{438}{493}Hello. I'm John Hurt. {498}{612}I play Timothy Evans|in this rather grisly tale. {677}{776}Timothy Evans was somebody|who was accused wrongly... {781}{852}...and hanged wrongly... {857}{954}...for a murder that he did not|commit, and this is that story. {1005}{1120}The story also involves,|of course, Reginald Christie... {1125}{1256}...who was one of the most notorious|of serial killers of the period. {1275}{1424}And, of course,|it isn't written as... as a thriller. {1429}{1537}It's not a thriller. It actually goes|through the story in such a way... {1542}{1638}...that the audience knows, as you|will see exactly, what's happening. {1660}{1694}And... {1716}{1775}...it's made by Richard Fleischer... {1780}{1844}...who is an American director... {1849}{1936}...but had an extraordinary|European sensibility. {1965}{2079}And I think the film|has got quite a lot of influence... {2084}{2137}...from the French {y:i}nouvelle vague... {2142}{2222}...and as you'll notice also... {2227}{2315}...there's not a great deal|of use of music as such... {2392}{2470}...other than that which is coming|from the radio or whatever. {2866}{2975}It's a part that I got...|It's one of those parts... {3001}{3057}...that when I went|to see Richard Fleischer... {3062}{3111}...I knew that I was going to get it. {3140}{3214}I'd played quite a lot|of victims in my time... {3219}{3331}...and this, you could say,|was the ultimate victim. {3336}{3438}And somehow, as I walked in,|I knew it was going to go my way. {3454}{3525}And it was a part,|obviously, to relish... {3530}{3614}...because it's...|he's a very interesting character... {3619}{3718}...and as a character actor,|it obviously intrigued me greatly. {3792}{3864}Poor old Timothy was... {3875}{3913}He wasn't... {3975}{4043}He wasn't a retard, as such... {4048}{4145}...but he was without education... {4150}{4205}...and couldn't read... {4242}{4408}...was able to make out road signs,|because he drove a van for his job... {4413}{4463}...but not because|he could read them... {4468}{4553}...because he happened to be able|to familiarise himself with them... {4558}{4607}...so that he knew what they meant. {4630}{4721}And he was enormously vulnerable... {4726}{4784}...and at the same time,|he was a terrific show-off... {4789}{4839}...very imaginative in many ways. {4844}{4902}He used to make up stories and... {5001}{5045}...and fantasise, really. {5050}{5113}He was a considerable fantasist. {5177}{5237}Anyway,|here we're looking at a scene... {5242}{5341}...which sets the whole tone|of the film, in a sense... {5346}{5473}...because this is the scene|which describes the way... {5478}{5541}...in which Christie... {5546}{5597}...dealt with his victims. {5602}{5655}Well, now. {5660}{5722}It's been bad, has it?|The bronchitis? {5727}{5800}At nights. It's been bad at nights. {5816}{5918}I think Richard Attenborough's one|of the best actors of the sinister... {5923}{5967}...that I can think of. {6002}{6066}I had some very funny times|with him... {6074}{6146}...when we were making|the film because... {6151}{6231}There was one moment|when we were starting a scene... {6259}{6315}...a very heavy,|emotional scene, actually... {6320}{6420}...and there was nothing|on the table, so I called, "Out!" {6425}{6512}I don't know how I dared do that.|I'd never dare do that now. {6518}{6629}And Richard Fleischer said,|"What do you mean? What for?" {6634}{6707}And I said,|"There's nothing on the table." {6712}{6787}And he said, "Well? So?" {6815}{6896}And I said, "Well,|what's Richard going to play with?" {6901}{6963}I have to probably give you|a bit of background there... {6968}{7028}...because Richard,|as you'll notice... {7033}{7125}...look at him now here,|he's brilliant with props. {7147}{7263}He's what you call a very "busy"|actor. He likes... He loves props. {7268}{7364}If he's... If there isn't anything|on the table or a cup to play with... {7369}{7486}...or a saucer or something,|he'll probably clean his glasses. {7544}{7613}But he can make them work. {7618}{7680}I once worked with a director|called Peter Wood... {7685}{7808}...who said, "John, you make a real|cup and saucer look like a prop." {7867}{7960}So I'm a different sort|of an actor altogether. {7965}{8014}Anyway, we had some laughs. {8071}{8121}This isn't exactly a laugh, though. {8150}{8203}Breathe, Muriel. {8208}{8273}Amazing, isn't it, that anybody... {8282}{8337}...in the naivety|of that particular period... {8342}{8485}...could be fooled by such...|such primitive equipment? {8531}{8563}Breathe... {8568}{8602}And... {8636}{8678}Breathe... {8683}{8754}Well, that wasn't a very long part,|was it, really? {8831}{8910}Phyllis. Irish actress.|Wonderful actress. {9426}{9515}Well, I have to say, there's not a|lot one can say about that, is there? {9810}{9968}It was on this film that I met|the 16-year-old Edgar Bronfman Jr... {9990}{10082}...who, as everybody probably knows,|later became... {10107}{10145}...the head of Universal... {10150}{10248}...and was the son and heir|of Seagrams whiskey. {10253}{10380}And... Well, he was 16,|but he was going on 40. {10425}{10494}And I can remember,|towards the end of the film... {10499}{10559}...he said, "Well, John.|I gotta go back to New York." {10564}{10679}We got on very well indeed.|I never thought of him as being 16. {10684}{10733}He didn't look it.|He was very tall... {10738}{10891}...and one of those people who didn't|look as though he was ever a child. {10896}{10931}And... {10961}{11016}...he said, "I've got|to go back to New York. {11021}{11108}"I've got to go back to school."|It shocked me considerably. {11113}{11187}I thought, "He can't be.|He's miles too old." {11217}{11285}Anyway, one had to|remind oneself that he was 16. {11317}{11395}He went on to an extraordinary,|illustrious career. {11444}{11552}And now he's gone into music,|which is what he always did. {11557}{11657}He was always|writing lyrics for songs... {11662}{11757}...and he was actually there...|David Puttnam had got him over. {11762}{11884}He was learning the business|from the producer's point of view... {11889}{11946}...because later on|he was to become a producer. {11951}{12006}That's what he wanted to do. {12083}{12132}Here we are. There's the van. {12327}{12423}Interesting - I had to choose,|because he was Welsh... {12428}{12492}...but he'd never|really lived in Wales... {12521}{12635}...so we had to find an accent|that would be both Welsh... {12640}{12706}...and at the same time... {12809}{12861}...more to do|with a metropolis, in a sense. {12866}{12917}It was a sort of slight accent. {12940}{13039}- We've...|- We've come about the flat. {13044}{13153}It's interesting to note as well,|of course, that in the film... {13191}{13308}...had Timothy Evans|actually killed his wife... {13313}{13384}...and his child by strangulation... {13389}{13491}...it would have meant that|the house had two stranglers in it... {13496}{13596}...which is one coincidence|which is a little bit hard to take. {13601}{13641}And Ludovic Kennedy... {13646}{13741}...who wrote a definitive book|on the Christie-Evans case... {13807}{13918}...said that there were|34 coincidences... {13924}{14037}...if Timothy Evans|was to have been guilty. {14129}{14182}That's a little bit too much to take. {14187}{14265}Too much to believe. {14270}{14335}- She, I should say.|- Yes. {14427}{14476}Children. Always interesting, babies. {14527}{14633}They never cry when you want them to|and always cry when you don't. {14698}{14755}There's all sorts of ways|of getting round that. {14760}{14832}If you shoot the back of the head,|you can't see the baby... {14837}{14902}...so you can put a soundtrack|of crying over it. {14942}{15009}Well, it's not|what we're used to, you understand. {15035}{15079}We used to have this mansion flat... {15084}{15119}Judy Geeson. {15156}{15217}A lovely girl. Excellent actress. {15248}{15298}Gone to America now, I think. {15342}{15401}But I remember she was... {15406}{15440}Oh, we'll take it. {15445}{15547}I can't remember whether|she was married or the girlfriend... {15552}{15707}...of Sean Kenny, a celebrated|designer in the 1960s and '70s. {15712}{15765}Did sets like {y:i}Oliver! {15770}{15905}...and big musical...|with big constructions. {15941}{16047}He had a wonderful studio flat that|I used to go to with both of them. {16052}{16122}Tragically, he died|when he was quite young. {16166}{16215}No, we'll take it. {16231}{16295}Well, you're doing the right thing. {16337}{16463}But this was shot...|The film was shot at Lee Boys studio. {16468}{16528}It's always called Lee Boys.|Lee International. {16533}{16635}John and Benny Lee.|Two sparks - two electricians... {16640}{16740}...who went off on their own|and started a fantastically... {16793}{16892}...small company, really, and then|grew to be the biggest company... {16897}{16954}...in the film business|in this country... {16959}{17010}...and finally|bought Shepperton Studios. {17015}{17094}But this was shot|at Kensal Road Studios... {17099}{17180}...which was not actually|that far from Rillington Place... {17185}{17273}...or what was at that time,|because the name was taken away... {17278}{17356}...after this ghastly saga. {17361}{17463}And it became Ruston Olose,|which is where we shot it, in fact. {17503}{17552}We didn't use|exactly the same house... {17557}{17702}...because his house was right|at the end of this cul-de-sac... {17707}{17789}...and we needed to be able to shoot|from both sides of the front door. {17794}{17894}So we used a house which|was about two or three doors down. {17900}{17989}But it was actually in Ruston Olose,|the exterior sequences. {17994}{18055}The interiors, of cour...
marsjon.ek