Transcript: The Making of a Motion Picture 4 | Apr 18, 1989

Elwy appears in the studio. He’s in his fifties, mostly bald with some dark hair on the sides, and he has a moustache. He wears glasses, a mustard yellow suit, a white shirt, and a striped tie. He hosts the program sitting on a chair against a black background with a red film reel. The reel reads “Talking Film” several times, alternately in white and orange.

He says WELCOME TO
TALKING FILM.
A SERIES OF PROGRAMS
ABOUT THE MOVIES
BY THE PEOPLE WHO
MAKE THEM.
ON THIS PARTICULAR EDITION,
WE ARE GOING TO TAKE A LOOK
AT THE MAKING OF TWO VERY
FAMOUS BRITISH MOTION
PICTURES, “THE
THIEF OF BAGDAD,”
AND “FOUR FEATHERS.”
BOTH PRODUCED BY THAT GRAND
IMPRESARIO OF BRITISH FILM,
SIR ALEXANDER KORDA.
IN CONNECTION WITH
“THE THIEF OF BAGDAD,”
YOU ARE GOING TO HEAR FROM ONE
OF ITS STARS, JOHN JUSTIN.
AND IN CONNECTION WITH
“THE FOUR FEATHERS,”
YOU WILL ALSO MEET THE
STAR OF THAT PICTURE,
SIR JOHN CLEMENTS, WHO TELLS
WHAT IT WAS LIKE TO GO TO SUDAN
WITH ZOLTAN KORDA BACK IN
1939, AND MAKE THAT PICTURE.
WITH RESPECT TO “THE
THIEF OF BAGDAD,”
YOU ALSO WILL HEAR FROM ONE
OF THE THREE DIRECTORS
OF THAT FILM,
MICHAEL POWELL.
HERE THEN, LADIES
AND GENTLEMEN,
ARE THREE FILMMAKERS
TALKING FILM.

A caption reads “Thief of Bagdad. 1940.”

Elwy sits in the studio with John Justin.

John is in his seventies, clean-shaven and with short wavy black hair. He wears a beige suit, a checker vest, a white shirt and a patterned tie.

Elwy says JOHN JUSTIN, HAVING SEEN
“THE THIEF OF BAGDAD.”
WHEN I WAS 14, AND HAVING
SEEN IT SINCE ABOUT 26 TIMES.

John says SO GO AHEAD, GO
AHEAD AND AGE ME.

Elwy says OH, NO, I WAS TRYING
TO PRAISE YOU.
I THINK IT'S ONE OF POSSIBLY
THE TWO BEST PICTURES EVER MADE.
AND EVERYONE THAT WATCHES
THIS SERIES KNOWS THAT
BECAUSE I'VE SAID IT.
SO I'M VERY HONOURED TO MEET
THE MAN WHO STARRED IN IT
AFTER THESE YEARS.

They shake hands.

John says I WAS LUCKY TO BE IN IT.

Elwy says WELL, IT WAS AN EXTRAORDINARY
PICTURE, AND I'M WONDERING,
RIGHT OFF THE BAT,
ANY OVERALL COMMENTS
BEFORE I GET INTO THE
PARTICULAR QUESTION,
ANY OVERALL MEMORIES
OF THAT MOVIE?
WHAT MAJOR IMPRESSIONS CARRY
DOWN THROUGH THE YEARS?

A caption reads “John Justin.”

John says WELL, I MERELY MENTIONED IT TO
YOU BEFORE WE STARTED TALKING.
FOR ME, AS A YOUNG ACTOR,
IT WAS QUITE HONESTLY,
AND I'M SORRY TO SAY THIS TO
PEOPLE, IT WAS A NIGHTMARE.
ABSOLUTE NIGHTMARE.

Elwy says THAT BEAUTIFUL THING.

John says I CAN'T USE THE WORDS, THIS
IS A CHILDREN'S PROGRAM,
ISN'T IT?

Elwy says IT'S FOR ADULTS.
YOU CAN SAY
ANYTHING YOU WISH.

John says WELL, IT WAS A SOD.
REALLY, IT WAS A SOD.

Elwy says DEAR GOD, IN WHAT WAY?
TELL ME.

John says I'LL TELL YOU
BRIEFLY, QUICKLY WHY.

Elwy says TAKE YOUR TIME.

John says IT'S TO DO WITH
ALEX KORDA.
HE WAS A GREAT MAN.
LIKE A LOT OF GREAT MEN, HE
WAS VERY DIFFICULT IN HIMSELF.
HE DIDN'T HAVE A
VISUAL IMAGINATION.
HE COULDN'T
IMAGINE ANYTHING.
IT HAD TO BE THERE,
NOT EVEN IN PICTURES.
PEOPLE WOULD DRAW OUT
SCENERY FOR HIM IN COLOUR,
AND HE WOULD SAY, GOOD,
GO AHEAD, MAKE IT.
THEY'D MAKE IT, THEY'D PUT IT
UP, AND HE'D SAY STILL GOOD.
THEN THEY'D PHOTOGRAPH IT.
AND SOON AS HE SAW IT ON
THE SCREEN, HE'D SAY,
IT'S NO BLOODY GOOD.
AND IT WOULD BE ABOLISHED.
AND THAT'S THE WAY WE WENT.
ON TOP OF THAT, HIS IDEA OF
PUTTING A PICTURE TOGETHER.
HE WANTED THE BEST
DIRECTOR IN EUROPE.
HE WANTED THE BEST.
WHO'S WON THE PRIZE?
THEY SAY, IT'S A MAN, LUDWIG
BERGER, HE WON THE PRIZE.
RIGHT, WE BOOK HIM.
THAT'S IT.
HE DIDN'T SAY A
PRIZE FOR WHAT.
HE DIDN'T ASK.
HE JUST SAID WHO
WON THE PRIZE
AT THE INTERNATIONAL
EUROPEAN FILM FESTIVAL?
LUDWIG BERGER.
SO THIS LITTLE MAN
WITH A LIMP COMES ON.
HE'D WON A PRIZE FOR A PICTURE
CALLED “LES TROIS VALSES,”
WHICH WAS A WONDERFUL
LITTLE PICTURE.
AND IT WAS ALL WITH
THREE OR FOUR PEOPLE.
IT WAS DONE BACKSTAGE
OF, I THINK IT WAS
AN OPERA OR SOMETHING.
BUT IT WAS ALL MINUSCULE,
YOU KNOW, VERY INTIMATE.
BIG CLOSE-UPS.

Elwy says NOT A GREAT BIG EPIC LIKE
“THE THIEF OF BAGDAD.”

John says RIGHT.
AND THAT'S THE
WAY WE START.
SO ALEX SAYS,
OKAY, HERE WE ARE.
THERE ARE THE ACTORS,
WE ALL BOOKED, FINE.
HE WAS QUITE NICE.
I HAD A LITTLE TROUBLE
WITH MY NAME WITH HIM,
I NEARLY RESIGNED
ON THAT.
BUT THAT WAS
ANOTHER STORY.
THAT WAS BEFORE WE
STARTED A PICTURE.
HE WANTED TO CALL ME JOHN
STRONG OR IVAN STEEL.
AND I SAID, IF YOU CALL
ME THAT, I'M LEAVING.
I'M NOT GOING TO
START EVEN.

Elwy says WHY?
HE WAS JUST OBSESSED
WITH CHANGING YOUR NAME?
HE DIDN'T LIKE JUSTIN?

John says THAT'S RIGHT.
THEY HAD THIS MEETING.
WHEN I SAID I WAS GOING TO
RESIGN, A VERY NICE MAN,
HE WAS THE HEAD
OF PUBLICITY.
HE WASN'T THEN THE HEAD,
HE WAS YOUNG THEN,
BUT LATER, 20TH CENTURY,
VERY NICE.
HE SAID TO ME, FOR
GOD'S SAKE, JOHN,
JUST TRUST ME, TRUST
ME, I'LL FIX IT.
IF THAT'S THE WAY THEY ARE
GOING TO BE, IT'S CRAZY.
SO HE WENT TO
THESE MEETINGS.
AND AT THE RIGHT MOMENT,
IN THE RIGHT MEETING,
HE SAID WHEN THERE WAS A PAUSE;
IT CAME UP ON THE AGENDA.
THE NAME.
WHAT IS THE NAME FOR
THIS YOUNG ACTOR?
HE SAID, WHAT
ABOUT JOHN JUSTIN?
OH, JOHN JUSTIN,
YES, IT'S NOT BAD.
HE CAME TEARING OUT
AND HE SAID, WE GOT IT.
THEY ARE GOING TO
CALL YOU JOHN JUSTIN.
I SAID, WELL, HOW
DID YOU DO THAT?
HE SAID, WELL,
ALEX INVENTED IT.
HE'S GOING TO CALL
YOU JOHN JUSTIN.

Elwy laughs.

John says IT'S LIKE THE MARX
BROTHERS.
IT WAS MADNESS.
IT WAS LIKE, I THINK A
LOT OF MOVIES WERE MADE
THAT WAY WITH THOSE
BIG PEOPLE.

Elwy says WHAT HAPPENED
WITH BERGER?
NOW, HE STARTS TO SHOOT,
AND WHAT'S HAPPENING?

John says HE STARTS TO SHOOT.
WE SHOOT FOR
THREE MONTHS.
ALEX KORDA HAS
GONE TO AMERICA.
HE'S GONE TO
CALIFORNIA.
ALEX KORDA COMES BACK AT
THE END OF THREE MONTHS.
IT WAS VERY INTIMATE,
LUDWIG BERGER,
APART FROM THE FACT HE DIDN'T
SPEAK A WORD OF ENGLISH,
IT'S NOT VERY BAD, IS IT?
YOU CAN GET ALONG
WITHOUT THAT.
ANYWAY, WE WORKED VERY
INTIMATELY, ALL THREE,
FOUR OF US IN THIS THING.
I MUST TELL YOU, I'LL
TELL YOU ONE SCENE
WAS A LOT OF STEPS,
30 STEPS, ALL THERE.
A DONKEY, A PILE OF
STRAW, AND THREE OF US
WERE THERE IN THIS
LITTLE SCENE.
WE PLAYED THE SCENE.
THAT'S JUST ONE SCENE.
ALEX CAME BACK
FROM AMERICA.
HE LET THIS STEP RUN.
AND I WON'T USE THE ACTUAL
WORD HE SAID, BECAUSE
I STILL DON'T THINK
YOU'LL USE IT.
INSTEAD, I'LL USE THE WORD
BLOODY, WHICH HE USED
AS WELL, FOR THE OTHER
WORD, FOUR LETTERED.

Elwy says YES.

John says HE SAID, IT'S NO
BLOODY GOOD.
THAT'S ALL HE SAID.
HE RAN THE WHOLE
THING IN THE STUDIO.
HE GETS UP FROM
THE LITTLE THEATRE.
NO BLOODY GOOD.
ALL THESE PEOPLE HAVE BEEN
WORKING FOR THREE MONTHS.

Elwy says THREE MONTHS.

John says SHATTERED.
NO BLOODY GOOD.
SCRAPPED.
ALL I KNEW WAS YOU'VE GOT
TWO DAYS OFF, YOU KNOW?
WE STOPPED FILMING.
IT'S ALL OVER.
FINISHED.
THEN IT BEGAN, WELL, JUST
TO GIVE YOU THE IDEA,
THAT SCENE, WITH THE
DONKEY, AND THE STRAW,
AND THE LITTLE STEPS, TURNED
INTO THE WHOLE OF A STAGE
AT DENHAM, WHICH WAS THE
BIGGEST STAGE WE HAVE,
WHICH WOULD BE THE SIZE OF, I
DON'T KNOW, WARNER BROTHERS.
IT WAS A VERY
LARGE STAGE.
THE LARGEST IN ENGLAND.
AND IN IT WE HAD SOMETHING
LIKE 6 CAMELS, 34 DONKEYS,
COUPLE OF ELEPHANTS,
500 EXTRAS.
I THINK THEY ADVERTISED
TEN TONS OF VEGETABLES.

Elwy says I KNOW THAT SCENE.

John says THAT WAS THE SAME SCENE.
WALKING THROUGH
THAT - NO, NO, NO,
THIS WAS WALKING THROUGH.
IT WASN'T A VERY
LONG SCENE.
IN FACT, I RAN
OUT OF WORDS.
THE THING WAS, WE
HADN'T WRITTEN ENOUGH.
THERE WAS ENOUGH FOR A SCENE
LIKE THAT, NOT ENOUGH FOR...
WE STARTED SHOOTING.
I SAID, WHAT DO I SAY?
I HAVEN'T GOT ANY
MORE WORDS, YOU KNOW?
AND LIKE ALWAYS, YOU
MADE THEM UP YOURSELF.
NOBODY ELSE DID.
AND IT WAS THAT
DIFFERENT.
AND THEN, OF COURSE,
THIS IS VERY COMPLICATED.
LUDWIG BERGER WAS
UNDER CONTRACT.
NOW, IF ALEX SACKED HIM,
HE WOULD HAVE TO PAY HIM.

Elwy says HE WOULD, YES.

John says JUST THE SAME.
SO HE DOESN'T
WANT TO SACK HIM.
HE HAS TO GET HIM TO
RESIGN, DOESN'T HE?
HOW DO YOU DO THAT?

Elwy says HE WANTS TO GET
RID OF HIM, YES.

John says WELL, HOW DO
YOU DO IT?
I TELL YOU HOW
YOU DO IT.

Elwy says HOW DID HE DO IT?

John says YOU COME AND
DIRECT WITH HIM.

Elwy says WHAT?

John says YOU WOULDN'T
BELIEVE THIS.
FOR ME, THIS IS
MY FIRST MOVIE.
I'M 21 YEARS OLD.

Elwy says PUT THAT INTO SOME DETAIL,
JOHN, ABOUT DIRECTING WITH HIM,
STANDING BEHIND
HIM AND AROUND HIM?

John says YES, AND PUSHING ASIDE.
LUDWIG WOULD COME
LIMPING DOWN.
I WISH I COULD GET
UP AND SHOW YOU.
JOHN, PLEASE,
JOHN, PLEASE.
AND BIG EYES,
LIKE POLA NEGRI.
BIG EYES, JOHN,
PLEASE.
HE WAS A GOOD DIRECTOR
IN HIS OWN WAY.
AND HE'D GO BACK, AND ALEX,
BEFORE HE WOULD LET HIM
SHOOT WOULD COME
FORWARD, POINT THE CAMERA.
HE'D SAY, NOW, WE WANT
YOU TO HAVE LITTLE EYES
AND NO SMILE.
AND DO THIS AND
DON'T DO THAT.
RIGHT, AND I GO
OFF AND AGAIN.
AND I REMEMBER PARTICULARLY
A SCENE WE WERE PLAYING
WITH SABU, WHO ALSO
WAS NOT EXPERIENCED,
AND I HAD TO NURSE
HIM ALL THE WAY.
WHAT DO WE DO?
AND I SAID, LOOK, WE DO IT
OUR WAY, BECAUSE WE CAN'T DO IT
EITHER OF THEIR WAYS
BECAUSE THEY ARE GOING TO
SAY NO ONE WAY
OR THE OTHER.
SO WE DO IT OUR WAY.
YOU DO IT MY WAY.
SO I DIRECTED
THE PICTURE.
I ALSO DIRECTED
THE DIALOGUE.
'COURSE, THEY DIDN'T
AGREE ON THAT.
I CAN'T TELL YOU,
I'M NOT AS HUMOURFUL
THEN AS I AM NOW.
I DIDN'T FIND IT FUNNY.
I WAS TERRIFIED.

Elwy says THAT WAS A HORRIBLE
EXPERIENCE.

John says AND YOU WOULD WAIT FOR
THESE TWO TO START.
ONE WOULD SAY YES, AND
THE OTHER WOULD SAY NO.
ONE WOULD SAY CUT, AND THE
OTHER WOULD SAY, NO, CUT.
IT WAS ROTTEN TO SEE ALEX
PUSHING THIS LITTLE MAN ASIDE.
LITERALLY, HE WOULD
ELBOW HIM AWAY LIKE THAT.

Elwy says THAT'S TERRIBLE.
THAT'S TERRIBLE.
I'VE NEVER HEARD
A STORY LIKE THAT.

John says THAT'S THE FIRST TIME
I NEARLY RESIGNED.
AND THE PERSON WHO
STOPPED ME RESIGNING WAS -
I'M GOING TO FORGET THE NAME,
NO I'M NOT, CONNIE VEIDT.

Elwy says CONRAD VEIDT.

John says CONNIE WAS AN
ABSOLUTE DARLING.

Elwy says REALLY?
ONE OF THE WORST VILLAINS,
I MEAN, REALLY, JAFFAR.
AND YET ONE OF THE
SWEETEST MEN UNDER THAT?

John says HE HAD A SHATTERING
EFFECT ON WOMEN.

Elwy says OH, DID HE?

John says COMIC.
THEY USED TO FAINT, I
MEAN, AS HE CAME BY.

Elwy says VERY HANDSOME
MAN, WASN'T HE?
MIND YOU, HE'S VERY
HANDFUL IN THE THIEF.
HE GETS A VERY HIGH BILLING
IN THAT PICTURE, DOESN'T HE?

John says WELL, HE IS A VERY FAMOUS
EUROPEAN, VERY BIG ACTOR.

Elwy says YES, I KNOW.

John says HE DID WORK WITH
ALEX IN GERMANY.

Elwy says HE HATED NAZISM
AND LEFT UNDER-

John says HE WAS A JEW.
HE UNFORTUNATELY DIED
JUST AS THE WAR GOT GOING.
YOU KNOW, HE WOULD
HAVE BEEN IN IT.

Elwy says HE HAD A BIG
CAREER IN AMERICA,
BUT IT WAS TERMINATED
VERY ABRUPTLY.
“CASABLANCA,” AND A
LOT OF OTHER -
ANYWAY, HOW LONG IS THIS
GOING ON LIKE THIS?
HOW MANY WEEKS DOES
THIS SITUATION?

John says I DON'T HONESTLY
REMEMBER.
IT JUST BLANKED
OUT OF ME.
IT WAS JUST SO
TERRIBLE.

Elwy says FINALLY HE LEFT,
DID HE?

John says FINALLY, THEY CAME, HE LEFT,
BUT I THINK HE MANAGED
TO HOLD ON TO THE CONTRACT
BECAUSE HE GOT PAID IN THE END.
ALEX HAD TO PAY HIM.
I THINK HE WON.
BECAUSE HE WASN'T GOING
TO GIVE UP THE MONEY.

Elwy says HOW MUCH OF THE PICTURE
WAS DONE UNDER THESE
CIRCUMSTANCES, JOHN?

John says IT WAS THREE MONTHS.
I DON'T KNOW, I CAN'T
REALLY REMEMBER.
THREE, FOUR, SIX
WEEKS, I DON'T KNOW.

Elwy says IT WAS A GOOD CHUNK
OF THE PICTURE ANYWAY?

John says NO, A PIECE.
THEN WE HAD A WHOLE
SERIES OF DIRECTORS.
ABOUT THREE OF THEM.
I CAN'T REMEMBER
THEIR NAMES.

Elwy says I CAN TELL YOU TIM
WHELAN WAS ONE OF THEM.

John says THAT'S RIGHT.
THAT'S RIGHT.

Elwy says AND MICHAEL POWELL.

The caption changes to “Michael Powell.”

Michael is in his late seventies, balding and with a moustache. He wears a teal blue suit, purple shirt and orange tie.

He says ALEX WAS RATHER
NON-COMMITTAL.
HE SAID, MICKEY, I
THINK IT WOULD BE NICE
IF YOU WORKED WITH
DOCTOR BERGER ON THE FILM.
SO I SAID, ALL
RIGHT, ALEX.
WHEN DO WE START?
HE SAID, WELL, WOULD YOU
LIKE TO SEE THE TESTS
DOCTOR BERGER HAS
BEEN MAKING?
SO I SAW THE TESTS;
THEY WERE AWFULLY GOOD.
HE KNEW HOW TO HANDLE
ACTORS VERY WELL.
AND THEY WERE TESTS WITH JOHN
JUSTIN, JUNE DUPREZ,
AND CONRAD VEIDT AND-

Elwy says SABU.

Michael says AND SABU, YES.
AND HE GOT ON VERY
WELL WITH THEM.
AND THE TESTS, I
THOUGHT, WERE EXCELLENT.
ALEX DIDN'T.
I THINK WHAT ALEX WAS
AFTER WAS SOMETHING
QUITE DIFFERENT FROM WHAT
DOCTOR BERGER IMAGINED.
AND HAVING HIRED DOCTOR BERGER,
HE WAS IN A BIT OF A QUANDARY.
SO HE SAID TO ME, I THINK
IT WOULD BE A GOOD IDEA
IF YOU TOOK SABU AND WENT
TO LOOK FOR THE GENIE
ON A BEACH SOMEWHERE.
THIS IS HOW IT STARTED.
AND I SAID, WELL,
WHERE, ALEX?
CORNWALL.
AS FAR AWAY AS HE COULD
POSSIBLY THINK OF.

Elwy says WHAT FURTHER PLACE IS
THERE THAN CORNWALL?

Michael says SO I GATHER THAT I WAS BEING
PUT IN CHARGE OF THE START
OF THE FILM WITH SABU,
IN ORDER TO KEEP ME
IN THE COOL, WHILE HE
GOT RID OF DOCTOR BERGER.
IN ACTUAL FACT, DOCTOR BERGER,
HAVING A CONTRACT,
STAYED ON ALL THROUGH
THE PRODUCTION,
AND DID QUITE A
LOT OF THE WORK.
BUT WASN'T ALLOWED TO
DO VERY MUCH BY ALEX.
WHATEVER HE PLANNED WAS
EITHER COUNTERMANDED
OR SEEN IN A DIFFERENT
LIGHT, YOU KNOW?
ALEX WAS A VERY
INDIVIDUAL PRODUCER.
BUT HE KNEW WHAT HE
WANTED IN THE CASE OF
“THE THIEF OF BAGDAD.”
SO I FOUND MORE AND
MORE BEING PILED
ON MY WILLING SHOULDERS.
SHIPS SUDDENLY SAILED INTO MY
CARE, AND I FOUND MYSELF
IN THE HARBOUR OF BAGDAD
ARRANGING SHOTS AND THINGS.
I REMEMBER WE HAD, AT ONE
TIME, PROBABLY ABOUT
TEN MAJOR SHOTS INVOLVING
THOUSANDS OF PEOPLE,
ALL WAITING TO BE DONE.
AND ALEX CAME DOWN AND SAID,
WHAT IS GOING ON HERE?
AND I SAID, WELL, ALEX, WE'VE
GOT THIS SHOT ARRANGED,
AND THIS SHOT ARRANGED, AND
WHEN I CAN GET CONRAD VEIDT,
WE'LL DO THIS SHOT AND THIS
SHOT, AND COMING INTO BASRA,
I THINK THIS WAS.
HE SAID, WHY DID YOU NOT
ASK FOR CONRAD VEIDT,
AND SABU, AND ALL THAT.
I GIVE YOU THEM
ALL, SHOOT THEM NOW.
WE SHOT THEM THEN.
WE SHOT THE WHOLE
LOT THAT DAY.

Elwy says DEAR LORD.
IS THAT THE GREAT
SHOT THOUGH,
WITH THE EYE ON
THE BOAT?
MARVELLOUS SCENE.

Michael says THAT WAS ONE OF THEM.
THERE WERE ABOUT
TEN SHOTS LIKE THAT
ON THIS ONE
MEMORABLE DAY.
REMEMBER ENTERING THE HARBOUR
THROUGH ALL THOSE JUNKS
AND DHOWS AND THINGS.

Elwy says BASRA, I THINK IT WAS.

Michael says I THINK SO.

Elwy says YES.

Michael says OF COURSE, WE'D BEEN
PREPARING ALL THESE VERY
ELABORATE SHOTS FOR
ABOUT TEN MONTHS.
I WAS THEN SHIFTED STRAIGHT
ON TO LOVE SCENES,
OR SCENES WITH TIGERS,
I FORGET WHICH.
WE TOOK EVERYTHING AS IT
CAME BECAUSE NOBODY KNEW
WHAT WAS IN ALEX'S
MIND EXCEPT ALEX.

Elwy says SO YOU DIRECTED A GOOD
PORTION OF THE FILM.
LUDWIG BERGER DID.
TIM WHELAN?

Michael says TIM WHELAN DIDN'T DO
A VERY GREAT DEAL,
BUT IT WASN'T HIS
TYPE OF FILM.
LIKE I, HE WAS UNDER
CONTRACT, SO WHATEVER
HE WAS ASKED TO
DO, HE DID.
IT JUST SO HAPPENS, I DON'T
KNOW, I WAS MORE WILLING
THAN ANYBODY ELSE,
PERHAPS AROUND MORE.
OF COURSE, TRICK SHOTS
HAVE ALWAYS INTERESTED ME.
AND I'D HAD QUITE A BIT OF
EXPERIENCE ON TRICK WORK.

Elwy says YOU DID THE BEACH SCENE, OF
COURSE, THERE, WITH HAVING
REX INGRAM COME OUT OF THE
BOTTLE AND PICK UP SABU.

Michael says AND THE FLYING CARPET,
AND THE MAGIC HORSE,
AND THINGS LIKE THAT.

Elwy says MARVELOUS.

Michael says THEY EVOLVED
PRETTY QUICKLY.

Elwy says THE WAY JUSTIN LEAPED
ONTO THE CARPET.

Michael says AND THE WHOLE THING WAS
MADE, DON'T FORGET,
WITH THE SHADOW OF WAR
HANGING OVER IT.
AND THE DAY WAR WAS DECLARED,
WE WERE ALL WORKING.
IT WAS A SUNDAY.
AND I REMEMBER WE GATHERED IN
THE COAL BUNKER THERE,
WHICH SEEMED THE SAFEST
PLACE IN DENHAM.
THERE WASN'T ANY COAL IN
IT SO EVERYBODY GOT IN
AND LISTENED TO
THE BROADCAST.
THE NEXT DAY, I WAS WORKING
ON “THE LION HAS WINGS.”

Elwy says HOW MUCH WAS SHOT
IN AMERICA?

Michael says TWO MAIN SEQUENCES.
THE ONE WITH THE GENIE
AND THE MOUNTAIN PALACE,
AND THE SCENE
WITH THE SPIDER.

Elwy says THAT, THAT'S IT.

Michael says YEAH, STEALING THE EYE.

Elwy says THAT'S WHERE THEY
USED THE GRAND CANYON.

Michael says THAT'S RIGHT.
ALL THAT SEQUENCE
WAS SHOT IN AMERICA.

The caption changes to “John Justin.”

Elwy says DID ANYBODY EVER SETTLE
DOWN AS THE DIRECTOR?
WAS IT REALLY YOU ALL THE
WAY THROUGH THAT PICTURE
THAT KEPT A HAND IN ALL THE
SCENES, AS DIALOGUE DIRECTOR?

John says EVERY MAN FOR HIMSELF.

Elwy says YOU WERE AS MUCH OF A
DIRECTOR AS ANYBODY,
AS TIM WHELAN OR ANYBODY.

John says ON THE DIALOGUE, YES.
WHAT YOU ACTUALLY
SAID BECAUSE NOBODY
REALLY WAS VERY
INTERESTED.

Elwy says BUT IN TERMS OF WHO
TOLD YOU WHERE TO MOVE?

John says OH, THERE WOULD BE
SOMEBODY ALWAYS.

Elwy says WHO WOULD THAT BE?
WOULD IT BE TIM
WHELAN PERHAPS?

John says YES.

Elwy says NOW, MICHAEL POWELL
GETS A CREDIT, TOO.
BUT WHAT PART DID MICK - YOU
CALL HIM MICK, DON'T YOU?

John says MICKEY, YEAH.
HE WAS ON LOCATION.
HE WAS, WHAT DO
YOU CALL HIM -

Elwy says SECOND UNIT.

John says SECOND UNIT.
WHICH WAS VERY IMPORTANT.
HE DID A LOT OF
REX INGRAM STUFF.
REX INGRAM, DARLING MAN.

Elwy says REALLY?

John says A REALLY LOVELY MAN.
A LOVELY ACTOR
AND A GREAT MAN.

Elwy says JUST WITH REX, THOUGH, THE
AREA OF SPECIAL EFFECTS,
AND NOT WITH REX HERE, THE SCENE
THAT'S ALWAYS IMPRESSED ME
WAS WHERE SABU IS COMING
IN WITH THE ARROW,
AND HE PUTS AN ARROW IN THE
BACK OF THE MAN'S HEAD
THAT IS GOING TO CHOP YOUR
HEAD OFF NEAR THE END.
AND YOU ARE RELEASED AND
LEAP OFF THE SCAFFOLDING
ONTO THE MAGIC
CARPET WITH SABU.
THAT SCENE BECAUSE YOUR
FEET SINK INTO THE CARPET.
AND I MEAN, SEEING
THIS AS A KID, MY GOD,
I THOUGHT THERE WAS
A BOARD UNDER IT.
IT'S REAL MAGIC.
I WAS A CHILD.
BUT TELL ME HOW
THAT SCENE WAS DONE?

John says I'LL TELL YOU
SOMETHING ABOUT THAT.
IT WILL AMUSE YOU AND
THE VIEWERS A BIT.
ANOTHER LITTLE PLEASURE,
AS IT HAPPENED.
IT WAS MADE OF
STEEL SLATS.
MADE UP OF STEEL
SLATS LIKE THAT.
AND IT DID MOVE.
IT DID MOVE IT.
IT WAS HUNG FROM WIRES THAT
WERE SUPPOSEDLY INVISIBLE,
YOU KNOW SO WHEN YOU STOOD
ON IT IT DID THIS, YOU SEE?
WE DID A LOT OF
REAL STUNTS IN THAT.
WE WERE THEN TAKEN UP
ON A LIFT, ON THE TOP
OF THE STUDIO, TO
30 OR 40 FEET.
THEN IT DID THAT,
AND IT DIVED DOWN IN
AND SETTLED
ON THE FLOOR.

Elwy says YOU WERE FLYING.

John says WE WERE FLYING.
AND THE FLOOR WAS DOING
THIS UNDER YOUR FEET.
SO YOU COULDN'T STAND UP
STRAIGHT ON YOUR OWN.
SO OF COURSE, WE HAD TO HOLD
ON TO THESE BLOODY WIRES,
WHICH YOU COULDN'T SEE.
SO WE HOLD ON, AS IF
WE WERE ANGRY, YOU SEE?
WHAT YOU ARE DOING IS
HOLDING YOURSELF UPRIGHT
AND PREVENTING YOURSELF FALLING
OFF 30 FEET TO THE FLOOR.

Elwy says MY GOD.

John says SO ONE OF THE FIRST
TAKES OF THIS,
THE CAMERAS ARE TIGHT
DOWN THERE, YOU SEE?
WE'RE COMING DIVING
DOWN TOWARDS IT.
AND THERE IS JUNE DUPREZ
IN THE ARMS OF MY ENEMY,
CONRAD VEIDT.

Elwy says YES.

John says AND I'M VERY ANGRY.
YOU CAN TELL I'M VERY
ANGRY BECAUSE I'M-
DOWN WE COME, RIGHT IN
FRONT OF THE CAMERA,
AND SABU IS
DOING THE SAME.
AND I TURN WITHOUT A MOMENT'S
HESITATION, AND I DASH OFF,
AND I FALL FLAT ON MY FACE
IN FRONT OF THE CAMERA.
EVERYBODY JUST - I DIDN'T
KNOW WHAT HAD HIT ME.
I WAS WINDED VERY BADLY.
NOBODY HELPED ME.
EVERYBODY LAY
ABOUT AND LAUGHED.
THEY LAUGHED AND
THEY LAUGHED.
I GOT UP IN THE END, I'D
CAUGHT AN INVISIBLE WIRE
BETWEEN MY TOES.
Elwy laughs.

Elwy says OH DEAR.
OH, NO.

John says AND THAT PICTURE STILL,
THEY KEPT THE TAKE.
AND IT'S KEPT PEOPLE LAUGHING
FOR A VERY LONG TIME.
IT'S ONE OF THE
FUNNIEST THINGS.
IT'S SO EARNEST.
AND I'M ACTING
SO HARD.
AND I REALLY MEAN
EVERY WORD OF IT.

Elwy says WHAT AMAZES ME THROUGH ALL
THIS IS THE THING I'VE LOVED
MOST ABOUT THE THIEF,
APART FROM THE GLORIOUS
PERFORMANCE OF ALL OF YOU,
AND WITH THE PERFORMANCES
OF ALL OF YOU, WAS THE
TREMENDOUS SENSE
OF POETIC UNITY.
THAT'S WHY WHAT YOU'VE TOLD
ON THIS OCCASION IS THE MOST
AMAZING THING I'VE EVER
HEARD, JOHN JUSTIN, BECAUSE
I'VE NEVER SEEN A FILM
THAT HAD GREATER SENSE
OF ALMOST BEAUTIFUL
LYRICAL POETRY.
BUT IT IS THE VOICES,
AND THE FACES.
AND YOU'VE EXPLAINED
A LOT OF THAT TODAY.

John says I SHOULD THANK THE
EDITOR, YOU SEE?
WHAT HE DID DO, WHAT ALEX
DID DO, AND HE COULD DO,
IS HE HAD THE COURAGE TO
BORROW OTHER PEOPLE'S MONEY,
AND USE IT.
AND HE TOOK
ENOUGH FILM.
ANY EDITOR WILL SAY IF YOU
REALLY TAKE ENOUGH FILM,
THEN YOU CAN PUT
IT TOGETHER.
BUT IF YOU'VE MISSED
SOMETHING, YOU CAN'T MAKE IT.
BUT REALLY, HE
COVERED THE GROUND,
SO THERE WAS
ENOUGH THERE.
AND IT DEPENDS
ON THAT, REALLY.

The caption changes to “Four Feathers. 1939.”

Elwy sits with Sir John Clements. He’s in his mid-sixties, clean-shaven and with short straight white hair. He wears a black suit, white shirt and pink tie.

Elwy says SIR JOHN CLEMENTS,
IT'S AN HONOUR
TO BE HERE IN CHICHESTER
AND MEET YOU.

John Clements says THANK YOU.

Elwy says HAVING LOVED “THE
FOUR FEATHERS,”
AND YOUR OTHER WORK, SIR,
MANY, MANY, MANY YEARS.
I'D LIKE TO START OFF IN
TALKING ABOUT “FOUR FEATHERS.”
BY ASKING YOU HOW YOU GOT
THE PART OF HARRY FAVERSHAM?

John Clements says WELL, IF I REMEMBER RIGHTLY,
THE ORIGINAL CASTING
WAS LAURENCE OLIVIER
AS HARRY FAVERSHAM.

Elwy says WHAT?

John Clements says THAT WAS THE
ORIGINAL CASTING.
AND I AS THE PART THAT
RALPH RICHARDSON
EVENTUALLY PLAYED.
WHAT HAPPENED, I
UNDERSTAND, OR I WAS TOLD,
WAS SOMEBODY SAID TO
KORDA, THIS IS MAD.
YOU'VE GOT TWO HEROES OF
ROUGHLY THE SAME AGE.
KORDA SAID, YOU
ARE QUITE RIGHT.
AND AS A RESULT, LARRY WAS TAKEN
OUT OF “THE FOUR FEATHERS,”
AND GIVEN “THE DIVORCE OF
LADY X” WITH MERLE OBERON
AS COMPENSATION.

Elwy says YES.

John Clements says I WAS MOVED INTO THE
PART OF HARRY FAVERSHAM,
AND RALPH RICHARDSON WAS BROUGHT
IN AS WHATEVER HIS NAME WAS.

Elwy says DURRANCE WAS HIS
NAME, YES.

John Clements says I THINK SO.
THAT'S HOW
THAT STARTED.

Elwy says THANK GOD IT
WENT THAT WAY.
BECAUSE I COULDN'T SEE
LORD OLIVIER PLAYING...
'COURSE, YOU'RE IDENTIFIED
SO COMPLETELY WITH HARRY,
I GUESS THERE'S NO WAY OF
THINKING ANY OTHER WAY.
HOW MUCH WAS SHOT AT DENHAM,
AND HOW MUCH ON LOCATION?

John Clements says WELL, MOST ALL OF
THE LOCATION STUFF
WAS SHOT IN THE SUDAN
NEAR KHARTOUM.
WHEN I SAY NEAR KHARTOUM, IT
TOOK US TWO-AND-A-HALF HOURS
TO GET FROM KHARTOUM TO
THE LOCATION, WHICH WAS
VERY NEAR THE NILE, ON
THE BANKS OF THE NILE.
SO IS KHARTOUM,
FOR THAT MATTER.
WAY, WAY, OUT IN
THE DESERT.
AND THE SOLDIERS WERE THE
EAST SURREY REGIMENT,
AND WE WERE ALL UNDER
CANVAS, OUT IN THE DESERT,
FOR, I DON'T KNOW, 10 WEEKS,
12 WEEKS, SOMETHING LIKE THAT.
SO HOT, TO PUT IT
MILDLY.

Elwy says 115.

John Clements says 115 IN THE SHADE.
AND VERY LITTLE SHADE.

VERY LITTLE SHADE
IN WINTER.

Elwy says SO, JOHN, HOW DID BROTHER
ZOLTAN DIRECT “FOUR FEATHERS”?
COULD YOU DESCRIBE
HIS METHODS?

John Clements says WELL, YES.
HE WAS A REMARKABLE CHAP
BECAUSE THERE WAS
A SIDE OF HIM THAT WAS
ENTIRELY RUTHLESS.
AND THERE WAS ONE SCENE, I
REMEMBER, THE FUZZY WUZZIES
CHARGING, AND THE BRITISH
FIRING ON THE FUZZY WUZZIES
CHARGING, WITH,
OF COURSE, BLANKS.
BUT NEVERTHELESS, AS
YOU PROBABLY KNOW,
BLANK PELLETS CAN STING.

Elwy says OH, YEAH.

John Clements says AND THE FUZZY WUZZIES
DIDN'T LIKE IT.
THEY SCREAMED A BIT, AND
THEY STAMPED THEIR FEET.
AND ZOLLY SAID,
CUT, CUT, CUT.
HE SAID, RIGHT, HE
TOOK HIS SHIRT OFF.
AND HE SAID TO THE
SOLDIERS, WHEN I GET TO
THAT SPOT THERE,
OPEN FIRE.
AND HE WAS STRIPPED
TO THE WAIST.
AND HE WALKED
STRAIGHT TO THE FIRE.
AND HE SAID, FIRE.
AND THEY ALL FIRED AT
HIM, ALL THESE PELLETS.
THEN HE TURNED TO THE
FUZZY WUZZIES, HE SAID...

He shrugs and pouts.

He continues THEY DIDN'T
COMPLAIN AGAIN.

Elwy says OH, DEAR.

John Clements says YOU SEE, HE TOUCHED
THEIR AMOUR-PROPRE.
IF AN ENGLISHMAN CAN DO
THAT, GOOD GOD, SO CAN WE.
NO TROUBLE.

Elwy says OH, ISN'T THAT
FASCINATING.
SOME OF THAT WAS IN
LAWRENCE'S CAREER.

John Clements says IT WAS A PRETTY
COURAGEOUS THING TO DO.

Elwy says YES.

John Clements says I ASKED HIM AFTER,
DID IT HURT?
HE SAID, HURT?
IT HURT LIKE HELL.
HE DIDN'T FLINCH.

Elwy says THE BRANDING IS ONE OF THE
MOST EFFECTIVE BRANDINGS.
I CAN STILL SEE TO THIS DAY,
EVEN WHEN I'M NOT LOOKING AT
THE PICTURE, THAT
STEAM RISE.

The caption changes to “Sir John Clements.”

John Clements says WELL, THERE'S A
STORY IN THAT.
AS YOU REMEMBER, I
GET MYSELF BRANDED
BY THIS SENEGALI NATIVE
BECAUSE I MUSTN'T SPEAK.
OBVIOUSLY, I'D
GIVE MYSELF AWAY.
I DON'T SPEAK THE
LINGO, AND ALL THAT.
ZOLLY KORDA WAS A GREAT MAN
FOR HAVING EVERYTHING DONE
IN ONE SHOT, YOU KNOW?
AND HE SAID, WHAT WE WILL
DO IS WE'LL SHOOT IT
FROM THE BACK OF
YOUR HEAD.
THE DOCTOR WHO BRANDS YOU
WILL HAVE A REAL RED-HOT IRON.
WE'LL PUT A LARGE LUMP OF
BACON FAT ON YOUR FOREHEAD.
AND THE RED HOT IRON WILL
GO INTO THE BACON FAT.
I SAT THERE.
I SAID, OKAY.
THE RED HOT IRON
WAS MADE RED HOT-

Elwy says I DON'T LIKE THIS
ALREADY.
THERE'S SOMETHING
AWFUL COMING HERE.

John Clements says AND IT WAS COMING
LIKE THAT.

Elwy says OH, DEAR.

John Clements says THE HEAT WAS TERRIBLE.
AND SUDDENLY, SOMEBODY
SCREAMED - I DON'T KNOW
WHO IT WAS - CUT, FOR
GOD'S SAKE, CUT.
ZOLLY SAID,
WHAT'S THE MATTER?
WHAT'S THE MATTER?
HE SAID, LOOK.
THIS IS YOUR LEADING
ACTOR.
IF YOU PUT THAT HOT IRON
INTO THAT BACON FAT,
THAT FAT WILL GO - BOILING
FAT, INTO HIS EYES.
ZOLLY SAID, I HADN'T
THOUGHT OF THAT.

Elwy says OH, GOD.

John Clements says SO THEY PUT A GREAT WODGE OF
COTTON WOOL ACROSS MY EYES.
AND THEN DID IT.
AND THAT WAS TERRIFYING BECAUSE
I COULDN'T SEE, YOU SEE?
I COULD JUST FEEL
THE HEAT COME.
AND THEN THAT
TERRIFIC HISS.

Elwy says OH, GOD.

John Clements says IT WAS VERY FRIGHTENING,
I MUST SAY, TO DO.

Elwy says THAT'S A TERRIBLE STORY.
IT'S WORSE THAN WHAT
HAPPENED TO HARRY.

John Clements says IT IS.

Elwy says ONE WOULD HAVE THOUGHT IT
WOULD BE SOME OTHER TRICK,
AND IT WOULD BE
VERY SIMPLE.

John Clements says OH, YES, BUT NOT GOOD
ENOUGH FOR ZOLLY KORDA.
HE WANTS THE REAL THING.

Elwy says HE WAS THEN MAD,
WASN'T HE?

John Clements says NO, HE WASN'T.
HE WAS WONDERFUL.

Elwy says HE WAS A GOOD
FRIEND OF YOURS?

John Clements says OH, YES, I ADORED HIM.
MAD AS A HATTER,
BUT MARVELLOUS.
I LOVED HIM.

Elwy says HE WAS AFTER
VULTURES IN A SCENE.

John Clements says OH, THAT WAS A GREAT ONE.
IT WAS THE FINAL SHOT BEFORE
WE CAME AWAY FROM THE SUDAN.
AND THE SCENE WAS THE BODIES
OF THE ENGLISH COMPANY
WERE LEFT FOR DEAD BY THE FUZZY
WUZZIES, WHO HAD JUST CARTED
THE TWO THEY THOUGHT ONLY
TWO ALIVE, JACK ALLEN AND
DONALD GRAY WERE THE TWO
OTHER OFFICERS WHO WERE TIED
BY THE FEET TO THE BACK
OF CAMELS AND RIDDEN AWAY
INTO THE DESERT.
AND THEN YOU SEE JUST
THESE BODIES LYING ABOUT.
AND THEN ONE
STIRS, WHICH IS ME.
AND I HAVE TO GET UP AND GO
ACROSS TO RALPH RICHARDSON
AND PULL HIM UP.
GET HIM ONTO THE FIREMAN'S
HOIST, AND TAKE HIM
TO THE ONLY SHADE THERE
IS, WHICH IS HALF A TENT
THAT'S LEFT IN
THIS BATTLE.
THAT WAS THE SHOT.
AND ZOLLY SAID, WE WILL
ASSEMBLE FOR THIS SHOT
BEFORE THE DAWN BREAKS.
SO YOU WILL BE HERE READY
AT 3:00 IN THE MORNING.
AND AS MY BEARD TOOK
TWO HOURS TO PUT ON,
I HAD TO GET UP BEFORE
I WENT TO BED.

Elwy says HAIR BY HAIR?

John Clements says HAIR BY HAIR.
HE WOULDN'T HAVE
A BEARD.
HE WOULDN'T HAVE
AN ORDINARY BEARD.
IT WAS PUT ON
HAIR BY HAIR.

Elwy says OH, DEAR.

John Clements says TOOK TWO HOURS
TO PUT IT ON.
WELL, HIS IDEA
WAS THIS.
DOING THINGS WITH
ONE SHOT.
WE WERE ALL THERE, THE
CAMERAMAN, AND RALPH RICHARDSON
AND I AND ZOLLY KORDA AND
VARIOUS PEOPLE WITH BRUSHWOOD
AND THINGS BUILT OVER US
SO WE COULDN'T BE SEEN.

Elwy says THAT'S RIGHT.

John Clements says WE COULDN'T SPEAK, WE COULDN'T
SMOKE, WE COULDN'T MOVE,
WE COULDN'T TALK,
WE COULDN'T DO ANYTHING.
JUST SIT THERE.
A MAN CALLED THE
ARM DE SOURER,
WHO WAS THE NATIVE IN
CHARGE OF ALL THE NATIVES
OF THE FILM, THEN SLAUGHTERS
SEVEN GOATS AND CUT THEIR
THROATS AND PUT THEM
ABOUT AMONG THE BODIES.
AND THEN WE SAT THERE.
AND WE WAITED FOR THE
VULTURES TO COME DOWN.

Elwy says OH, YOU'D THINK OBVIOUSLY,
WITH THAT BLOOD.

John Clements says NOT A BIT OF IT.

Elwy says WHAT?

John Clements says NOT A BIT OF IT.
WE DID THAT FIVE
DAYS RUNNING.
WE SAT QUITE STILL
WITHOUT MOVING
FOR FOUR HOURS
AT A TIME.
NOT A SIGN OF A
VULTURE ANYWHERE.
FINALLY, KORDA
GAVE IT UP.
HE SAID, WE'LL
DO A TRICK SHOT.
WHICH OF COURSE YOU
COULD EASILY DO.
CUT TO A STOCK
SHOT OF VULTURES.

Elwy says YES.

John Clements says QUITE EASY.
WE WENT BACK TO
KHARTOUM.
WE WERE ALL STAYING AT
THE GRAND HOTEL KHARTOUM.
THE ONE THING OF
COURSE WE ALL WANTED
AFTER ALL THOSE WEEKS IN
THE DESERT WAS A BATH.
WE HADN'T HAD A
BATH, YOU KNOW?
AND WE ALL
HAD A BATH.
WE WERE TO ASSEMBLE ON THE
TERRACE OF THE GRAND HOTEL
KHARTOUM - WHICH IS ON THE
BANKS OF THE NILE,
VERY ATTRACTIVE SETTING -
FOR A GLASS OF CHAMPAGNE
BACK INTO CIVILIZATION.
AND I WAS THE FIRST DOWN,
AND ZOLLY KORDA THE SECOND.
HE SAID, COME ON, LET'S HAVE
A DRINK BEFORE THE OTHERS COME.
WE POURED OUT CHAMPAGNE,
WE TOASTED EACH OTHER
WITH CHAMPAGNE, AND AS WE
WERE JUST ABOUT TO DRINK IT,
WE HEARD AN
EXTRAORDINARY NOISE.
WE LOOKED UP.
THERE WERE ABOUT 15
VULTURES OVER OUR HEAD.
I THOUGHT ZOLLY
WOULD GO MAD.
HE THREW HIS CHAMPAGNE
GLASS AGAINST THE WALL,
HE SCREAMED.
IT WAS VERY,
VERY, VERY FUNNY.

Elwy laughs.

Elwy says AFTER ALL THAT.
A BIG CIVILIZED
HOTEL, CHAMPAGNE.

John Clements says THAT'S RIGHT.

Elwy says AND THAT'S WHERE
THE VULTURES COME.

John Clements says THAT'S RIGHT.

Elwy says SHOWS THEY PREFER CHAMPAGNE
TO BLOOD, SIR JOHN.
I THINK THEY MUST
HAVE HAD A PREFERENCE.

John Clements says YES.

Elwy says YOU HAVE A GOOD STORY ABOUT
THE ENDING OF THE PICTURE,
AND IT RELATES
TO THIS THING.

John Clements says OH, THAT, YES.
I WAS TELLING YOU ABOUT THIS
BRANDING OF MINE, THE S,
THE SENEGALI S, SO THAT
NO ONE WOULD EXPECT ME
TO SPEAK BECAUSE THE SENEGALI
TRIBE ALL HAD THEIR TONGUES
OUT BY THE MAHDI, YOU KNOW,
FOR SOME DEFECT THEY HAD.
THAT WAS THE
WHOLE POINT OF IT.
YOU WOULD BE BRANDED FOR
LIFE, AND YOU CAN'T SPEAK.
AND NO ONE EXPECTS YOU TO.
WHEN IT CAME TO THE
FINAL SHOT OF THE FILM,
WHICH WAS WHEN, OF COURSE,
I'D EXONERATED MYSELF,
AND THE FOUR FEATHERS WERE
GIVEN BACK TO THE THOSE
WHO HAD GIVEN THEM
TO ME, INCLUDING
MY FUTURE FATHER-IN-LAW,
WONDERFUL AUBREY SMITH.

Elwy says OH, YES.

John Clements says AND WHEN I GOT TO THE MAKEUP
CHAIR FOR THE MAKEUP
FOR THE FINAL SCENE, I
SAID TO THE MAKEUP MAN,
YOU'VE FORGOTTEN MY
SENEGALI S.
HE SAID, YOU'RE
NOT HAVING THAT.

Elwy says WHAT?

John Clements says I SAID, WHAT DO YOU
MEAN I'M NOT HAVING IT?
IF YOU'RE BRANDED,
YOU'RE BRANDED.
YOU'VE GOT IT
FOR LIFE.
HE SAID, NO,
KORDA'S ORDERS.
SO I WENT TO
SEE ALEX KORDA.
I SAID, THIS
IS RIDICULOUS.
HE SAID, DON'T BE
STUPID, DEAR BOY.
YOU'RE THE HERO
OF THE PICTURE.
YOU CAN'T COME...
AND I SAID, DON'T
BE RIDICULOUS, ALEX.
I HAD A REAL FIGHT
WITH HIM.
FINALLY, I WON.
EXCEPT IT WAS HALF
THE SIZE.

Elwy says OH, A COMPROMISE.
IT WASN'T RIGHT.

John Clements says AND THERE WERE A LOT OF
CRITICS THAT SPOTTED IT
AND DIDN'T AGREE WITH IT.

Elwy says BUT HE JUST COULDN'T
STAND HAVING HIS HERO
WITH JUNE DUPREZ IN
THAT LAST SHOT.

John Clements says THAT'S RIGHT.
HE COULDN'T BEAR THAT.

Watch: The Making of a Motion Picture 4