a very intentional reason that that is in there.

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And then they cut out the blinking and stuff that happened after.

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Everything with it is so meticulous and it's such a well done film.

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And if you go from her continuity supervision, like that being its own lane and that, you know,

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she started in editing.

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So if she's starting in editing and then watching the continuity of things,

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that eye to detail sort of shapes his entire career.

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And you have to consider how many cuts are actually in that scene alone because most of the

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movies at the time is like, you set up a wide and you just let the actors just play out the whole

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thing where in the edit comes the action.

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In the sound design comes that fear of getting stabbed even though you don't really see

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her getting stabbed at all.

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Like there's the part where the like the knife goes like against her stomach.

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But you never see the knife like actually stab into her.

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You just kind of hear it and you just like, oh,

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that cannelope sounding thing is definitely a person getting stabbed.

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Yep.

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Thanks Foley.

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Yep.

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I don't remember what year it is.

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I think it's like 2012.

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There's Hitchcock which has Anthony Hopkins playing Hitchcock and Helen Miren playing Alma.

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A lot of that is factual based.

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Not all of it.

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But there is a scene where they talk about you can't show the toilet and you can't show

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her getting stabbed.

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This always makes me think of my whole jaws theory of just like this is how great films are made.

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Is that you have to tell people no?

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Things have to break.

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There has to be a budget like creativity thrives under rules.

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Yep.

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There is creativity in limits.

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What was the movie?

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There was going to end in explosion but they didn't.

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The limitation was in back to the future because the end of the movie was supposed to be an

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atomic bomb going off and that's going to send him back into the future.

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But because the universal, because the universal didn't have the budget to do that,

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they're like, well, what can we do instead?

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He's like, well, what if we just like drive down the road and get hit with a bolt of lightning?

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It's like brilliant.

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We'll do that instead and it's a lot cheaper than a massive explosion.

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So not wanting to diminish the success and uniqueness of Psycho.

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He didn't want to keep using Janet Lee even though he has his whole thing for blondes.

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So he's going to go on now to work with Tippy Hadrian in the birds.

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Yeah.

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Cacar.

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Of roar fame.

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Of the birds fame.

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00:16:22,800 --> 00:16:23,680
Okay, that too.

232
00:16:23,680 --> 00:16:26,480
What were the crows after at the school?

233
00:16:26,480 --> 00:16:30,560
What do you think they were after?

234
00:16:30,560 --> 00:16:34,320
Miss Daniels, I think they were after the children.

235
00:16:34,320 --> 00:16:35,120
Who are burpers?

236
00:16:35,120 --> 00:16:38,160
To kill them.

237
00:16:38,160 --> 00:16:41,840
The birds was going to become another smashing success.

238
00:16:41,840 --> 00:16:43,360
Have you seen the birds?

239
00:16:43,360 --> 00:16:44,400
I have seen the birds.

240
00:16:44,400 --> 00:16:46,880
How old were you when you saw the birds?

241
00:16:46,880 --> 00:16:50,640
I don't recall the first time I ever saw the birds.

242
00:16:50,640 --> 00:16:56,400
I think I saw when I was much younger and like seeing it on television and being told

243
00:16:56,400 --> 00:16:58,080
that it's a very important movie.

244
00:16:58,080 --> 00:17:02,320
I for sure saw it in college.

245
00:17:02,320 --> 00:17:04,560
Part of my study is just like watch every movie.

246
00:17:04,560 --> 00:17:05,040
Right.

247
00:17:05,040 --> 00:17:11,200
I remember my goal when I was in college was to go through the IMDB top 100 movies.

248
00:17:11,200 --> 00:17:12,480
Did you ever finish them?

249
00:17:12,480 --> 00:17:15,040
Short answer is no, but I believe I got really close.

250
00:17:15,040 --> 00:17:15,600
Fair enough.

251
00:17:15,600 --> 00:17:18,800
But I got through a lot of those movies and the birds was definitely on there.

252
00:17:18,800 --> 00:17:25,120
And also the birds was something that we studied in our film class, specifically the part where

253
00:17:25,120 --> 00:17:26,320
the city's on fire.

254
00:17:26,320 --> 00:17:32,720
You see like the gas station is like leaking gasoline and you show like it was a tippy-hundreds face.

255
00:17:32,720 --> 00:17:38,560
They're like going back and forth and it was showing like this is how like how an audience

256
00:17:38,560 --> 00:17:44,960
assumes someone's feelings through their reactions by showing what they are looking at.

257
00:17:44,960 --> 00:17:46,480
Yeah.

258
00:17:46,480 --> 00:17:48,960
I have a real life fear of the birds.

259
00:17:48,960 --> 00:17:51,680
The movie does not scare me.

260
00:17:51,680 --> 00:17:53,840
Thankfully because I saw it when I was older.

261
00:17:53,840 --> 00:17:58,160
I remember talking to my grandma about the movie and she was like, it was terrifying.

262
00:17:58,160 --> 00:18:02,320
Like the technology at the time just, she was absolutely terrifying the first time I saw it.

263
00:18:02,320 --> 00:18:04,640
And she would be like, look how scruely it looks now.

264
00:18:04,640 --> 00:18:07,760
I mean there are moments in there that are genuinely terrifying.

265
00:18:07,760 --> 00:18:13,280
There's a moment where she is in the phone booth and like she's going to attack or like the part

266
00:18:13,280 --> 00:18:19,120
where they have to go up into the attic and they're like filled with birds just like standing there

267
00:18:19,120 --> 00:18:23,680
and they're like, don't move or move very cautiously otherwise they're going to get you.

268
00:18:23,680 --> 00:18:26,000
And like that is a genuinely terrifying moment.

269
00:18:26,000 --> 00:18:31,280
That moment happens in so many horror movies now.

270
00:18:31,280 --> 00:18:37,360
If you think about a quiet place, a lot of his films are very instrumental.

271
00:18:37,760 --> 00:18:39,600
In what way do we watch today?

272
00:18:39,600 --> 00:18:40,240
Mm-hmm.

273
00:18:40,240 --> 00:18:41,040
It's fascinating.

274
00:18:41,040 --> 00:18:41,520
Yeah.

275
00:18:41,520 --> 00:18:45,680
Unfortunately, Hitchcock's golden era is going to start to set

276
00:18:45,680 --> 00:18:48,320
with Marney.

277
00:18:48,320 --> 00:18:49,520
You don't love me.

278
00:18:49,520 --> 00:18:52,800
I'm just something you've caught.

279
00:18:52,800 --> 00:18:55,440
You think I'm some kind of animal you've trapped.

280
00:18:55,440 --> 00:18:57,280
That's right you are.

281
00:18:57,280 --> 00:19:00,800
And I've caught something really wild this time, haven't I?

282
00:19:00,800 --> 00:19:05,040
I've tracked you and caught you and by God I'm going to keep you.

283
00:19:05,040 --> 00:19:08,080
Originally, Marney was supposed to be played by Grace Kelly.

284
00:19:08,080 --> 00:19:08,720
Yeah.

285
00:19:08,720 --> 00:19:10,240
Her children were now grown.

286
00:19:10,240 --> 00:19:12,800
She's finding a break in her royal duties.

287
00:19:12,800 --> 00:19:15,840
And so Kelly signed on to reunite with Hitchcock.

288
00:19:15,840 --> 00:19:19,040
Marney is about a sexually disturbed thief,

289
00:19:19,040 --> 00:19:22,720
which Monaco was not exactly thrilled with their princess portraying.

290
00:19:22,720 --> 00:19:27,120
And technically Grace Kelly never fulfilled her MGM contract,

291
00:19:27,120 --> 00:19:30,560
which prevented her from working with another studio.

292
00:19:30,560 --> 00:19:33,040
So unfortunately she could not come back.

293
00:19:33,040 --> 00:19:36,240
And thus ending their entire working relationship,

294
00:19:36,240 --> 00:19:40,560
because Grace wound up passing at the age of 52 in a freak car accident.

295
00:19:40,560 --> 00:19:40,800
Yep.

296
00:19:40,800 --> 00:19:44,480
She would wind up stepping in to play Marney.

297
00:19:44,480 --> 00:19:47,600
And so those were the two films that she worked on with Hitchcock.

298
00:19:47,600 --> 00:19:50,800
Reviews were incredibly mixed for Marney.

299
00:19:50,800 --> 00:19:55,520
Eugene Archer of The New York Times wrote a lukewarm assessment calling it

300
00:19:55,520 --> 00:19:58,800
at once a fascinating study of sexual relationship

301
00:19:58,800 --> 00:20:02,080
and the master's most disappointing film in years.

302
00:20:02,560 --> 00:20:07,440
He called it an amateurish script and the casting grise for the talents

303
00:20:07,440 --> 00:20:10,160
of Grace Kelly and Carrie Grant.

304
00:20:10,160 --> 00:20:21,760
With Marney behind him, Hitchcock was eager to get back to his roots

305
00:20:21,760 --> 00:20:24,400
and started planning a prequel to Shadow of a Doubt.

306
00:20:24,400 --> 00:20:27,760
Finding the right writer proved to be quite a task.

307
00:20:27,760 --> 00:20:31,040
He wound up passing on Psycho writer Robert Block,

308
00:20:31,360 --> 00:20:33,200
who found the story too harrowing.

309
00:20:33,200 --> 00:20:37,040
So Ben Levy was brought in to flesh out the ideas.

310
00:20:37,040 --> 00:20:38,880
What did he've previously written?

311
00:20:38,880 --> 00:20:41,760
He worked with Hitchcock on a bunch of things.

312
00:20:41,760 --> 00:20:44,400
Looks like he wrote a lot of plays.

313
00:20:44,400 --> 00:20:48,960
Hollywood holiday, springtime for Henry,

314
00:20:48,960 --> 00:20:50,240
Cuban and Psych.

315
00:20:50,240 --> 00:20:52,400
But he was friends with Hitchcock, so basically,

316
00:20:52,400 --> 00:20:54,720
that's how he got roped in.

317
00:20:54,720 --> 00:20:58,640
So the story was to star a young handsome bodybuilder

318
00:20:58,640 --> 00:21:01,040
and in some accounts he is described as a

319
00:21:01,040 --> 00:21:01,840
"Mama's boy."

320
00:21:01,840 --> 00:21:05,680
It sends a running theme in a lot of his films.

321
00:21:05,680 --> 00:21:11,360
Willie Cooper would be known as the Mary Widow murderer,

322
00:21:11,360 --> 00:21:14,080
a version of a character from Shadow of a Doubt,

323
00:21:14,080 --> 00:21:16,720
who would lure young women to their deaths.

324
00:21:16,720 --> 00:21:19,360
Three young women to be more precise.

325
00:21:19,360 --> 00:21:22,000
The first was to be murdered by a waterfall.

326
00:21:22,000 --> 00:21:24,000
The second, the murder of Patty Landis

327
00:21:24,000 --> 00:21:26,480
to take place in an abandoned shipyard,

328
00:21:26,480 --> 00:21:29,680
a set that would have become Hitchcock's largest.

329
00:21:29,680 --> 00:21:33,840
The murder of Patty became known in many notes and discussions about the project

330
00:21:33,840 --> 00:21:36,160
as the mothball fleet sequence

331
00:21:36,160 --> 00:21:38,800
in which there is a bunch of emails and not email.

332
00:21:38,800 --> 00:21:45,040
There's a bunch of letters because we're in the 1960s.

333
00:21:45,040 --> 00:21:46,640
Yeah, if they were going to do emails,

334
00:21:46,640 --> 00:21:48,880
this would have easily been a billion dollars.

335
00:21:48,880 --> 00:21:53,120
My errors are deeply conflicting.

336
00:21:53,120 --> 00:21:56,880
There's a bunch of letters back and forth that we'll get into.

337
00:21:56,880 --> 00:21:59,920
And Hitchcock, we need to invent the internet first.

338
00:21:59,920 --> 00:22:02,160
The infrastructure alone.

339
00:22:02,160 --> 00:22:05,360
Almost like I'm busy fixing your move.

340
00:22:05,360 --> 00:22:06,800
I don't have time to make the internet.

341
00:22:06,800 --> 00:22:09,120
And then there would be the third murder,

342
00:22:09,120 --> 00:22:12,960
which was the grand finale, which would take place at an oil refinery

343
00:22:12,960 --> 00:22:14,640
with brightly colored drums,

344
00:22:14,640 --> 00:22:17,760
a kaleidoscope of color,

345
00:22:17,760 --> 00:22:22,160
and gore and violence and gore and violence

346
00:22:22,160 --> 00:22:24,960
and just too much, too much gore.

347
00:22:24,960 --> 00:22:28,000
So I could not find a script for kaleidoscope.

348
00:22:28,000 --> 00:22:35,440
There's a lot of back and forth on what was fully true, what was not.

349
00:22:35,440 --> 00:22:37,920
But there is a scene that was floating around

350
00:22:37,920 --> 00:22:41,680
that seems to be the last remnants of the waterfall murder.

351
00:22:41,680 --> 00:22:44,000
It's a long scene.

352
00:22:44,000 --> 00:22:46,640
And you can feel the suspense building.

353
00:22:46,640 --> 00:22:49,200
It's about Willie and Caroline,

354
00:22:49,200 --> 00:22:51,840
who would have been murderous victim number one.

355
00:22:51,840 --> 00:22:55,760
So they are walking along near this waterfall and Willie is like,

356
00:22:55,760 --> 00:22:57,360
"Oh, we're gonna walk over this thing,"

357
00:22:57,360 --> 00:23:00,880
and he winds up falling in and it becomes this playful thing.

358
00:23:00,880 --> 00:23:03,280
And Caroline is like, "Here, take this sweater.

359
00:23:03,280 --> 00:23:07,920
It was my brothers so that you can dry your clothes and cover yourself."

360
00:23:07,920 --> 00:23:13,600
And they have a very interesting back and forth banter

361
00:23:13,600 --> 00:23:17,280
that I found boring and also creepy at the same time.

362
00:23:17,280 --> 00:23:20,080
But I am going to read a little bit of it

363
00:23:20,080 --> 00:23:23,520
so that we can see how Hitchcock was writing.

364
00:23:23,520 --> 00:23:25,120
Like you hear his voice in it.

365
00:23:25,120 --> 00:23:26,880
We're gonna open on a big head of Willie.

366
00:23:26,880 --> 00:23:30,080
He turns his face back towards her.

367
00:23:30,080 --> 00:23:33,760
The camera pans slightly as Caroline's face comes into picture.

368
00:23:33,760 --> 00:23:35,600
They look at each other,

369
00:23:35,600 --> 00:23:39,440
the camera eases back slightly as he takes her in his arms and kisses her.

370
00:23:39,440 --> 00:23:42,240
We see her arms go about him,

371
00:23:42,240 --> 00:23:46,240
and the camera goes with them as he presses her back gently into the grass.

372
00:23:46,240 --> 00:23:48,960
Close up, big profiles.

373
00:23:48,960 --> 00:23:51,360
Filling the screen, the kiss at gray length.

374
00:23:51,360 --> 00:23:53,920
Close up, Willie's hand, traveling over her back.

375
00:23:53,920 --> 00:23:58,080
It moves on past her waist and we see his arm pressing her to him.

376
00:23:58,080 --> 00:24:02,160
Big close up, the zipper, coming undone.

377
00:24:02,160 --> 00:24:06,320
It fills the screen, we see Willie's hand come between their bodies as he starts to

378
00:24:06,320 --> 00:24:07,520
unbutton Caroline's shirt.

379
00:24:07,520 --> 00:24:11,120
Back to their notices and mouths, still kissing.

380
00:24:11,120 --> 00:24:16,320
The camera gradually pulling away until the back of Willie's head fills the screen.

381
00:24:16,320 --> 00:24:18,000
We see nothing but hair.

382
00:24:18,000 --> 00:24:23,280
The camera continues to recede, passing a bush which obscures the lower part of their bodies

383
00:24:23,280 --> 00:24:25,920
until their two reclining figures fill the screen.

384
00:24:25,920 --> 00:24:32,640
The camera pulls away continually until the figures are so tiny and the waterfall fills the picture.

385
00:24:32,640 --> 00:24:36,880
The camera is so far away now that we have lost sight of them all together.

386
00:24:36,880 --> 00:24:40,800
The only sound is the loud roar of the waterfall,

387
00:24:40,800 --> 00:24:44,720
which somehow seems to increase with the size of the picture.

388
00:24:44,720 --> 00:24:50,480
Low camera shot, Willie. His feet fill the screen and the foreground we see that he has pants on.

389
00:24:50,480 --> 00:24:56,880
The camera moves in until his head fills the screen, a cigarette dangles from his lips.

390
00:24:56,880 --> 00:25:00,480
He's staring ahead, a puff of smoke emerges from his mouth.

391
00:25:00,480 --> 00:25:05,600
The camera moves off him and down to the head and shoulders of Caroline.

392
00:25:05,600 --> 00:25:08,160
She's lying on her back, the sweater by her head.

393
00:25:08,160 --> 00:25:11,120
Her eyes are open and glazed.

394
00:25:11,120 --> 00:25:14,480
There's a trickle of blood from one nostril.

395
00:25:14,480 --> 00:25:17,840
His hand enters the shot and strokes her hair for a moment.

396
00:25:17,840 --> 00:25:20,800
There are scratches on the back of his hand.

397
00:25:20,800 --> 00:25:24,480
Close up Willie, he turns and eyes the body.

398
00:25:24,480 --> 00:25:29,040
Close up the camera pans from the dead face down onto the body.

399
00:25:29,040 --> 00:25:32,160
Close up Willie, his eyes are traveling down.

400
00:25:32,160 --> 00:25:37,120
Close up the camera arrives on the girl's abdomen and we see rivulets of blood.

401
00:25:37,120 --> 00:25:39,360
Long shot, the waterfall.

402
00:25:39,360 --> 00:25:40,720
We see Willie rise.

403
00:25:40,720 --> 00:25:44,480
He stoops to pick up some clothes, including his coat and shirt from the bush.

404
00:25:44,480 --> 00:25:50,960
He glances down at the reclining figure which we see can faintly see and then he moves away.

405
00:25:50,960 --> 00:25:55,280
He crosses the rock and goes back in the direction of his car.

406
00:25:55,280 --> 00:25:57,040
Long shot, Willie.

407
00:25:57,040 --> 00:26:02,000
In the distance, making his way towards his car, he gets in and drives off.

408
00:26:02,000 --> 00:26:04,640
The camera pans into a different direction.

409
00:26:04,640 --> 00:26:08,480
Up the road, round the bend we see a group of children.

410
00:26:08,480 --> 00:26:11,840
Perhaps it doesn't or so, accompanied by an adult woman.

411
00:26:11,840 --> 00:26:16,240
They are obviously out on a picnic and are singing together in unison and seeing.

412
00:26:16,240 --> 00:26:19,280
It's really well done.

413
00:26:19,280 --> 00:26:24,160
I know the rules of screenwriting is that you really don't want to put in camera movements in there,

414
00:26:24,160 --> 00:26:28,400
but it's just clearly not written by Ben.

415
00:26:28,400 --> 00:26:31,520
This is written by Hitchcock, trying to explain his idea.

416
00:26:31,520 --> 00:26:37,040
Yeah, because that is very much how he operates is like where the camera goes,

417
00:26:37,040 --> 00:26:42,240
what's happening in the camera because those movements, the camera angles, they have meaning

418
00:26:42,240 --> 00:26:48,400
and they contribute to the story, which is probably why so many of his movies, like the shots,

419
00:26:48,400 --> 00:26:50,160
the close-ups, everything.

420
00:26:50,160 --> 00:26:57,040
It's like, it's specifically there because it's planned for way back in how he writes it and how he

421
00:26:57,040 --> 00:26:57,920
plans for things.

422
00:26:57,920 --> 00:27:04,720
I am curious is this written when the haze code is still enacted?

423
00:27:04,720 --> 00:27:05,680
I don't know.

424
00:27:05,680 --> 00:27:10,400
Because it seemed like it was hiding a lot and just like implying so like showing like the

425
00:27:10,400 --> 00:27:11,680
drips of blood and whatnot.

426
00:27:11,680 --> 00:27:14,480
Stop stealing my note!

427
00:27:14,480 --> 00:27:25,200
It doesn't help that Hitchcock is one of the most studied filmmakers of just all time.

428
00:27:25,200 --> 00:27:25,680
Idiot.

429
00:27:25,680 --> 00:27:26,720
She just keeps up.

430
00:27:26,720 --> 00:27:33,600
And when it comes to like what we know about him is what I studied in film school.

431
00:27:33,600 --> 00:27:35,360
So it's gonna come out.

432
00:27:35,360 --> 00:27:39,520
I have a film degree and I don't get to use it very often.

433
00:27:39,520 --> 00:27:42,560
I use my English degree more often than than I should.

434
00:27:42,560 --> 00:27:44,640
That's not true.

435
00:27:44,640 --> 00:27:45,600
I use it a lot.

436
00:27:45,600 --> 00:27:47,120
You use your film degree a lot now.

437
00:27:47,120 --> 00:27:48,000
I do.

438
00:27:48,000 --> 00:27:50,240
You're using it right now.

439
00:27:50,240 --> 00:27:51,360
I am using it right now.

440
00:27:51,360 --> 00:27:56,320
But there's a lot of moments where the English degree comes out and it's like,

441
00:27:56,320 --> 00:27:58,960
I'm very grateful that I accidentally got that.

442
00:27:58,960 --> 00:27:59,280
Yeah.

443
00:27:59,280 --> 00:28:02,480
On like three theater majors over here.

444
00:28:02,480 --> 00:28:02,800
Uh-huh.

445
00:28:02,880 --> 00:28:03,840
[laughs]

446
00:28:03,840 --> 00:28:07,760
How's your knowledge on Patty LePone?

447
00:28:07,760 --> 00:28:10,160
Patty LePone has been on Broadway, yes.

448
00:28:10,160 --> 00:28:11,520
I've known it.

449
00:28:11,520 --> 00:28:13,360
Also was in Agatha All Long.

450
00:28:13,360 --> 00:28:17,440
I thought I was like waiting for this like obscure theater cut to go out of your mouth.

451
00:28:17,440 --> 00:28:18,080
Oh I know, nothing but theater.

452
00:28:18,080 --> 00:28:19,520
And then you were like, Patty LePone.

453
00:28:19,520 --> 00:28:20,240
I was like, oh!

454
00:28:20,240 --> 00:28:23,120
My bread and butter.

455
00:28:23,120 --> 00:28:26,400
Yeah, that's how I feel about Hitchcock.

456
00:28:26,400 --> 00:28:28,400
And you're like, okay, bring it on.

457
00:28:28,400 --> 00:28:32,480
I mean, I also, I genuinely love Hitchcock.

458
00:28:32,480 --> 00:28:35,600
And something I don't have in my notes because I was like, oh,

459
00:28:35,600 --> 00:28:41,280
this entire episode has to be handled with like a little bit of grace because of the subject matter.

460
00:28:41,280 --> 00:28:45,440
But also, it turns out like he may not have been the nicest of people.

461
00:28:45,440 --> 00:28:45,760
Oh no.

462
00:28:45,760 --> 00:28:56,320
And it even showed in the multiple biopics that come out about him where he is notorious for being

463
00:28:56,320 --> 00:29:01,600
awful on set in like treating the women on set awful as well, where he

464
00:29:02,000 --> 00:29:08,400
genuinely believed in order for these actresses to get a genuine reaction.

465
00:29:08,400 --> 00:29:14,640
He'd need to like literally scare them and just didn't trust that they could actually act

466
00:29:14,640 --> 00:29:16,960
in a way that he needed them to.

467
00:29:16,960 --> 00:29:18,000
Yeah.

468
00:29:18,000 --> 00:29:24,560
And there's so many different angles on the story and then recounts of it that I was just like,

469
00:29:24,560 --> 00:29:26,880
insert, hey, we know he's not nice.

470
00:29:26,880 --> 00:29:27,920
Like there's not a butt.

471
00:29:27,920 --> 00:29:28,720
He was not nice.

472
00:29:28,720 --> 00:29:30,800
Also, shape, cinema.

473
00:29:30,800 --> 00:29:31,600
Both are true.

474
00:29:31,600 --> 00:29:32,320
Yeah.

475
00:29:32,320 --> 00:29:37,600
With him shaping cinema and reading that, it feels like it's in his old style,

476
00:29:37,600 --> 00:29:41,440
which is why I almost call bullshit on this scene.

477
00:29:41,440 --> 00:29:47,840
I do think it is reminiscent of his style and it fits the story for all accounts that I've seen,

478
00:29:47,840 --> 00:29:53,920
but the reason that I disagree is because that's not the style that Hitchcock wanted to shoot

479
00:29:53,920 --> 00:30:02,640
kaleidoscope in at all. So he wanted kaleidoscope to be very raw and incredibly explicit.

480
00:30:02,640 --> 00:30:07,360
He was drawing from French New Wave and Italian Jaloo films.

481
00:30:07,360 --> 00:30:12,080
Jaloo, which, do you know what, Jaloo means Jaloo.

482
00:30:12,080 --> 00:30:15,760
And he's talking about those like Jaloo paperback books.

483
00:30:15,760 --> 00:30:23,200
Jaloo films are extremely graphic, very bloody, very explicit sexually.

484
00:30:23,200 --> 00:30:28,320
Like it is kind of an answer to like the American haze code to be like,

485
00:30:28,320 --> 00:30:31,680
if you are going to be milked toast about all of these subjects,

486
00:30:31,680 --> 00:30:33,680
like we are going to show it.

487
00:30:33,680 --> 00:30:35,120
We are going to make sure.

488
00:30:35,120 --> 00:30:36,720
So you're talking the haze code.

489
00:30:36,720 --> 00:30:40,160
Explain that to our listeners who don't know what the haze code is.

490
00:30:40,160 --> 00:30:46,400
The haze code was a reaction to, because I don't know the specifics of the haze code.

491
00:30:46,400 --> 00:30:48,400
I just remember it was like a restriction on there.

492
00:30:48,400 --> 00:30:57,440
Where it was like a movement that was a reaction from a lot of religious folks who were kind of boy-cotting Hollywood

493
00:30:57,440 --> 00:31:02,000
saying that they were too raunchy or explicit or anything like that.

494
00:31:02,000 --> 00:31:03,200
You went to the lustful kissing.

495
00:31:03,200 --> 00:31:11,680
Yeah, and it basically rose up to like the government kind of threatened to then censor a lot of

496
00:31:11,680 --> 00:31:17,760
Hollywood scripts and they're like, okay, before we have any like government interventions,

497
00:31:17,760 --> 00:31:22,880
it kind of became like a self-governing thing where they actually had people at the studio

498
00:31:22,880 --> 00:31:27,360
to actually go through these scripts and like mark them up and be like,

499
00:31:27,360 --> 00:31:29,440
this is allowed, this is not allowed.

500
00:31:29,440 --> 00:31:30,480
You can't show this.

501
00:31:30,480 --> 00:31:36,400
You're allowed to show this and like you would have to go through this approval process first

502
00:31:36,400 --> 00:31:38,480
before making your film.

503
00:31:38,480 --> 00:31:43,200
And that's when you get a lot of like any windows as well where you can kind of like skirt around

504
00:31:43,200 --> 00:31:49,760
that, so like that joke of whenever like two people are kissing and then like hands over to like

505
00:31:49,760 --> 00:31:58,480
the bed, the end table or the plant or like my favorite is like the train goes into the tunnel

506
00:31:58,480 --> 00:31:59,440
or something like that.

507
00:31:59,440 --> 00:32:00,000
Right.

508
00:32:00,000 --> 00:32:08,320
Yeah, that's kind of one way that you can get around the haze code to then imply what you're trying to do.

509
00:32:08,320 --> 00:32:12,320
So the haze code was from 1930 to 1968.

510
00:32:12,320 --> 00:32:15,200
Okay, so he's operating within that time.

511
00:32:15,200 --> 00:32:21,040
So I just looked it up really quick and it says by the late 1960s under the leadership of Jack

512
00:32:21,040 --> 00:32:29,440
Valenti, the rigid code was dismantled entirely by 1968 and replaced by the MPA.

513
00:32:29,440 --> 00:32:35,120
For those that like are listening that don't know what the MPA is, that is your G,

514
00:32:35,120 --> 00:32:38,960
PG-13, your R, it's our rating system that we currently have today.

515
00:32:39,680 --> 00:32:45,440
So this is a kind of fascinating point he's trying to do this new style of filmmaking

516
00:32:45,440 --> 00:32:49,360
while the haze code is being phased out.

517
00:32:49,360 --> 00:32:53,360
It makes me think that this script is not real.

518
00:32:53,360 --> 00:32:59,440
Based on I want to shoot it in this different sort of style, there had to be talk that the

519
00:32:59,440 --> 00:33:04,640
haze code was being phased out at this point because Marney was 1964 and this is after Marney.

520
00:33:04,640 --> 00:33:07,920
So we're pre-being officially phased out.

521
00:33:07,920 --> 00:33:15,360
It seemed like a lot of Hitchcock style is kind of shaped within the haze code and then

522
00:33:15,360 --> 00:33:22,640
it kind of attributes to his style where the things that are hidden, things that are not shown

523
00:33:22,640 --> 00:33:27,440
become tension in a way. Until after 1968.

524
00:33:27,440 --> 00:33:34,000
But he loves that tension. He loves that idea and I know we'll talk about it in frenzy.

525
00:33:34,000 --> 00:33:38,800
There's a specific moment that I thought was just brilliant. We'll save it.

526
00:33:38,800 --> 00:33:47,680
But the idea of like when you don't see something and you kind of imply that something else is

527
00:33:47,680 --> 00:33:54,080
happening, that's when your imagination can run wild and you can imagine terrible things are

528
00:33:54,080 --> 00:34:01,440
happening. So I imagine that he's kind of just stuck in his ways where like if he had to operate

529
00:34:01,440 --> 00:34:06,960
under those rules and found a way to make it really good, why not keep going with that?

530
00:34:06,960 --> 00:34:13,200
Right. I do think that while American cinema was not ready for the version of

531
00:34:13,200 --> 00:34:18,880
kaleidoscope that he wanted to make, it does seem like a very natural trajectory for his path.

532
00:34:18,880 --> 00:34:25,360
He definitely, like you just said, like works within the haze code and uses it to his benefit.

533
00:34:25,360 --> 00:34:30,960
But we also see him trying to use technology or new filmmaking things every,

534
00:34:30,960 --> 00:34:35,600
like the birds was a huge advancement. So it makes sense that he would go, okay, well,

535
00:34:35,600 --> 00:34:42,080
I've done A and B and C. I'm now going to go do X. Yeah. But I imagine that he was frustrated with

536
00:34:42,080 --> 00:34:47,920
a lot of the Hollywood system pushing back on a lot of the decisions that he wanted to make.

537
00:34:47,920 --> 00:34:55,520
So it makes sense that when the haze code then thus disappears, he's like, oh finally, like, I'm free!

538
00:34:55,520 --> 00:35:00,400
Yeah, I'm no longer having to make movies with one arm tied behind my back. I can actually make

539
00:35:00,400 --> 00:35:07,760
something that I truly can do without the restrictions. What also does not help kaleidoscope's case

540
00:35:07,760 --> 00:35:15,360
is that it was inspired by real life murderers, which sort of his thing had gone for psycho. So for

541
00:35:15,360 --> 00:35:22,000
kaleidoscope, it was inspired by two possibly three real life murderers. The first one was

542
00:35:22,000 --> 00:35:30,480
Neville Heath, who was described as a charmer, a former Air Force officer who used his handsome nature

543
00:35:30,480 --> 00:35:35,440
to prering on young women, taking them back to hotel rooms and committing acts of violence before

544
00:35:35,440 --> 00:35:41,440
just fleeing the scene. I'm going to leave it at us, acts of violence. I do not advise looking up

545
00:35:41,440 --> 00:35:47,120
this person. We are also not a true crime podcast. We are not. So Neville was convicted of killing two

546
00:35:47,120 --> 00:35:53,440
women, Marjorie Garner, who was an artist and film extra that he absolutely tortured, and then

547
00:35:53,440 --> 00:35:59,600
Dorine Marshall, who he learned to her death, and her body was found days later covered by Rotodendrams,

548
00:35:59,600 --> 00:36:05,600
but then some of her possessions were found at like a beach hut nearby. So just not a nice man. But if

549
00:36:05,600 --> 00:36:10,480
you listen to his description, he's a charmer, he's handsome. What does that remind you of?

550
00:36:11,200 --> 00:36:16,720
He likes to lure young women. Oh, there's a famous serial killer. Zach Efron played him. Yes.

551
00:36:16,720 --> 00:36:25,120
Al Bundy. Nope. You know, the guy from married with children. Ted Bundy. Ted Bundy.

552
00:36:25,120 --> 00:36:32,480
This guy makes Ted Bundy look semi-normal. Knowing how horrific this person was, I kind of understand

553
00:36:32,480 --> 00:36:37,040
being like, hey, let's not make this person cooler. Let's not continue to bring up their name

554
00:36:37,040 --> 00:36:43,920
throughout all of history and be like, yeah, look at this film. The second person that was also

555
00:36:43,920 --> 00:36:50,000
rumored to be inspiration is John Hague. Known as the acid bath murderer, Hague murdered at least

556
00:36:50,000 --> 00:36:55,360
six people, thinking that if he dissolved their bodies, that the police wouldn't have evidence to

557
00:36:55,360 --> 00:37:02,640
convict him. Plan worked out perfectly. Again, not a true crime podcast, but like what? Hague was going

558
00:37:02,640 --> 00:37:08,400
after wealthy people dissolving them in sulfuric acid and then forging their signatures to sell their

559
00:37:08,400 --> 00:37:15,920
property cash checks like, you know, your typical fraud, you know, evidence. Uh-huh. He was so close

560
00:37:15,920 --> 00:37:22,640
to being like a Robin Hood figure. Yeah. But like a Roger rabbit version of it. Don't they put

561
00:37:22,640 --> 00:37:28,320
the toys in? No, that's Christopher Lloyd's character. He does it. No. Thank you. Okay, fine.

562
00:37:28,320 --> 00:37:34,080
The bad guy in Roger Rabbit. Let me be more specific. Uh-huh. There's so many rumors about this movie.

563
00:37:34,080 --> 00:37:38,960
Everything is like, oh, man, I wish we would have gotten Hitchcock's kaleidoscope. And I'm like,

564
00:37:38,960 --> 00:37:46,720
but what version? And so writer Ben seemed to agree with me in this letter to Hitchcock, where it's

565
00:37:46,720 --> 00:37:52,320
got to be Heath, not Hague. The Heath story is a gift from heaven. You'd start with a straight romantic

566
00:37:52,320 --> 00:37:57,680
meeting handsome young man and pretty girl. Maybe he rescues her from a drunk and escort. I can't

567
00:37:57,680 --> 00:38:03,520
stand men who paw at the girl for everything. It gets us rooting for them. He perhaps is

568
00:38:03,520 --> 00:38:09,680
unhappily married and therefore a model of screen hero restraint. She begins to find him irresistible,

569
00:38:09,680 --> 00:38:15,120
just a little boy who can't cope with life. At least of all with domestic problems, such as he described.

570
00:38:15,120 --> 00:38:23,840
Sounds a lot like Norman Bates. Sounds a lot like movies we've seen Hitchcock making.

571
00:38:23,840 --> 00:38:29,920
Also, I'm suspicious of Ben when I hear the Heath story is a gift from heaven. But Ben goes on to say,

572
00:38:29,920 --> 00:38:34,720
by the time we get to the climax of his love and action and his murder, then even the slowest of

573
00:38:34,720 --> 00:38:41,360
us will get it. Basically, the whole point of kaleidoscope was that the film would be from the

574
00:38:41,360 --> 00:38:46,400
killer's point of view and they would be the protagonist and Ben is saying, like, let's get us

575
00:38:46,400 --> 00:38:52,640
rooting for the killer. That's a really hard thing to get behind for sure. And I can see why he's

576
00:38:52,640 --> 00:38:58,160
having issues with it when we can't really glorify this guy. And it's really hard to, like, you think

577
00:38:58,160 --> 00:39:04,640
protagonist and we're not really at that moment where like protagonist is the main character,

578
00:39:04,640 --> 00:39:10,720
but protagonist is just good guy. Like, you even think of like the movie Dracula or Dracula is supposed

579
00:39:10,720 --> 00:39:17,200
to be the bad guy, but we're not following Dracula that whole movie. Like, none of this feedback stops

580
00:39:17,200 --> 00:39:22,160
Hitchcock. He decides he's gonna go to New York City, shoot an hour's worth of test footage,

581
00:39:22,160 --> 00:39:29,360
and it didn't make you watch the test footage because I, your homework was frenzy instead.

582
00:39:29,360 --> 00:39:38,480
Frenzy is like, g-rated compared to the footage. Hitchcock's plan was to shoot it in this

583
00:39:38,480 --> 00:39:45,760
realistic handheld documentary style, which is really a hard left from everything he's

584
00:39:45,760 --> 00:39:51,840
sort of at this point. And so armed with this footage, the script, and he came up with like

585
00:39:51,840 --> 00:39:59,600
450 camera positions he wanted to be able to use. He goes to the MCA at Universal and is like, I'm

586
00:39:59,600 --> 00:40:04,720
gonna strip all the lighting down to natural lighting. I'm gonna keep the budget under a million

587
00:40:04,720 --> 00:40:09,840
dollars with a cast of unknowns, although there are rumors that rubber red for it and Michael Kane were

588
00:40:09,840 --> 00:40:16,640
like, who, you know, wanted to go after. Pitch is all this to Universal and Universal's like this material

589
00:40:16,640 --> 00:40:22,880
is relentless. Way too much for the 60s. They didn't like, I said, didn't love that the murder

590
00:40:22,880 --> 00:40:28,400
was the protagonist. They didn't want you to find sympathy with the murderer. Which is, I think also

591
00:40:28,400 --> 00:40:32,800
part of the Hades code that you can't find sympathy with a bad guy. It doesn't even have to do with

592
00:40:32,800 --> 00:40:38,080
murder. It's like if it's a criminal in general, like you have to at the very end, there has to be

593
00:40:38,080 --> 00:40:44,320
like some sort of punishment or some sort of come-up and I remember like watching some new R. I forget

594
00:40:44,320 --> 00:40:51,040
the name of the movie, but like it seemed like a scene that was just tacked on as like a note from

595
00:40:51,040 --> 00:40:56,880
the producer to be like, oh yeah, we also need to do this. And all it had was the main character

596
00:40:56,880 --> 00:41:01,520
just like walking down the road. The police officer like drives up and he's like, oh, we've been

597
00:41:01,520 --> 00:41:08,720
looking for you, gets arrested, that's the end of the movie. So I can see like coming from that

598
00:41:08,720 --> 00:41:16,080
arrow to be like, so he's like, murderer. And at one point, like there was one rumored draft where

599
00:41:16,080 --> 00:41:22,720
they were gonna have a police woman be a trap kind of thing of, you know, setting it up to be like

600
00:41:22,720 --> 00:41:26,560
the next victim, but actually we're trying to catch this killer. Yeah. So you can tell that they

601
00:41:26,560 --> 00:41:31,120
just kept trying to make it work in different ways. I wish that there was a way to pinpoint

602
00:41:31,520 --> 00:41:36,960
exactly when they were going to universal because the rough dates of like when this movie was

603
00:41:36,960 --> 00:41:44,080
always talked about are from After Marnie so in 64 through 72. He's in the right time to be like, hey,

604
00:41:44,080 --> 00:41:49,040
you guys are getting rid of the haze code. Other cinemas across the world are doing these movies. Do

605
00:41:49,040 --> 00:41:52,960
you want America to be left behind or like, and if someone's gonna handle the subject material,

606
00:41:52,960 --> 00:41:58,880
who better than me? Yeah. But no universal was like hard pass hitch. So sorry, mum, for air.

607
00:42:00,720 --> 00:42:07,360
There's a reason why I started our story where I started it and I think it's incredibly important

608
00:42:07,360 --> 00:42:13,040
to get Elma's viewpoint on kaleidoscope. So she had concerns that some of the aspects would be

609
00:42:13,040 --> 00:42:20,000
repetitions of psycho and she was actually heavily involved in the tone of suspense. And so I found

610
00:42:20,000 --> 00:42:27,760
one of her letters, not emails, letters. And I think this encapsulates her in a really great way

611
00:42:28,480 --> 00:42:36,240
where we figure out her tone and like her influence. And so she has to say he knows she's got a boyfriend

612
00:42:36,240 --> 00:42:40,960
and may not get another chance. He goes to a lot of trouble to get her into the engine room. He

613
00:42:40,960 --> 00:42:45,520
thinks the body won't be discovered for a long time. Maybe he shouldn't throw the body overboard.

614
00:42:45,520 --> 00:42:50,720
He put on his coat and take the body into the shadows. The shadows of concealment. Then he comes out.

615
00:42:50,720 --> 00:42:56,640
Now we've lost the suspense. Maybe he goes along the corridor of the ship, cross-cut with the men

616
00:42:56,640 --> 00:43:01,360
in the work so it comes all out of a door and you practically walk right into their arms. He comes

617
00:43:01,360 --> 00:43:06,320
out of a door. He runs. He hides. Maybe his feet make a noise. Then the men come running. They can't

618
00:43:06,320 --> 00:43:10,800
see him. Cut to him climbing down the anchor chain. They don't know what shippee's on. Maybe they

619
00:43:10,800 --> 00:43:15,840
think it's a gang of kids around. Oh, maybe there's a scream while they're on the ship. No, that's too

620
00:43:15,840 --> 00:43:24,080
clumsy. She typed all this out. You can see her train of thought. And that train of thought to me is

621
00:43:24,080 --> 00:43:32,640
of a writer, of an editor, of someone who knows the entire film process of a director in a way.

622
00:43:32,640 --> 00:43:39,920
And I also think you can see the beats in her process reflect Hitchcock's films really well.

623
00:43:39,920 --> 00:43:45,440
Hitchcock has this massive legacy of film, but I think the women surrounding him are really cool.

624
00:43:45,440 --> 00:43:51,120
And there's almost a way that I'm kind of glad kaleidoscope didn't get made. While yes, I think it could

625
00:43:51,120 --> 00:43:57,680
have been a very cool artistic new way for American cinema or British cinema or you want to look at it.

626
00:43:57,680 --> 00:44:03,600
There's a way that women are filmed in his movies that is compelling. And I think this would have

627
00:44:03,600 --> 00:44:08,800
changed his narrative for history. It seemed like a lot of what he was trying to do was just a proof

628
00:44:08,800 --> 00:44:14,880
of concept over anything. It wasn't like he went out there to New York to get the hours worth of footage.

629
00:44:14,880 --> 00:44:22,960
To be like, I'm gonna make this a movie or like turn this into a film. He is going into uncharted

630
00:44:22,960 --> 00:44:30,320
territory and he needed to not only pitch the idea to Universal, he needed to have some sort of visual

631
00:44:30,320 --> 00:44:37,840
to be like, I know how to make this work. And this is me showing you that I can potentially make

632
00:44:37,840 --> 00:44:44,400
this work. And we can either move forward with like where cinema is going. What the rest of the

633
00:44:44,400 --> 00:44:50,960
world is going or we can stay stuck in the past and I fear that you guys are gonna do that. Yeah, I mean

634
00:44:50,960 --> 00:44:58,400
he was no stranger to unmade films. There's a reason why I chose this one. Not only because it is

635
00:44:58,400 --> 00:45:03,440
one of the bigger ones from his career that people talk about and it is one that apparently like eight

636
00:45:03,440 --> 00:45:09,280
away at him for all of his life. But looking through the long list of unmade movies, it very much

637
00:45:09,280 --> 00:45:15,040
reminded me of the del Toro episode where it's just like, oh this creative man has all these ideas

638
00:45:15,040 --> 00:45:18,640
and like you almost get to a point where you have more that aren't made than are.

639
00:45:18,640 --> 00:45:25,840
He had a concept for phone booth because he loved that claustrophobic like nature. I'm talking about

640
00:45:25,840 --> 00:45:31,200
the phone booth that we wound up getting in 2002 with Colin Farrell. Originally could have been a

641
00:45:31,200 --> 00:45:36,560
Hitchcock film. Like I think I'd prefer to see that over kaleidoscope. But yeah, this movie

642
00:45:36,560 --> 00:45:51,280
eight away at him so much that you can clearly see it in frenzy. So I made you watch frenzy. Yep,

643
00:45:51,280 --> 00:45:55,360
but you had not seen before this. I've never seen frenzy before. Let's chat about frenzy.

644
00:46:02,800 --> 00:46:12,000
So my impression of frenzy when I first saw it was I never thought of Hitchcock as a genre. And that was

645
00:46:12,000 --> 00:46:19,600
something that occurred to me while watching the movie. It hit a lot of the beats that I recognize from

646
00:46:19,600 --> 00:46:26,880
Hitchcock's film. You have the murderous aspect to it. You have the mistaken identity. Was it strangers

647
00:46:26,880 --> 00:46:32,000
on a train? Yeah. Was one that I like immediately thought of when they're like the police are

648
00:46:32,000 --> 00:46:38,320
looking for this specific eye when the actual killer is someone else. And having that knowledge of

649
00:46:38,320 --> 00:46:45,760
who that person is, it immediately reminded me of his past film. So it made me realize that it's not

650
00:46:45,760 --> 00:46:56,880
just the style that Hitchcock is putting out there. But he is drawn to a specific genre. He's drawn

651
00:46:56,880 --> 00:47:05,040
to a specific type of story and he thrives and works so well in that story. It is a well that he

652
00:47:05,040 --> 00:47:13,440
constantly comes back to. It seemed like he was just trying to kind of bring back that glory of like

653
00:47:13,440 --> 00:47:19,680
what he had with like his signature films. And he's just trying to do this again with a lot of

654
00:47:20,320 --> 00:47:29,360
at the time modern vernacular. So never have I heard Bob's your uncle actually said in a nonchalant way.

655
00:47:29,360 --> 00:47:38,960
I heard that and I was like I know that that tickled Dan. It was so funny. Okay, after going through

656
00:47:38,960 --> 00:47:45,120
this, you have the three bodies. He's handsome and charming and lures them back to a room.

657
00:47:45,120 --> 00:47:50,000
Like I don't think that we need to seek kaleidoscope because he made it. Like the frenzy is

658
00:47:50,000 --> 00:47:55,360
essentially yeah when you were describing what was supposed to be kaleidoscope it seemed very much like

659
00:47:55,360 --> 00:48:01,760
frenzy was that movie. The fascinating thing is like frenzy comes out in 1972 so that his go

660
00:48:01,760 --> 00:48:08,640
is gone. He has much more freedom like cinema changed greatly in the 70s. So it's interesting that if

661
00:48:08,640 --> 00:48:14,000
he was so frustrated by not being able to make the film that he wanted to do that less than five

662
00:48:14,000 --> 00:48:21,120
years later he was like frenzy. I did it. I made it. This is not kaleidoscope. This is frenzy. It's like

663
00:48:21,120 --> 00:48:27,760
and frenzy does feel like a g-rated version of what he had planned for kaleidoscope. Yeah, I mean it

664
00:48:27,760 --> 00:48:33,520
seems like it went through even though the haze code is gone but you have to go through a lot of steps

665
00:48:33,520 --> 00:48:39,440
of just like can this be approved? Can we film this? Is this allowed? And it felt like he wrote the

666
00:48:39,440 --> 00:48:46,240
script that he wanted to with everything included and then he got pushed back for a lot of what he wanted

667
00:48:46,240 --> 00:48:52,320
and eventually ended up with frenzy. It could have started with kaleidoscope. He pitched it to

668
00:48:52,320 --> 00:48:57,520
Universal though but it seems like instead of just getting a flat no he's just like all of what

669
00:48:57,520 --> 00:49:04,320
changed the title of the United States. I'll rework it until like they finally accept and greenlight it.

670
00:49:04,320 --> 00:49:12,160
Right and it's interesting to me that 1972 like a lot of the rumors were that this movie ate away

671
00:49:12,160 --> 00:49:16,320
at him and he always wished he had done kaleidoscope the way that he wanted to do kaleidoscope and I was

672
00:49:16,320 --> 00:49:21,920
like okay so then you made this movie in 1972 for someone who pushed boundaries I was like you could

673
00:49:21,920 --> 00:49:28,640
have pushed the boundaries a little there. In 1974 Texas Chainsaw Massacre comes out so we're at that

674
00:49:28,640 --> 00:49:37,360
time. But that was a movie that was made independently outside of the studio system and infiltrated into

675
00:49:37,360 --> 00:49:42,480
the mainstream because of how popular it became work. Right but he had done that with psycho. Like he had

676
00:49:42,480 --> 00:49:47,280
financed psycho himself so it's like he could have done that. I guess he could have. Yeah. It's just

677
00:49:47,280 --> 00:49:52,560
interesting that frenzy is a fine movie. There's the one shot that I was like don't say anything. We'll

678
00:49:52,560 --> 00:49:57,360
talk about it later. That one shot to me is like I could watch that over and over again. Can we talk

679
00:49:57,360 --> 00:50:02,160
about that shot? Yeah. Okay. So the shot that we were talking about Robert is the murderer. We see

680
00:50:02,160 --> 00:50:08,160
him actually act out a full murder in what is essentially like the first act of the movie.

681
00:50:08,160 --> 00:50:14,400
And when it comes to the second victim instead of having to go through that whole process again

682
00:50:14,400 --> 00:50:22,160
there he like lures up babs up into a up to the room and he repeats the same line that he did

683
00:50:22,160 --> 00:50:30,240
with the matchmaker. I don't know if you know I babs but you're my type of woman.

684
00:50:30,240 --> 00:50:37,520
Oh that the way he said it just like sent chills down my spine. The door shuts you like do a

685
00:50:37,520 --> 00:50:43,760
pan out and what's really great. Whoever did the sound design for it. It just like it turns

686
00:50:43,760 --> 00:50:49,120
deathly silent going through the hallway. You don't really hear anything and then it goes out

687
00:50:49,120 --> 00:50:56,080
to the street and all year is just the sounds of the street just like flood and get louder

688
00:50:56,080 --> 00:51:02,560
and knowing like you have that tension of knowing like something bad is happening. You're waiting

689
00:51:02,560 --> 00:51:08,160
for her to scream. Yeah and maybe because modern day movies have ruined this for me like I thought

690
00:51:08,160 --> 00:51:12,880
she was gonna get thrown out a window and we'd see her body hit the floor like. I didn't go that far.

691
00:51:12,880 --> 00:51:17,040
I was waiting for the scream. She is getting strangled. You can't really scream when you're getting

692
00:51:17,040 --> 00:51:22,560
strangled. No but there's like a tussle happening like I was waiting for some sort of not a body

693
00:51:22,560 --> 00:51:28,240
but like a kerfuffle of something or to see him like walk out of the building. But nothing happens

694
00:51:28,240 --> 00:51:35,680
at all. And you don't need it too. No it's the fact that that shot lingers for so long that you

695
00:51:35,680 --> 00:51:42,800
just assume that something bad definitely happened and it does like we saw the potatoes. So

696
00:51:44,080 --> 00:51:50,960
going off of what I just read about seeing all this train of thought there's the specific maybe they

697
00:51:50,960 --> 00:51:55,520
hear a scream on the ship. No that's too clumsy. I saw that shot and I was like that was her.

698
00:51:55,520 --> 00:52:03,520
It seemed like they tried to fight every single cliche. And it still works so well. Yeah I

699
00:52:03,520 --> 00:52:10,400
like rewatched that specific shot so many times and I was like this is her work coming out in his

700
00:52:10,400 --> 00:52:16,480
cell. Yeah. I think friends use a fun movie. The deaths are a little kooky nowadays.

701
00:52:16,480 --> 00:52:22,720
They are. I mean I left out loud when like they showed the strangle face and her tongue was out.

702
00:52:22,720 --> 00:52:27,840
The tongue is off to the side like she's clearly pushing out her tongue. Yes. And then it frees

703
00:52:27,840 --> 00:52:35,200
frames and I was like. Probably because she couldn't keep it out like. Yeah she clearly couldn't

704
00:52:35,200 --> 00:52:40,320
like keep that face and stay still long enough. They're like well we got to fix this somehow.

705
00:52:40,320 --> 00:52:47,680
So fun question. Sure. Did you catch the hitchcock cameo? The two of them? Sure. I clearly own the

706
00:52:47,680 --> 00:52:53,680
caught one. There's the group shot where everyone's like it gathered outside. There's the guy in the

707
00:52:53,680 --> 00:53:01,280
soap box in the opening. Yes. And the keys in the crowd and then everyone's like. There's a girl in the river.

708
00:53:01,280 --> 00:53:06,400
And it's the necktie killer. And that again harkens back to kaleidoscope of like it's the Mary

709
00:53:06,400 --> 00:53:11,360
Wives killer or whatever. And I'm like oh we really just swaps. So then everyone goes to the river

710
00:53:11,360 --> 00:53:18,400
and then we see another shot where like it's a closer shot on like a couple who is describing like

711
00:53:18,400 --> 00:53:24,720
what they've heard. Yes. And reported about there. And like in the back you see hitchcock just like

712
00:53:24,720 --> 00:53:30,000
staring he's like this is going exactly to plan. But this little bowler has seen that's the one

713
00:53:30,000 --> 00:53:34,720
I caught. I didn't catch the why. Yeah I caught the wide one for sure. But I also knowing that this

714
00:53:34,720 --> 00:53:40,480
is a hitchcock movie I was like he's gonna appear somewhere. So like I'm kind of on high alert when

715
00:53:40,480 --> 00:53:49,280
it comes to the cameos. So while Alamos has been did not invent the cameo he actually does get credit

716
00:53:49,280 --> 00:53:56,480
for like modern day audiences are like oh no he totally did. Originally that cameo was a budgetary

717
00:53:56,480 --> 00:54:02,480
reason for their first film together called The Lager in 1927 in which he and Alamo both cameo.

718
00:54:02,480 --> 00:54:08,560
I love this. Yeah she would only go on to cameo in one other film The Sabotage in 1936.

719
00:54:08,560 --> 00:54:15,040
How many films do you think he cameoed in? Like in his own. I'm gonna say all of them.

720
00:54:15,040 --> 00:54:20,560
It's not all of them. He did the show hitchcock presents as well. I'm just talking movies.

721
00:54:20,560 --> 00:54:26,960
Just the movies. Just the moving pictures. I'm gonna say he was an all except two.

722
00:54:27,600 --> 00:54:34,720
I mean I don't know what his full run of films was but he would he would go on to cameo in 40 movies.

723
00:54:34,720 --> 00:54:40,080
Okay that's nuts. His own movies. Yeah okay he didn't cameo in any other movie.

724
00:54:40,080 --> 00:54:46,560
Kubrick wasn't shooting next door and be like hey but he'd be really funny.

725
00:54:46,560 --> 00:54:54,800
If I was also in the hotel. Here's Johnny. He's in the bear suit. Oh my god.

726
00:54:56,880 --> 00:55:02,720
40 of his 52 surviving. He never cameoed it movies direct by other filmmakers.

727
00:55:02,720 --> 00:55:08,640
Okay and then it became this fun game to hitchcock to see where he could like place himself.

728
00:55:08,640 --> 00:55:14,880
But now viewing his whole career they sort of have become a signature in a way that an artist would

729
00:55:14,880 --> 00:55:20,560
sign a painting. I mean literally his logo just became his silhouette outline. His profile.

730
00:55:20,560 --> 00:55:26,000
But I have to say that I think that his truest signature is actually Alamo's input.

731
00:55:26,000 --> 00:55:31,920
You can see it in this whole through line throughout his entire career and even though she's not

732
00:55:31,920 --> 00:55:39,760
credited on everything I do think she touched every inch of what he did. In 1982 there's actually

733
00:55:39,760 --> 00:55:46,800
quote the hitchcock touch had four hands and two of which were Alamo's. And hitchcock himself in

734
00:55:46,800 --> 00:55:52,400
1979 got the AFI life achievement award the year before he died. He wanted to mention.

735
00:55:52,400 --> 00:56:00,320
Only four people who have given me the most affection appreciation and encouragement

736
00:56:00,320 --> 00:56:10,000
and constant collaboration. The first of the four is a film editor. The second is a script writer.

737
00:56:10,000 --> 00:56:21,840
The third is the mother of my daughter Pat. And the fourth is a finer cook as ever performed miracles

738
00:56:21,840 --> 00:56:27,280
in a domestic kitchen. And their name for Alamo Revolo.

739
00:56:27,280 --> 00:56:36,560
I would see maybe Alamo's kaleidoscope. Yeah I would. And then my favorite line in frenzy which we

740
00:56:36,560 --> 00:56:44,480
didn't really talk about. Oh it wasn't Bob's or Uncle. It was not Bob's or Uncle. It's to me one of the

741
00:56:44,480 --> 00:56:49,840
on the list of underrated characters in the hitchcock film is the wife of the detective.

742
00:56:50,960 --> 00:56:57,200
Oh I love those scenes. Okay say the line first and we'll talk about it.

743
00:56:57,200 --> 00:57:02,480
No we'll end there. Let's talk about the weird dinners. The weird dinners are great.

744
00:57:02,480 --> 00:57:08,800
And I love that the detective is trying to be like you know he was left at this diner where they

745
00:57:08,800 --> 00:57:20,240
have normal food you know like not. Or fishhead. Or squid or whatever gray matter that is

746
00:57:20,240 --> 00:57:27,840
trying to agree stuff it's delicious. So I love how enthusiastic she is and I feel like she's just

747
00:57:27,840 --> 00:57:32,960
testing them. You would never see her actually the food. No that's what I'm saying like she's

748
00:57:32,960 --> 00:57:40,080
genius and she's such a comedic relief. Oh it's so funny. And so my favorite quote was she says to him

749
00:57:47,440 --> 00:57:53,440
so good. That's much better than the line that I really liked. Mine is the Gucci line at the end where

750
00:57:53,440 --> 00:58:06,240
it's like you're not wearing your tie. And with that hitchcock's gal either slope.

751
00:58:12,160 --> 00:58:20,800
That's great. Like I knew a lot about hitchcock's style and how he operated but I never really dove

752
00:58:20,800 --> 00:58:28,720
into the career of hitchcock which is very eye-opening. And watching Frenzy see in a movie that

753
00:58:28,720 --> 00:58:35,040
is not one of hitchcock's like staple films is really interesting to see especially like this is

754
00:58:35,040 --> 00:58:41,440
in his later career. They say it's the last great film he ever made. Frenzy was great. I'm glad you

755
00:58:41,440 --> 00:58:47,280
made me watch it. It is really interesting to see like how kind of his career just kind of like

756
00:58:47,280 --> 00:58:56,960
guided him to create his own type of film. Like I said when I watched Frenzy it suddenly dawned on me

757
00:58:56,960 --> 00:59:04,320
that hitchcock is not just the filmmaker but it just kind of turned into his own kind of genre.

758
00:59:04,320 --> 00:59:10,640
Yeah I mean there's a reason people will say things are hitchcocking. Yes. I just found it fascinating

759
00:59:10,640 --> 00:59:16,080
that they were born a day apart. They got this job at the same company and then they got hired

760
00:59:16,080 --> 00:59:21,120
on to do these things at the same time. They never really had successes without the other. Yeah.

761
00:59:21,120 --> 00:59:26,720
So there you go. Alma's husband's kaleidoscope. Yeah and I really love that you brought it from

762
00:59:26,720 --> 00:59:32,400
Alma's perspective because like I mentioned at the beginning like editing is a very important

763
00:59:32,400 --> 00:59:38,080
and kind of overlooked part of filmmaking but like I mentioned there are a lot of filmmakers who

764
00:59:38,080 --> 00:59:45,040
wouldn't be where they are. And a lot of times not just editors but like women editors behind them

765
00:59:45,040 --> 00:59:51,520
to really. Pat and I as well has a really great sound. Any movie that you love chances are

766
00:59:51,520 --> 00:59:59,280
it was directed by a man edited by a woman which means a woman directed it. It's a dude with his

767
00:59:59,280 --> 01:00:07,440
camera dick just pointing it everywhere just I'm just shooting fucking film. Oh my god just 18 miles of

768
01:00:07,440 --> 01:00:14,480
it. Look at this fucking every frame is a painting. Oh my god I'm making the masterpiece. Oh

769
01:00:14,480 --> 01:00:23,040
fuck I'm done. Yeah. Oh fuck I shot a lot of film. Oh man. You see all that film I shot?

770
01:00:23,040 --> 01:00:35,200
Holy shit. Shot film everywhere man. Oh fuck. I'm a genius. I'm a genius. It's all me. I did it myself.

771
01:00:35,360 --> 01:00:44,160
Woo! And the woman's got to show up. We all done sweetie? Okay. Out she go. I gotta make a story out of this mess.

772
01:00:44,160 --> 01:00:49,440
No we're not gonna we're not gonna release an 18 hour movie sweetie. No.

773
01:00:49,440 --> 01:00:59,040
No. The Hitchcockian style is truly both of them. And in reading bits of her actual letters I was like

774
01:00:59,040 --> 01:01:05,600
oh I can read the tone from that. Yeah you can tell like she's also trying to put the story together

775
01:01:05,600 --> 01:01:11,360
like that letter perfectly encapsulates like oh this part of the story is working this part is not

776
01:01:11,360 --> 01:01:15,600
how do we avoid the cliches how do we make this better? Yeah and one of the things I didn't even

777
01:01:15,600 --> 01:01:21,520
include is like they're exchanging the letters with Ben she even says like is this a repetition of

778
01:01:21,520 --> 01:01:27,200
psycho? She's the one that's constantly like checking the backlog of things to go okay are we doing

779
01:01:27,200 --> 01:01:33,360
something new or how can we keep this fresh and without her because of the subject matter of a lot

780
01:01:33,360 --> 01:01:39,760
of his movies could have been skewed massage and it's very easily. Mm-hmm. And some do but there's

781
01:01:39,760 --> 01:01:47,120
also a reason why people love them and I do think having her touch saved them from skewing too far one way.

782
01:01:47,120 --> 01:01:50,560
Yeah. Almost kaleidoscope. Yep, almost has been scalyascope. Mm-hmm.

783
01:01:50,560 --> 01:01:58,160
[laughs]

784
01:01:58,160 --> 01:02:07,680
We're back from the ads. From Almas ads. Let's go through our recommendations. Is there anything you

785
01:02:07,680 --> 01:02:15,040
want to recommend? The only thing I've watched recently is a lot of hacks still. I've started

786
01:02:15,040 --> 01:02:21,280
hacks over but then I also started Widows Bay on Apple TV. I've been hearing really good things about

787
01:02:21,280 --> 01:02:28,240
Widows Bay. I am enjoying myself I think. I'm 100% glad I got made. I think tonally it is

788
01:02:28,240 --> 01:02:34,800
Kuku Banana pants in a fun spooky way. Yeah from what I've heard is like it presents itself as horror

789
01:02:34,800 --> 01:02:41,840
mystery at the beginning. Mm-hmm. But it goes along as a comedy. Yes and then also like a period piece

790
01:02:41,840 --> 01:02:46,960
just when I'm like okay it's gonna dig it's like nah Zaghan and I'm like I'd okay so like I don't

791
01:02:46,960 --> 01:02:54,080
know that I am in love with it but I like it from a this is fresh and different and that perspective.

792
01:02:54,080 --> 01:02:59,840
What a glowing recommendation. Yeah. Widows Bay. Apple TV. Check it out. Okay. For my recommendation.

793
01:02:59,840 --> 01:03:08,240
Because I wanted to keep it in theme with what we were doing today. I- Well aren't you fancy?

794
01:03:09,040 --> 01:03:15,760
Oh wait mine's technically carrying on. I wanted to recommend the TV show Colombo

795
01:03:15,760 --> 01:03:23,280
but specifically in this is kind of real from the 80s? From the 70s. Yeah. Is this because we talked

796
01:03:23,280 --> 01:03:29,520
about murder she wrote. It might have dawned from that but it also is somewhat relevant today because

797
01:03:29,520 --> 01:03:38,640
it's the very first episode the pilot episode. It is called Murder by the Book. No. It feels

798
01:03:38,640 --> 01:03:45,600
kind of like a Hitchcock movie especially with a lot of the setups a lot of the close-ups a lot

799
01:03:45,600 --> 01:03:54,320
of the tone of the rest of the show is anchored from the pilot episode and the pilot episode

800
01:03:54,320 --> 01:04:01,040
to make this relevant to today is directed by Steven Spielberg. Wow. Yeah. Of disclosure day. Of

801
01:04:01,040 --> 01:04:06,960
disclosure day. This is like right before he directed dual he was still working for Universal as just

802
01:04:06,960 --> 01:04:13,840
like a TV director. I know what I'm watching today. And knowing Steven Spielberg style and knowing

803
01:04:13,840 --> 01:04:20,640
Hitchcock style you can tell that Spielberg is definitely borrowing a lot from Alfred Hitchcock

804
01:04:20,640 --> 01:04:25,120
because like he learned a lot from him. He did. He actually just had an interview where they were like

805
01:04:25,120 --> 01:04:29,440
what's one part you know the dead are alive who's the person that you want to have at dinner

806
01:04:29,440 --> 01:04:35,760
and he chose Alfred Hitchcock. Just like the first scene of the pilot episode I actually just like

807
01:04:35,760 --> 01:04:41,520
re-watched it is just so brilliant like there's not a word that said and there's like so much that's

808
01:04:41,520 --> 01:04:47,840
established just through the shots alone. What is Colombo currently on? It's on Pecock.

809
01:04:47,840 --> 01:05:00,720
I knew that's what how that was gonna come out. For those of you that don't speak Daniel that's

810
01:05:00,720 --> 01:05:08,400
peacock as in NBC's peacock. Yeah that's what I said peacock. I've seen a lot of Colombo. I watched a lot of

811
01:05:08,400 --> 01:05:13,840
we were talking about murder she wrote earlier this week which also I'll recommend that every episode.

812
01:05:13,840 --> 01:05:18,880
I don't know they've seen the pilot of Colombo. I had to at some point. Yeah but definitely watch

813
01:05:18,880 --> 01:05:24,960
the pilot like knowing that it's Steven Spielberg not attempting to do but like knowing that he is

814
01:05:24,960 --> 01:05:30,400
heavily inspired by Hitchcock at that time. I like this like picking the recommendation

815
01:05:30,400 --> 01:05:35,040
based off of the episode that's fun. I might steal that little nugget. Yeah that is my recommendation.

816
01:05:35,040 --> 01:05:48,880
Okay so our handles have all changed. The handles have changed the show name has changed.

817
01:05:48,880 --> 01:05:55,680
Set and Stone. Yeah I spent a whole day going through stuff like even stuff that I'd even realize

818
01:05:55,680 --> 01:05:59,600
that we had for a while like we have a twitch channel. I did change the name of a twitch channel. We

819
01:05:59,600 --> 01:06:05,280
haven't used that in like forever. I don't know we ever had a twitch channel. When did you was that for?

820
01:06:05,280 --> 01:06:11,440
I did a quiz show with David and Alexa. Okay okay okay so when did we? So to find us on any social media

821
01:06:11,440 --> 01:06:18,320
you can look up at development purgatory on pretty much all the socials all around. You can find

822
01:06:18,320 --> 01:06:25,280
us on patreon as well under the same development purgatory. There is only one social media handled

823
01:06:25,280 --> 01:06:33,920
that is different and that is blue sky. Blue sky we are dev purgatory. Yeah the only reason why we

824
01:06:33,920 --> 01:06:42,320
had to do that is because blue sky likes to mimic. B-sky? Yeah B-sky likes to I mean it was modeled

825
01:06:42,320 --> 01:06:48,800
after Twitter. Yeah 100% and Twitter also had the character restrictions. So that was the only

826
01:06:48,800 --> 01:06:54,720
reason why Twitter that handle was different from like the Instagram and the TikTok handle is because

827
01:06:54,720 --> 01:07:00,160
there is a character limitations on that look up development purgatory. You'll be able to find us

828
01:07:00,160 --> 01:07:08,400
see where posting and blue sky dev purgatory. Yeah you can support the show like I mentioned before

829
01:07:08,400 --> 01:07:13,440
through our patreon that is how you can directly support the show. Otherwise you can support the show

830
01:07:13,440 --> 01:07:21,520
just tell smash that like. Yeah subscribe to the show tell your friends family whoever you know

831
01:07:21,520 --> 01:07:27,680
that is a film nerd or not a film nerd get them into film yeah go see a movie and go see go watch

832
01:07:27,680 --> 01:07:34,720
movie. Go watch Colombo. Watch Colombo on a train. Stop that train go see a movie. I forgot that's

833
01:07:34,720 --> 01:07:37,520
awful. Yeah go see movie.