-
(ambient music)
-
(peppy orchestral music)
-
- [Colin] Would you
say that your technique
-
has changed essentially, say, since 1932?
-
- I don't think so, no.
-
I think, you know, the cobbler
should stick to his last.
-
Know your own limitations.
-
I've become a specialist.
-
People expect it, you know.
-
If I did a story or, say,
a musical about Cinderella,
-
they would be waiting
for the body to turn up.
-
If my name were on the picture.
-
You know the audiences are
still looking for the body.
-
(Colin laughs)
-
(spooky orchestral music)
-
- [Colin] Most of your films
have had a sort of strong dose
-
of peril in them for the characters.
-
Why have you made this
your speciality right
-
from the very beginning,
I believe, isn't it?
-
- I think it's probably
-
because I'm very nervous fellow, you know.
-
We all have fear, you know,
-
in us and we like to enjoy a vicarious,
-
shall we say, toe in the water of fear.
-
I think audiences like to
feel a little touch of fear.
-
After all they go on a
roller coaster and scream.
-
They are very near the dangerous point.
-
If a roller coaster didn't
take that curve so easily
-
and went right over the top
that would be the end of that.
-
You know I once made the
error of putting suspense
-
into a picture and not relieving it.
-
I did a picture called Saboteur, Sabotage,
-
I beg your pardon, and I had
a small boy carrying a bomb
-
across London.
-
I built up the time element
of when the bomb was
-
to go off and I even went
past the time when the bomb
-
should go off.
-
Eventually I let the
bomb go off two minutes
-
after it should've gone
off and blew the boy
-
and everybody else to bits,
-
and this was a horrifying
experience especially
-
for women in the audience.
-
I was never forgiven for it.
-
- [Colin] You mentioned
the relieving the suspense
-
and I think one of the marks of your films
-
is the wry touches of humor
that you inject to relieve the--
-
- Well, yes, I believe, you
know, after all there's humor
-
in a graveyard.
-
Why not?
-
Which reminds me of a story, I think it
-
was a famous comedian, Harry Tate,
-
English comedian died,
and was being buried.
-
At the graveside were
all his fellow comedians,
-
including one very old
man named Charles Coburn.
-
A rather brash young
comedian, just as the coffin
-
was being lowered into the
grave, leaned over to him
-
and said, how old are you Charlie?
-
And this old, old comedian
said, oh, he said, I'm 89.
-
The young one said, hardly
seems worthwhile going home,
-
does it?
-
(Colin and Alfred laughing)
-
I think the British have a sense of humor,
-
especially about the macabre.
-
I think a lot of people, you
know, object to playing around
-
with bodies and so forth.
-
But actually I don't think
it really matters, you know,
-
and sometimes people can't
help, especially certain types
-
of English people, can't
help but make a joke.
-
Whether it's for their own relief or what.
-
I remember at a fairground
once outside London
-
there was a sideshow going
on in a tent where a man
-
was biting the heads from live rats,
-
and there were two women,
blousy sort of women
-
at the back of the tent,
watching this scene
-
with fascination but with
clenched teeth and horror.
-
But one of them couldn't help make a joke,
-
she had to call out, she said,
-
don't you want any bread with it?
-
(Colin laughing)
-
- [Colin] You haven't put
that in any of your films yet?
-
- Not yet, no, there's room for it.
-
(Colin laughing)
-
(suspenseful orchestral music)
-
- [Colin] How many films
in all have you made sir?
-
- [Alfred] I wouldn't
know, maybe 40 or 50.
-
I never look back.
-
You know I think it's
a mistake to look back,
-
you always have to look
forward otherwise you're liable
-
to get old get fashioned or something.
-
- [Colin] Yes.