0:00:15 > 0:00:18The great directors are those whose names on the credits excite
0:00:18 > 0:00:22you just as much as the presence of an Oscar-laden star.
0:00:23 > 0:00:26They were the pioneers of cinema.
0:00:26 > 0:00:29Makers of movie history. Here we open a treasure chest
0:00:29 > 0:00:34of interviews with some of the titans of Hollywood's golden age.
0:00:34 > 0:00:36Joining them as they discuss their
0:00:36 > 0:00:40careers, the people they worked with and how they got started
0:00:40 > 0:00:42as directors in the first place.
0:00:43 > 0:00:46Kicking off our illustrious list,
0:00:46 > 0:00:49the man behind Ben Hur, a director
0:00:49 > 0:00:52renowned for his perfectionism and versatility,
0:00:52 > 0:00:54William Wyler.
0:00:56 > 0:00:59How did you begin? Did you begin as a...
0:00:59 > 0:01:02- Begin directing, you mean??- Did you begin as a director?
0:01:02 > 0:01:05- Oh, Lord, no.- I was going to say. - I sort of went
0:01:05 > 0:01:07through the mill.
0:01:07 > 0:01:10It was... In those days...
0:01:12 > 0:01:15You know, you sort of learned an apprenticeship.
0:01:15 > 0:01:18And the Universal studio
0:01:18 > 0:01:22was sort of a school for directors,
0:01:22 > 0:01:25actors, writers.
0:01:25 > 0:01:29And I just went through everything. I started
0:01:29 > 0:01:33sweeping floors and washing dishes and sort of everything. I went
0:01:33 > 0:01:38through every department, cutting room, sort of learning the business.
0:01:38 > 0:01:39And...
0:01:40 > 0:01:44Finally, I was given an opportunity. It was easier
0:01:44 > 0:01:50in those days than today, because the company was making a great many,
0:01:50 > 0:01:52very cheap films.
0:01:52 > 0:01:54Little Westerns, two-reel Westerns, they were called.
0:01:54 > 0:01:59And...any young man of ambition at that time
0:01:59 > 0:02:02would sooner or later get an opportunity to do one.
0:02:02 > 0:02:05The risk for the company was very small.
0:02:05 > 0:02:09Sidney Lumet, master of the gritty movie drama,
0:02:09 > 0:02:13got his break in television, thanks to a very familiar face.
0:02:13 > 0:02:15'A friend of mine, Yul Brynner,
0:02:15 > 0:02:19'was directing at CBS. This was in the early days of television.
0:02:19 > 0:02:21'And he called me one day because I
0:02:21 > 0:02:23'had no dough.'
0:02:23 > 0:02:26And this was before King And I. We had literally
0:02:26 > 0:02:28been sharing spaghetti plates. Canned spaghetti together.
0:02:28 > 0:02:30And he called, he said, "Come on in. Nobody knows
0:02:30 > 0:02:34"what they're doing here, this is great, you can get away with murder."
0:02:34 > 0:02:37And I came into TV as his assistant.
0:02:37 > 0:02:39As his AD.
0:02:40 > 0:02:43And then when Yul left to do King And I, I took over the show.
0:02:43 > 0:02:46I was doing two live shows a week.
0:02:46 > 0:02:49A melodrama called Danger.
0:02:49 > 0:02:53And a wonderful show called You Are There, which was...
0:02:53 > 0:02:58I know it sounds ridiculous, but really worked, it was covering any kind of
0:02:58 > 0:03:02historical, all sorts of historical events with modern news techniques.
0:03:02 > 0:03:04So we would be there at Caesar's assassination and
0:03:04 > 0:03:08a correspondent would break in and say, "Brutus, just a few words, please."
0:03:10 > 0:03:14The director Frank Capra famously went through a rags to riches story
0:03:14 > 0:03:16worthy of one of his films.
0:03:16 > 0:03:21With no job or money, he just bluffed his way into the business.
0:03:21 > 0:03:23I was in San Francisco one time
0:03:23 > 0:03:27and I saw an ad in the paper, or a write-up in the paper, that somebody
0:03:27 > 0:03:30was starting a new motion picture company at Golden Gate Park,
0:03:30 > 0:03:33to make some kind of films, I didn't know what they were talking about,
0:03:33 > 0:03:35really. But something new was starting.
0:03:36 > 0:03:40And... I... I was locked outside of my hotel room and I couldn't get into
0:03:40 > 0:03:44- my clothes. I had to do something. - You mean because you couldn't pay?
0:03:44 > 0:03:47I couldn't pay, that's right. So I was pretty desperate, so I
0:03:47 > 0:03:52walked to... And I was kind of a cocky kid, I thought I could
0:03:52 > 0:03:56make my way around. So I went out to see this man and I find an
0:03:56 > 0:03:58old Shakespearean actor there.
0:03:58 > 0:04:01Who was going to do these things.
0:04:01 > 0:04:04And I introduced myself as Frank Capra from Hollywood, which
0:04:04 > 0:04:08was true. My home was Los Angeles, I had never been into a studio.
0:04:09 > 0:04:12Well, he nearly fell over. I mean, when I mentioned
0:04:12 > 0:04:16Hollywood. And he opened the doors and he brought me in, and I didn't
0:04:16 > 0:04:19disabuse his mind.
0:04:19 > 0:04:22So I started helping him make this first picture of his,
0:04:22 > 0:04:25and gradually I took over from him because...
0:04:25 > 0:04:29it was the blind leading the blind, but I was younger. You see, so the
0:04:29 > 0:04:34younger blind man... So, I took over and made this first picture for him.
0:04:34 > 0:04:39I'm a disappointed musician, you see. I wanted to be a conductor.
0:04:39 > 0:04:42And too late I discovered I had a tin ear,
0:04:42 > 0:04:44I couldn't hear music very well.
0:04:44 > 0:04:47And at that point I didn't know what to do, and I started
0:04:47 > 0:04:49to study law.
0:04:49 > 0:04:53Which bored me very much. And instead of going to lectures,
0:04:53 > 0:04:55I used to go to movies.
0:04:55 > 0:04:57And I saw a few films, such as
0:04:57 > 0:05:02Potemkin and a few others, which I thought were extraordinary.
0:05:02 > 0:05:05And from that I developed a great unlikely idea of wanting to
0:05:05 > 0:05:08become a movie director. And sitting in Vienna in those days,
0:05:08 > 0:05:12wanting to be a movie director, was totally outlandish.
0:05:12 > 0:05:14But somehow it worked out.
0:05:14 > 0:05:17I knew right away the first time I peeked through the eye piece
0:05:17 > 0:05:21of that camera...and saw these actors and bums
0:05:21 > 0:05:24that I had rounded up from the waterfront.
0:05:24 > 0:05:26I got such a thrill that...
0:05:26 > 0:05:29I still get the same thrill every time I look through the eyepiece
0:05:29 > 0:05:32of a camera. And that's my start. I knew I had found something.
0:05:32 > 0:05:35- The bug had really bit you, in other words?- It bit me all over,
0:05:35 > 0:05:37I was just all sores.
0:05:38 > 0:05:41But it wasn't a labour of love for all.
0:05:41 > 0:05:46Witness legendary Western director John Ford.
0:05:46 > 0:05:49- When did you come to America? - I was born here.
0:05:50 > 0:05:53What sort of a childhood did you have? Were you interested in
0:05:53 > 0:05:55movies way back?
0:05:55 > 0:05:59Not really, not interested in them now, actually.
0:05:59 > 0:06:01But it's a way of making a living.
0:06:01 > 0:06:04All our master directors needed special skills
0:06:04 > 0:06:09to reach the top of their careers. Amongst them an ability to
0:06:09 > 0:06:14think fast and not get fazed by unexpected challenges.
0:06:14 > 0:06:18Expanding on that theme first is Howard Hawks,
0:06:18 > 0:06:21here talking about the Cary Grant comedy
0:06:21 > 0:06:24I Was A Male War Bride.
0:06:24 > 0:06:27We made a scene one day with Cary.
0:06:27 > 0:06:30He had to take an examination, he was marrying...
0:06:30 > 0:06:34He was a French officer marrying Ann Sheridan, who was in
0:06:34 > 0:06:36the American army, and he had to answer the questions that were
0:06:36 > 0:06:40designed for the little French girl
0:06:40 > 0:06:42who was going to marry a GI, so
0:06:42 > 0:06:45they had to ask him how many times he'd been pregnant and did
0:06:45 > 0:06:49he have a lot of women troubles and things like that, and a
0:06:49 > 0:06:52scene we thought that was going to be very funny
0:06:52 > 0:06:54was not amusing
0:06:54 > 0:06:57until we found out that...
0:06:58 > 0:07:00..the man who was going to be
0:07:00 > 0:07:03embarrassed about the questions was the American sergeant asking it,
0:07:03 > 0:07:06and that Cary was having fun about it. And the moment we did that,
0:07:06 > 0:07:08it became a really funny scene.
0:07:08 > 0:07:10I tell you, there isn't another
0:07:10 > 0:07:14- form.- I told you first.- This form isn't for a man, it's for a woman!
0:07:14 > 0:07:15Uh-huh.
0:07:15 > 0:07:19However, if don't get this form filled and approved, you can't go.
0:07:19 > 0:07:20- That's right.- You mean, I've got to
0:07:20 > 0:07:24- use this form?- Sergeant, I felt the same way you do, but if that's
0:07:24 > 0:07:26the only form, come on, let's fill it out.
0:07:27 > 0:07:29Well, let's see.
0:07:29 > 0:07:32Age and birthplace, we've got all that.
0:07:32 > 0:07:36Here's the first one. Are you an expectant mother?
0:07:36 > 0:07:37Uh-huh.
0:07:39 > 0:07:40Yes.
0:07:41 > 0:07:43How many months?
0:07:43 > 0:07:4420.
0:07:44 > 0:07:4620. 20 months.
0:07:47 > 0:07:49Any...
0:07:49 > 0:07:51Any female trouble?
0:07:51 > 0:07:54Nothing but, Sergeant. Hmm!
0:07:55 > 0:07:57And...
0:07:57 > 0:08:00..have you ever had any children before?
0:08:00 > 0:08:03Oh, my aching back. You know that awful feeling before
0:08:03 > 0:08:06- breakfast?- No, Captain, I don't.- Oh, Sergeant, you're lucky.- Captain,
0:08:06 > 0:08:09- this doesn't make any sense!- I know, I know, but come on, we've
0:08:09 > 0:08:12got to fill it out. Ask me another, there's some good ones coming up.
0:08:13 > 0:08:16On the 1931 film Dirigible,
0:08:16 > 0:08:19Frank Capra needed an inspired idea
0:08:19 > 0:08:23to make it look as though the cast were at the South Pole.
0:08:23 > 0:08:27- How did you achieve the dry ice, the breathing effect?- Well, I
0:08:27 > 0:08:31always had a feeling about believability. We were... We had
0:08:31 > 0:08:34some scenes on the South Pole with Dirigible.
0:08:34 > 0:08:39We had this thing in San Diego, with the valley, very warm, about 90, we were in August.
0:08:39 > 0:08:42And we had this grand
0:08:42 > 0:08:45three acres of expansive salt, snow
0:08:45 > 0:08:48and some rocks and backing, painted backing.
0:08:48 > 0:08:51It didn't look like the South Pole to me,
0:08:51 > 0:08:54and I kept on wondering, "What was wrong here?"
0:08:54 > 0:08:58And it suddenly hit me, the breath wasn't showing on everybody.
0:08:58 > 0:09:01Well, how can I get the breath to show? I went back to Caltech,
0:09:01 > 0:09:06to some of my professionals, and said, "How can I get the breath to show on people?"
0:09:06 > 0:09:10One of them said, "Dry ice, dry ice in the mouth."
0:09:10 > 0:09:14So I went to a dentist, I had some little cages built. And I put a little...
0:09:14 > 0:09:18peel of dry ice in the cage, and the cage stuck to the palate of the...
0:09:18 > 0:09:23the roof of actor's mouth. Then they'd talked like this.
0:09:23 > 0:09:27If Demosthenes could talk with rocks, my actors would have to talk with cages in them.
0:09:28 > 0:09:33With 12 Angry Men, Sidney Lumet had a film that was mostly set
0:09:33 > 0:09:36in a single room. But he decided
0:09:36 > 0:09:39not to look on this as a problem.
0:09:39 > 0:09:42It never occurred to me that was difficult to do, to do all the movie in one room.
0:09:42 > 0:09:45You know, you come in with a certain arrogance
0:09:45 > 0:09:47when you're young.
0:09:47 > 0:09:52I had worked out a real camera attack, I knew that the...
0:09:53 > 0:09:57..the way to do it was to turn what was seemingly a disadvantage into an
0:09:57 > 0:10:01advantage, so as a matter of fact, as the movie went on over the body
0:10:01 > 0:10:04of the movie, I made the room smaller. The lenses got
0:10:04 > 0:10:07longer and longer so the walls kept pulling in closer and closer.
0:10:07 > 0:10:12The camera kept dropping, dropping, dropping, so finally the ceiling was right over their heads.
0:10:14 > 0:10:16So that actually the whole piece kept contracting.
0:10:16 > 0:10:20And dramatically that's what the movie was about.
0:10:21 > 0:10:22And it was a movie.
0:10:23 > 0:10:24Well?
0:10:27 > 0:10:28Say something!
0:10:34 > 0:10:38You lousy bunch of bleeding hearts.
0:10:38 > 0:10:42You're not going to intimidate me, I'm entitled to my opinion.
0:10:45 > 0:10:49Rotten kids, you work your life out!
0:11:01 > 0:11:02No.
0:11:06 > 0:11:07Not guilty.
0:11:07 > 0:11:11HE SOBS
0:11:11 > 0:11:12Not guilty.
0:11:12 > 0:11:14HE SOBS
0:11:17 > 0:11:21It's been said that great directors always have a distinctive style
0:11:21 > 0:11:26that they stamp on any film, be it drama, musical or comedy.
0:11:26 > 0:11:30Our line-up of interviewees don't always back that theory.
0:11:30 > 0:11:35Starting with the man behind Some Like It Hot, Billy Wilder.
0:11:35 > 0:11:41Here are three of the finest giving their take on their own style.
0:11:41 > 0:11:43But there is no...
0:11:43 > 0:11:45..uh...
0:11:45 > 0:11:48..cohesive Wilder style because I make
0:11:48 > 0:11:52- all kinds of different pictures. - Except, I think you did once
0:11:52 > 0:11:57- say you like to mix a little vinegar in the cocktail.- Whatever I do,
0:11:57 > 0:12:01of course, it is never going to be wildly sentimental,
0:12:01 > 0:12:04and whatever little thing I would like to say
0:12:04 > 0:12:09which makes them talk about it, 15 minutes after the picture is over...
0:12:11 > 0:12:12..nothing bombastic,
0:12:12 > 0:12:16nothing earthshaking. But still if they talk about it, and if I
0:12:16 > 0:12:19can sell a kind of...
0:12:21 > 0:12:23..a thing that makes them...
0:12:24 > 0:12:27..stay with it and discuss.
0:12:27 > 0:12:30No solution, mind you, but an interesting question that
0:12:30 > 0:12:33is said of the picture. That is highly rewarding.
0:12:33 > 0:12:38If I'm conscious of style, I am going to be tied up in a knot.
0:12:38 > 0:12:40You know, like a pretzel.
0:12:40 > 0:12:42So I decided...
0:12:44 > 0:12:47..to do it the way I felt it without
0:12:47 > 0:12:52really understanding why I was doing it, and to please no-one but myself.
0:12:52 > 0:12:55In other words, I don't make pictures for children,
0:12:55 > 0:12:58I don't make pictures for Jews,
0:12:58 > 0:13:00I certainly don't make them for producers.
0:13:00 > 0:13:04I make them for myself. And when the day dawns that...
0:13:06 > 0:13:09..people don't go to see my movies, then I'm through.
0:13:09 > 0:13:13But I can't work under restrictions, so that the result is...
0:13:14 > 0:13:18..having spent so many years in montage...
0:13:19 > 0:13:24..my style became taut. And having
0:13:24 > 0:13:27done hundreds and hundreds of second units...
0:13:29 > 0:13:32And second units, basically, means that you're
0:13:32 > 0:13:35doing the action sequences.
0:13:35 > 0:13:38Action sequences presented no problems for me,
0:13:38 > 0:13:41no fear, we'll say, because I had done so many of them.
0:13:43 > 0:13:48And so my action became, perhaps,
0:13:48 > 0:13:50horrific, but very quick.
0:13:50 > 0:13:53I didn't linger on it, like Sam Peckinpah had done.
0:13:53 > 0:13:56Do you plan your films very carefully in advance,
0:13:56 > 0:13:58or are you one of those directors who likes to
0:13:58 > 0:14:01improvise on the set, wait until you have the
0:14:01 > 0:14:04materials in your hand before you decide on what you want to do?
0:14:04 > 0:14:09No, I like to know pretty clearly what the thing's about.
0:14:09 > 0:14:14I like to have a skeleton that's functioning, but I do like
0:14:14 > 0:14:18to keep it open beyond that, so I can improvise to the maximum extent.
0:14:18 > 0:14:21I don't want to plan it to the point where everything is crystallised.
0:14:21 > 0:14:23If you see what I mean.
0:14:23 > 0:14:26Yes, you wouldn't favour the sort of Hitchcock approach, which is
0:14:26 > 0:14:30to make an almost total blueprint of the film, going on the studio
0:14:30 > 0:14:34is simply the working out of an exactly conceived plan?
0:14:34 > 0:14:36I admire the approach, but I couldn't do it.
0:14:36 > 0:14:39I think everybody has his own way of doing...
0:14:39 > 0:14:43I admire the people who can do total improvisations.
0:14:43 > 0:14:45I couldn't do that either.
0:14:45 > 0:14:47Directors run the show,
0:14:47 > 0:14:51but actors are of course the ones up on the big screen.
0:14:51 > 0:14:56And an ability to spot the stars was vital to all the greats.
0:14:56 > 0:15:01Discussing this first, the legendary Cecil B DeMille.
0:15:01 > 0:15:04I believe Gary Cooper described you as the man who puts
0:15:04 > 0:15:05stardust on stars.
0:15:05 > 0:15:08Now, where did you find the stars, in those early days?
0:15:08 > 0:15:12Well, you found them about the same way you do now.
0:15:12 > 0:15:17You find stars wherever they grow. You see little things...
0:15:17 > 0:15:21I saw Gloria Swanson in a Mack Sennett comedy.
0:15:21 > 0:15:27I spotted Bebe Daniels in...some place or other. I've forgotten.
0:15:27 > 0:15:30When it came to Westerns, the discovery of the genre's
0:15:30 > 0:15:35biggest star was down to the genre's greatest director, John Ford.
0:15:35 > 0:15:39How did you first strike up your lifelong association with
0:15:39 > 0:15:40John Wayne?
0:15:40 > 0:15:43He was my third assistant prop man.
0:15:45 > 0:15:47Then he became a second prop man.
0:15:47 > 0:15:50He finally worked himself up to prop man.
0:15:50 > 0:15:54And we started to do Stagecoach and everybody turned it down.
0:15:54 > 0:15:56I had to peddle it around.
0:15:56 > 0:16:00And finally, Walter Wanger, he says, "Well, you got to pick... A Western?
0:16:00 > 0:16:03"Go ahead and do it," he said.
0:16:03 > 0:16:07He said, "Who do you want to use for a lead?" I says,
0:16:07 > 0:16:12"I've got a kid here. He's just out of college.
0:16:14 > 0:16:17"I've used him in several bits and he's very good.
0:16:17 > 0:16:20"Big, tall, handsome guy.
0:16:20 > 0:16:25"And I'd like to make a test of him to show it to you."
0:16:25 > 0:16:27He said, "Well, if you say he's OK, go ahead.
0:16:27 > 0:16:30"I'd make the test." So, I'll make the test and he said,
0:16:30 > 0:16:32"Yeah, go ahead, great."
0:16:32 > 0:16:37So, Walter went off to Europe and we made the picture,
0:16:37 > 0:16:39with Duke, and that sort of started him off.
0:16:39 > 0:16:42I asked me to marry me, didn't I?
0:16:46 > 0:16:48I'll never forget you asked me, Kid.
0:16:51 > 0:16:52That's somethin'.
0:16:54 > 0:16:56Wait here.
0:16:59 > 0:17:01Like John Wayne, Lauren Bacall
0:17:01 > 0:17:04was one of cinema's most inspired discoveries.
0:17:04 > 0:17:09Here's Howard Hawks explaining how she was cast in his classic
0:17:09 > 0:17:11To Have And Have Not.
0:17:11 > 0:17:14How did you discover Bacall?
0:17:14 > 0:17:16Oh, my secretary made a mistake
0:17:16 > 0:17:19and brought her out from New York, rather than...
0:17:19 > 0:17:21I asked her to find out about her.
0:17:21 > 0:17:24Her schooling, background, what experience she had.
0:17:24 > 0:17:27She brought her out.
0:17:27 > 0:17:31Sent her a ticket. And um...
0:17:31 > 0:17:35The girl just seemed to have the faculty of doing everything right.
0:17:35 > 0:17:40She worked very, very hard and so we put her in the picture.
0:17:40 > 0:17:46'The Bacall character developed because of an idea that we
0:17:46 > 0:17:51'had of making a girl as insolent on the screen as Bogart was.'
0:17:51 > 0:17:54He was probably the most insolent man on the screen.
0:17:54 > 0:17:59And we thought it would be fun to make a girl insolent
0:17:59 > 0:18:04and Bacall was...a very...good choice for such a thing.
0:18:04 > 0:18:07She could insult somebody without making them angry.
0:18:07 > 0:18:10Won't Frenchie help you out, without you having to do that?
0:18:10 > 0:18:12I don't want his help.
0:18:12 > 0:18:14Don't do it, will you, Steve?
0:18:14 > 0:18:16- Didn't you ask me...?- Don't do it.
0:18:19 > 0:18:21Why don't you take this bottle and go to bed?
0:18:23 > 0:18:25Here, can you use this?
0:18:25 > 0:18:27I thought you said you were broke.
0:18:29 > 0:18:30You're good.
0:18:30 > 0:18:33You're awful good.
0:18:33 > 0:18:35I'd walk home, if it wasn't for all that water.
0:18:40 > 0:18:41Who was the girl, Steve?
0:18:41 > 0:18:43Who was what girl?
0:18:43 > 0:18:46The one who left you with such a high opinion of women.
0:18:46 > 0:18:48She must have been quite a gal.
0:18:48 > 0:18:51You think I lied to you about this, don't you?
0:18:51 > 0:18:53Well, it just happens there's 30-odd dollars here.
0:18:53 > 0:18:56Not enough for boat fare or any other kind of fare.
0:18:56 > 0:18:59Just enough to be able to say no if I feel like it.
0:18:59 > 0:19:01And you can have it if you want it.
0:19:03 > 0:19:04I'm sorry, Slim.
0:19:05 > 0:19:09- But I still say you're awful good and I wouldn't...- Oh, I forgot.
0:19:09 > 0:19:13- You wouldn't take anything from anybody, would you?- That's right.
0:19:14 > 0:19:16You know, Steve?
0:19:16 > 0:19:19You're not very hard to figure.
0:19:19 > 0:19:20Only at times.
0:19:20 > 0:19:23Sometimes, I know exactly what you're going to say.
0:19:23 > 0:19:25Most of the time.
0:19:25 > 0:19:26The other times...
0:19:30 > 0:19:33The other times, you're just a stinker.
0:19:38 > 0:19:40What did you do that for?
0:19:40 > 0:19:42Been wondering whether I'd like it.
0:19:42 > 0:19:44What's the decision?
0:19:44 > 0:19:46I don't know yet.
0:19:53 > 0:19:54It's even better when you help.
0:19:58 > 0:20:01Sure you won't change your mind about this?
0:20:01 > 0:20:06- Uh-huh.- This belongs to me and so do my lips. I don't see any difference.
0:20:06 > 0:20:07I do.
0:20:07 > 0:20:09OK.
0:20:10 > 0:20:13You know you don't have to act with me, Steve.
0:20:13 > 0:20:16You don't have to say anything and you don't have to do anything.
0:20:16 > 0:20:17Not a thing.
0:20:18 > 0:20:20Oh, maybe just whistle.
0:20:24 > 0:20:27You know how to whistle, don't you, Steve?
0:20:27 > 0:20:30You just put your lips together and...blow.
0:20:39 > 0:20:41HE WOLF WHISTLES SLOWLY
0:20:44 > 0:20:48Once they'd found the stars, our great directors had to know
0:20:48 > 0:20:52how to get the best out of them, the best performances.
0:20:52 > 0:20:55It was all about how they handled the actors.
0:20:55 > 0:21:00First up on the subject, George Cukor, telling Barry Norman about
0:21:00 > 0:21:06directing two Hollywood legends, Greta Garbo and Marilyn Monroe.
0:21:06 > 0:21:10You make a climate in which they feel sure of themselves
0:21:10 > 0:21:12and they trust your judgment,
0:21:12 > 0:21:15you have the enormous advantage of seeing things,
0:21:15 > 0:21:18and you're not always right,
0:21:18 > 0:21:22and you make them feel sincerely
0:21:22 > 0:21:25that they're brilliant,
0:21:25 > 0:21:31but Garbo was very disciplined and absolutely charming to work with.
0:21:31 > 0:21:35She was rigid about certain things, very practically.
0:21:35 > 0:21:38She knew that if she worked longer, she was rather nervous,
0:21:38 > 0:21:41she wouldn't sleep.
0:21:41 > 0:21:44She was modest and funny.
0:21:44 > 0:21:49And... And stubborn, in a way, but never about her work.
0:21:49 > 0:21:53One of the legendary Hollywood actresses that you directed
0:21:53 > 0:21:57is Marilyn Monroe, and you say in your book, to Gavin Lambert,
0:21:57 > 0:22:01that you feel that she was mad and she wasn't, in fact,
0:22:01 > 0:22:04destroyed by Hollywood. Was she, in fact, mad?
0:22:04 > 0:22:08She was an extremely complicated creature. She was intelligent.
0:22:08 > 0:22:13She was unhappy. She... You couldn't very close to her.
0:22:13 > 0:22:15And she was very nervous.
0:22:15 > 0:22:18The proof of it is that the poor darling killed herself.
0:22:18 > 0:22:21So, she was...
0:22:21 > 0:22:24She didn't really trust her talent
0:22:24 > 0:22:26because she was very gifted,
0:22:26 > 0:22:30she played comedy very well and she would do all kinds of studying,
0:22:30 > 0:22:33when she really needn't have studied because...
0:22:33 > 0:22:36Not that studying isn't right,
0:22:36 > 0:22:40but she was so much more skilful than anybody could possibly teach her.
0:22:40 > 0:22:43She was a natural actress with enormous individuality
0:22:43 > 0:22:45and she knew what she was doing.
0:22:45 > 0:22:48The performance of Laurence Olivier, I think
0:22:48 > 0:22:51you had a great influence on Olivier's career.
0:22:51 > 0:22:54Well, I like to think that also,
0:22:54 > 0:22:58but...I must say that...Sir Laurence is,
0:22:58 > 0:23:02as everyone here knows,
0:23:02 > 0:23:07is a superb actor, perhaps the greatest in the world,
0:23:07 > 0:23:09with or without me.
0:23:09 > 0:23:13But do you like working with stage actors?
0:23:13 > 0:23:16- Now, he was really a stage actor... - Yes, he was.
0:23:16 > 0:23:21At that time, I think he'd done very few films and in fact,
0:23:21 > 0:23:22wasn't too fond of them.
0:23:22 > 0:23:25- No.- Er...
0:23:25 > 0:23:30I like very much working with professional actors who
0:23:30 > 0:23:32know their craft,
0:23:32 > 0:23:36whether they're from the stage or films.
0:23:36 > 0:23:39But I don't believe in amateur actors.
0:23:40 > 0:23:44I believe acting is something one has to learn.
0:23:46 > 0:23:49One has to have a talent for it first and...
0:23:49 > 0:23:52But even that isn't sufficient. I think one has to learn the technique.
0:23:52 > 0:23:55Would you say you were hard on your actors,
0:23:55 > 0:23:59or do you get your results with kindness and friendship?
0:23:59 > 0:24:02Well, I don't know. Human beings...
0:24:02 > 0:24:05As I say, all I know is anybody who has ever worked with me
0:24:05 > 0:24:08is always anxious to come back and work with me again.
0:24:13 > 0:24:17I never stand behind the camera and yell directions.
0:24:17 > 0:24:20I go up and I speak to each actor individually,
0:24:20 > 0:24:22so the others don't hear.
0:24:22 > 0:24:25And everything is thoroughly rehearsed
0:24:25 > 0:24:27and I try to get the first take.
0:24:27 > 0:24:30And...
0:24:30 > 0:24:33Directors being hard on actors,
0:24:33 > 0:24:36those directors don't usually last very long in pictures.
0:24:38 > 0:24:43But it's not just actors that our interviewees had to deal with.
0:24:43 > 0:24:48Relationships with movie studio bosses were always
0:24:48 > 0:24:50just as important.
0:24:50 > 0:24:53First again on the subject is George Cukor,
0:24:53 > 0:24:57once famously fired as director of Gone With The Wind.
0:24:57 > 0:25:01Of course, the most famous picture you were removed from was
0:25:01 > 0:25:02Gone With The Wind.
0:25:02 > 0:25:06It's said that Clark Gable felt you were paying too much attention to
0:25:06 > 0:25:09Vivien Leigh and Olivia de Havilland at his expense and that you
0:25:09 > 0:25:13objected to the way Selznick came on the set to supervise the shooting.
0:25:13 > 0:25:16Would you like to tell me about your so-called rift with Selznick
0:25:16 > 0:25:19and why you only shot two or three scenes, including the famous
0:25:19 > 0:25:22burning of Atlanta and were then reportedly fired off the film?
0:25:22 > 0:25:27I was fired, indeed. I shot more than that. I shot... I'm not bragging.
0:25:27 > 0:25:31I shot, I think, the first one or two reels.
0:25:31 > 0:25:33I really honestly don't know.
0:25:33 > 0:25:38I prepared it for a year, I made the test...
0:25:38 > 0:25:42I think David Selznick probably didn't think I was doing it...
0:25:42 > 0:25:46I really... It's a great mystery and it's something very interesting,
0:25:46 > 0:25:49it was not the pleasantest subject, it's all now being revived
0:25:49 > 0:25:52and I honestly have forgotten somebody asked me a question
0:25:52 > 0:25:55and I called up Irene Selznick, who was his wife, and I said,
0:25:55 > 0:25:58"Really, what did happen at that scene?" And she explained to me.
0:25:58 > 0:26:00I said, "Oh, did it, really?"
0:26:00 > 0:26:04And it's something very remote and the sum total is that
0:26:04 > 0:26:08I ended up remaining great friends with David Selznick.
0:26:08 > 0:26:12I think he was very nervous, very concerned about the picture
0:26:12 > 0:26:15and, right or wrong, he probably thought I wasn't doing it right.
0:26:15 > 0:26:20I tell you what is extraordinary, that I was fired from that picture
0:26:20 > 0:26:24and that here I am to tell the tale, still working.
0:26:24 > 0:26:27Howard Hawks didn't mind producers,
0:26:27 > 0:26:29just as long as they knew their place.
0:26:29 > 0:26:35Have you ever had the experience of a creative producer who actually was
0:26:35 > 0:26:40useful in giving advice, but staying out of the way when necessary?
0:26:40 > 0:26:46No, not that I can remember. Oh, I have had instances of...
0:26:46 > 0:26:50Where they bought the story...
0:26:50 > 0:26:55and saw...a good picture in there.
0:26:56 > 0:26:59Jesse Lasky gave me my first job.
0:27:01 > 0:27:03He bought Sergeant York.
0:27:03 > 0:27:08I made it because...he gave me my first job.
0:27:08 > 0:27:11Cooper made it because Lasky gave him his first job.
0:27:11 > 0:27:15I told Cooper, "I don't think we can do any harm to
0:27:15 > 0:27:17"ourselves by making it.
0:27:17 > 0:27:21Cooper says, "What's the use in arguing about it?
0:27:21 > 0:27:24"We're going to do it, aren't we?" And I said, "Yeah."
0:27:24 > 0:27:29But I said, "But you come on over with me while we talk to Warner.
0:27:29 > 0:27:32"If I say it's not right, Mr Cooper, you say yup."
0:27:32 > 0:27:35So I said, "We'll make this picture if you let us alone.
0:27:35 > 0:27:37"Isn't that right, Mr Cooper?" He said, "Yup."
0:27:37 > 0:27:39"And if you don't let us alone, you're going
0:27:39 > 0:27:43"to be in a lot of trouble. Isn't that right, Mr Cooper?" He said,
0:27:43 > 0:27:45"Yes." So, we made it and Lasky,
0:27:45 > 0:27:48who was broke at the time, made a couple of million dollars
0:27:48 > 0:27:51and Cooper got an Academy Award and I felt very good about it,
0:27:51 > 0:27:53so we had a great time.
0:27:54 > 0:27:56And now, here's Don Siegel,
0:27:56 > 0:28:00on dealing with the interference from studio executives, who
0:28:00 > 0:28:07he compares with alien pods from his film Invasion Of The Body Snatchers.
0:28:07 > 0:28:12The pods are people that can control the studio.
0:28:12 > 0:28:15Naturally, they gave it the world's worst title -
0:28:15 > 0:28:18The Invasion Of The Body Snatchers. That was number one.
0:28:18 > 0:28:21That was when we knew we were dead there.
0:28:21 > 0:28:23Anyway, we shot the picture.
0:28:23 > 0:28:29Very exciting picture, I think, because unlike most science
0:28:29 > 0:28:33and fiction films,
0:28:33 > 0:28:37that devote thousands and thousands
0:28:37 > 0:28:41and thousands and hundreds of thousands of dollars,
0:28:41 > 0:28:44if you will, on special effects, Walter
0:28:44 > 0:28:49and I agreed that we felt that the effects were not that important,
0:28:49 > 0:28:52plus the fact that I'd had seven years in special effects,
0:28:52 > 0:28:55so I wasn't worried about that end of it,
0:28:55 > 0:29:01and we would stick real people in front of our special effects
0:29:01 > 0:29:06and really get inside our people and tell a real story.
0:29:06 > 0:29:08But the pods...
0:29:08 > 0:29:13By the pods, I mean, not my producer Walter Wanger,
0:29:13 > 0:29:17but the people who own the studio, Allied Artists.
0:29:17 > 0:29:20They had rules and regulations.
0:29:20 > 0:29:25For instance, their rule was that no science fiction can have humour.
0:29:25 > 0:29:29There's a great deal of humour in the picture.
0:29:29 > 0:29:31So, they took out all the humour.
0:29:31 > 0:29:36Then they were afraid that it wasn't clear, so they made me
0:29:36 > 0:29:41shoot a prologue and an epilogue, which had absolutely nothing
0:29:41 > 0:29:44to do with the picture, as far as I was concerned.
0:29:44 > 0:29:45I thought it was very stupid.
0:29:45 > 0:29:48Walter Wanger thought it was very stupid.
0:29:48 > 0:29:51We fought against it and when we lost, Walter said,
0:29:51 > 0:29:55"Please shoot it because if you don't, somebody else will
0:29:55 > 0:29:59"and at least, you'll keep the form," so I shot it, against my will.
0:29:59 > 0:30:02That's part of working in Hollywood, I guess.
0:30:03 > 0:30:09The picture previously ended as dramatically as any picture,
0:30:09 > 0:30:11at least, that I've ever done.
0:30:11 > 0:30:14Where Kevin McCarthy whirls to the audience
0:30:14 > 0:30:18and points his finger at the camera and says, "You're next!"
0:30:18 > 0:30:21Hey! Stop! Pull over! Pull over to the side of the road!
0:30:21 > 0:30:24- I need your help. Something terrible has happened.- Go on, you're drunk!
0:30:24 > 0:30:28Get out of the street! Get out of here! Go on!
0:30:28 > 0:30:30HORN BEEPS
0:30:40 > 0:30:43You crazy?! You idiot!
0:30:43 > 0:30:50You fools! You're in danger! They're after you! They're after all of us!
0:30:50 > 0:30:52Our wives, our children, everyone!
0:30:52 > 0:30:56They're here already! You're next!
0:30:57 > 0:31:00That's the moment Siegel wanted to end on.
0:31:01 > 0:31:05And here's how the ending he was forced to add begins.
0:31:05 > 0:31:08Siegel clearly wasn't happy.
0:31:09 > 0:31:14And often, directors are the most vocal critics of their own work.
0:31:14 > 0:31:16Take Billy Wilder, for starters.
0:31:16 > 0:31:19Which are the favourites, your own favourites,
0:31:19 > 0:31:21among all the films you've made?
0:31:21 > 0:31:24Well, I don't look at the old ones, ever, no matter what.
0:31:24 > 0:31:27- But I kind of think that... - No, I'd heard that.
0:31:27 > 0:31:29Why won't you look at your old films?
0:31:29 > 0:31:32I see the mistakes and I'd like to hurry it up, I would like
0:31:32 > 0:31:35to recast it, I would... You know, you cannot do that any more.
0:31:35 > 0:31:37But it's just...
0:31:37 > 0:31:41I don't have eight or 16mm prints of my pictures in my cellar.
0:31:41 > 0:31:46I don't invite my friends. I just... I'm... I just don't like it.
0:31:46 > 0:31:48I don't like it very much.
0:31:48 > 0:31:52Maybe... Maybe if the best picture, since you asked me...
0:31:52 > 0:31:56The picture I liked the best maybe was an early picture of mine,
0:31:56 > 0:32:00Double Indemnity. Maybe that's the one I kind of like the best and...
0:32:00 > 0:32:04There were moments in Some Like It Hot that I thought were good,
0:32:04 > 0:32:06in Sunset, that were quite good.
0:32:06 > 0:32:11I was very pleased to see an interview with...
0:32:11 > 0:32:17Agatha Christie who said that the best picture made of her material
0:32:17 > 0:32:20was a picture I had done, Witness For The Prosecution.
0:32:20 > 0:32:23That was before Orient Express.
0:32:23 > 0:32:27And I was very pleased about that. But...
0:32:29 > 0:32:33There are good five minutes here and ten minutes there.
0:32:33 > 0:32:38In other words, if...some day they do a retrospective of my pictures
0:32:38 > 0:32:45and they can get it all into like...45 minutes of film...
0:32:45 > 0:32:48Two minutes from that and ten minutes from that
0:32:48 > 0:32:50and three minutes of here... That would make me very happy.
0:32:50 > 0:32:52That, I will look at.
0:32:52 > 0:32:54And now, John Ford,
0:32:54 > 0:32:58on an approach that helped bring about one of his favourite films.
0:32:58 > 0:33:02I think one trouble as a director in this country,
0:33:02 > 0:33:09and I think one of the troubles directors universally is...
0:33:09 > 0:33:12They'll make a big picture, probably a hit,
0:33:12 > 0:33:18and then they try to top it and usually fall flat on their face.
0:33:18 > 0:33:22It happens here a lot and I know it happens with you.
0:33:22 > 0:33:25So, I try and make it a rule,
0:33:25 > 0:33:28if you make a big picture which is a hit, the next one,
0:33:28 > 0:33:33do a cheap picture, relax, I mean, three or four weeks,
0:33:33 > 0:33:36while you're preparing for another story.
0:33:36 > 0:33:39And usually, of course, I mean, to my mind,
0:33:39 > 0:33:41the little picture is always better.
0:33:41 > 0:33:44You see, my favourite picture, for example,
0:33:44 > 0:33:49is one you'd never of heard of called The Sun Shines Bright.
0:33:49 > 0:33:53- Have you?- Great!- Huh? - Judge Billy Priest.
0:33:53 > 0:33:56- Yeah.- Beautiful. Beautiful! - Well, that's my favourite picture.
0:33:56 > 0:33:59- For Republic.- That's right.
0:33:59 > 0:34:03Well, we'd just made The Quiet Man, which was a big hit,
0:34:03 > 0:34:07so I wanted to change, sort of...
0:34:07 > 0:34:10Just do something else and we did this and I loved it.
0:34:10 > 0:34:13I had a lot of fun doing it.
0:34:13 > 0:34:17Frank Capra had been happy with his films, but success had
0:34:17 > 0:34:22a surprising effect upon him, until one thought provoking encounter.
0:34:22 > 0:34:25The film It Happened One Night won five Academy Awards.
0:34:25 > 0:34:28Did that kind of recognition make you feel more
0:34:28 > 0:34:29secure in the industry,
0:34:29 > 0:34:33or more anxious about your ability to live up to your reputation?
0:34:33 > 0:34:36Those five awards nearly killed me. I mean...
0:34:36 > 0:34:39You know, you shake the Oscar tree when you get the five major awards.
0:34:39 > 0:34:42What are you going to do for an encore?
0:34:42 > 0:34:46This was my problem and I got it so early in my life, you see?
0:34:46 > 0:34:48And I really... Nothing I could...
0:34:48 > 0:34:51I'd read all kinds of things, but everything seemed very trivial
0:34:51 > 0:34:54and puerile after that.
0:34:54 > 0:34:57There was no... How could I make another picture? And so, I choked up.
0:34:58 > 0:35:02And I feigned sickness,
0:35:02 > 0:35:05not to make any more pictures. I was just going to quit for a while.
0:35:05 > 0:35:09I was actually afraid to make another film.
0:35:09 > 0:35:10This hits everybody.
0:35:10 > 0:35:13After you have one big successful hit,
0:35:13 > 0:35:16your next picture is really a problem.
0:35:16 > 0:35:18And...
0:35:18 > 0:35:21So, I feigned sickness, but in feigning sickness, I became sick
0:35:21 > 0:35:27and I was really about to die when a friend of mine brought in...
0:35:27 > 0:35:31A very faceless little man who came in and said to me,
0:35:31 > 0:35:35"Mr Capra, you're a coward." And I said, "A coward?
0:35:35 > 0:35:37"I'm sick!" And he said, "No, you're a coward.
0:35:37 > 0:35:41"You were given certain gifts and you're not using them."
0:35:41 > 0:35:46And Hitler was in the... His voice was rasping out of another room.
0:35:46 > 0:35:52- Hitler?- Yeah, you know. And he said, "That man in there is...
0:35:52 > 0:35:57"What can he reach? How many can he reach? 10-20 million?
0:35:57 > 0:35:59"For maybe ten minutes? 20 minutes?
0:35:59 > 0:36:02"You have been given the gift to reach hundreds of millions
0:36:02 > 0:36:05"and for two hours, and in the dark.
0:36:05 > 0:36:08"He's selling his poison, you've got other gifts, to sell other things.
0:36:08 > 0:36:10"You're a coward.
0:36:10 > 0:36:13"You're an offence to God and you're an offence to humanity."
0:36:13 > 0:36:16And he just got up and left.
0:36:16 > 0:36:18Out of that, came, I think, Mr Deeds,
0:36:18 > 0:36:22which was the first of a long series of... It's a bad word,
0:36:22 > 0:36:25but what I can call for brevity's sake "integrity pictures".
0:36:25 > 0:36:30What was your personal philosophy motivating the theme of these films?
0:36:30 > 0:36:32Mr Deeds Goes To Town was the first picture that
0:36:32 > 0:36:35I ever deliberately tried to say something
0:36:35 > 0:36:40and what I was trying to say was that the value of the individual,
0:36:40 > 0:36:42the divinity and the worth of the individual
0:36:42 > 0:36:46is against the conforming heart
0:36:46 > 0:36:51and how the individual had it within him to dig deep down
0:36:51 > 0:36:55into his innermost recesses
0:36:55 > 0:36:57and come up with the necessary wit and humour
0:36:57 > 0:37:00and courage to cope with his environment.
0:37:00 > 0:37:03This was the problem... This is the theme of Mr Deeds.
0:37:03 > 0:37:05Probably the theme of most...
0:37:05 > 0:37:09- Practically all the other pictures I've made after that.- Yes.
0:37:09 > 0:37:12Personally, I don't know what Mr Cedar's raving about.
0:37:12 > 0:37:15From what I can see, no matter what system of government we have,
0:37:15 > 0:37:18there'll always be leaders and always be followers.
0:37:18 > 0:37:21It's like the road out in front of my house. It's on a steep hill.
0:37:21 > 0:37:23Every day, I watch the cars climbing it.
0:37:23 > 0:37:26Some go lickety-split up that hill on high, some have to
0:37:26 > 0:37:29shift into second, and some splutter and shake back to the bottom again.
0:37:29 > 0:37:33Same cars, same gasoline, yet some make it and some don't.
0:37:33 > 0:37:35And I say, the fellas who can make the hill on high should stop
0:37:35 > 0:37:38once in a while and stop those who can't.
0:37:38 > 0:37:42That's all I'm trying to do with this money, help the fellas who can't make the hill on high.
0:37:42 > 0:37:46What does Mr Cedar expect me to do with it? Give it to him and a lot of other people who don't need it?
0:37:46 > 0:37:49If you don't mind, Your Honour, I'll ride on those top waves for a minute.
0:37:49 > 0:37:53Hey, all you fellas up there! All those who applied for a farm, stand up.
0:37:55 > 0:37:58See all those fellas? They're the ones I'm trying to help.
0:37:58 > 0:38:01They need it. Mr Cedar and that Mr Semple don't need anything.
0:38:01 > 0:38:04They've got plenty. It's like I'm out in a big boat
0:38:04 > 0:38:07and I see one fella in a row boat who is tired of rowing
0:38:07 > 0:38:10and wants a free ride and another fella who is drowning. Who would you expect me to rescue?
0:38:10 > 0:38:13Mr Cedar, who is just tired of rowing and wants a free ride,
0:38:13 > 0:38:15or those men out there who are drowning?
0:38:15 > 0:38:21Any ten-year-old child will give you the answer to that. All right, fellas. Thank you. Sit down.
0:38:21 > 0:38:26Capra became motivated by the desire to be thought-provoking.
0:38:26 > 0:38:29The motivation for others varied.
0:38:29 > 0:38:32But were there any common threads that helped one
0:38:32 > 0:38:35flourish as a director in Hollywood's golden age?
0:38:35 > 0:38:39What is a director, then? Is he an artist? Is he a craftsman?
0:38:39 > 0:38:42Or a guy trying to earn an honest living, or what?
0:38:42 > 0:38:48I think he's all of that. I think he is an artist. He should be.
0:38:48 > 0:38:52And he should have his own very deep feelings about something.
0:38:52 > 0:38:54And I think he has to be a craftsman
0:38:54 > 0:38:58because it's always a technical thing.
0:38:58 > 0:39:00And then, I hope that he makes money!
0:39:00 > 0:39:03I won't take that billing of a Sidney Lumet film or
0:39:03 > 0:39:07a film by Sidney Lumet. It's the dumbest thing in the world.
0:39:07 > 0:39:12I'm dependent... If we were out shooting today, we'd be dependent on the sun, the clouds.
0:39:12 > 0:39:15It's...
0:39:15 > 0:39:18And my job is to get the best out of everybody working on it and
0:39:18 > 0:39:21make sure that we are all literally going in the same direction.
0:39:21 > 0:39:23That's why I'm called a director.
0:39:23 > 0:39:26I don't think that there is an outstanding director,
0:39:26 > 0:39:31who is not basically a damn good film writer.
0:39:34 > 0:39:39The outstanding director makes it his business, has to in fact,
0:39:39 > 0:39:43start from the beginning and see that the script
0:39:43 > 0:39:48contains the elements that he then will make...
0:39:48 > 0:39:51From which he then will make his film.
0:39:51 > 0:39:54All film directors do, as a breed...
0:39:54 > 0:39:58Film directors are stubborn and tenacious and unwavering
0:39:58 > 0:40:00and as a matter of a fact,
0:40:00 > 0:40:03Willy Wilder was one of the best directors in Hollywood, always...
0:40:03 > 0:40:06When I first started directing, he gave me some advice.
0:40:06 > 0:40:08He said, "Never be a nice guy."
0:40:08 > 0:40:10He said, "Everyone wants to go home at 5.30.
0:40:10 > 0:40:13"Everyone sort of wants to make things nice."
0:40:13 > 0:40:16And he spoke about the sort of good fellowship
0:40:16 > 0:40:22and the coffee breaks and everybody being sort of chatty and gossipy.
0:40:22 > 0:40:27He said, "All that is against you." He said, "You have to stand there
0:40:27 > 0:40:30"and you have to create the discipline of work
0:40:30 > 0:40:33"and keep the goal of excellence and perfection in front of people.
0:40:33 > 0:40:36"And only you can do it." And he was dead right.
0:40:36 > 0:40:40And, as I say, I often feel that I have to just create...
0:40:40 > 0:40:42When I come on the set in the morning,
0:40:42 > 0:40:47I have to create the feeling all over that set that that day,
0:40:47 > 0:40:53we're going to get two minutes of excellent film that's exactly right.
0:40:53 > 0:40:57If you know anything about good work, you know that the
0:40:57 > 0:41:01thing nobody will ever admit, which is that it's accidental. I'm not being falsely modest.
0:41:01 > 0:41:06There's a reason why the accident happens to some of us and never will happen to other people,
0:41:06 > 0:41:09which is that we know how to prepare the groundwork for it.
0:41:09 > 0:41:13But finally, whatever that magical thing is that makes
0:41:13 > 0:41:18a first-rate piece of work occur, it is an accident, and...
0:41:18 > 0:41:21So, I'm just a great believer in quantity.
0:41:21 > 0:41:24More chances for the accident to happen.
0:41:24 > 0:41:27Whether by accident or design,
0:41:27 > 0:41:31the directors we've heard from were the best in the business,
0:41:31 > 0:41:35responsible for some of cinema's finest ever films
0:41:35 > 0:41:38and masters of every moment that occurred between the start
0:41:38 > 0:41:42of the action and the moment where they shouted cut!