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Downloaded from
YTS.MX

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Official YIFY movies site:
YTS.MX

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[singing]

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I don't want that. Leave me alone.

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[loud banging]

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You can keep your diseased chickens!

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You leave my chickens out of this!

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We made a bargain!

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But the terms weren't settled.

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We drank on it!

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[indistinct arguing]

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Quiet! Quiet!

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Cut!

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All right, hold it there.

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Hold it there just for a second.

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All right, print that one,
please. Good one.

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[piano music playing]

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[Raim] Why does the film
mean a great deal to you?

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Well, it's because
I think of the challenge

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of taking someone,

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a play that was so
popular in the theater...

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♪ To life, to life, I'chaim ♪

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and transferring it to film

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and making it believable.

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<i>♪ Here's to the father I tried to be! I</i>

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♪ Here's to my bride to be! ♪

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And bringing it out into the real world.

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It's always a challenge for a director.

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[upbeat music]

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I've been fascinated by
Fiddler on the Roof as a phenomenon.

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When the creators
were putting this together,

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everyone said,
"This is gonna fail on Broadway."

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"There's not enough people
who are gonna care about this."

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"It's only for a small Jewish audience.”

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"It's gonna die."

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And not only did it
not die on Broadway,

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it turned out to be
this phenomenal international success.

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Fiddler on the Roof was the best version

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of the Sholem Aleichem stories
that we could possibly come up with.

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I always look for a good story

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that will lend itself
to music and theater.

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And we found a series of short stories

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that Sholem Aleichem wrote
called Tevye's Daughters.

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It's not just about a dairyman
with five marriageable daughters.

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It's more than that.

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There's something else
that gives these shows their power.

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["Tradition" plays]

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♪ Tradition! ♪

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It's about the changing of tradition.

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Tradition was changing
all over Western Europe

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and those changes were making
their way to Eastern Europe,

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and the shtetls were changing.

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♪ Matchmaker, Matchmaker,
Plan me no plans [

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[Jewison] Tevye's problems in life

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all stemmed from the fact
that he had five daughters

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trying to find a husband,
trying to find a marriage.

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Trying to find--

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They all had problems.

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[Turan] It's the battle between what
the parents want for the children,

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and what the children
think is important for them.

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Each one has a conflict

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over love and romance with their parents.

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[crying] Thank you!

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First daughter, parents want
her to marry someone wealthy.

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She falls in love with a poor tailor.

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Second daughter, she falls
in love with a political radical,

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where the parents would rather
she married somebody more conventional.

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She's dancing with a man!

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I can see that
she's dancing with a man!

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The third daughter, the worst of all,

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falls in love with someone
who is not Jewish.

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So, there are three different
areas of conflict with the parents,

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where, in many ways,
you side with both sides.

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And I think even in
a musical comedy kind of template,

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like Fiddler on the Roof,
you still feel the pain.

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And I think that's, you know,
the heart of the thing.

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["Shabbat Prayer" intro playing]

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[Jewison]
Themes of family is universal.

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Everybody has a family,

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good or bad, right or wrong.

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We all have a family,

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and we all have our little problems.

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But we all end up
sitting around a table.

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And this happens in Fiddler.
It happens in Moonstruck.

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♪ May the Lord protect and defend you

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[Jewison] And I thought,
"This is so common.”

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This is something people can understand.

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They can understand a family.

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They can understand Golde.

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Even a poor girl without a dowry
has to look at a husband sometime.

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A husband is not to look at.
A husband is to get.

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But, Mama, I'm not yet
20 years old, I don't think I have to--

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They can understand Tevye.

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They can understand
his problems with life.

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We have received orders
that sometime soon

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this district is to have
a little unofficial demonstration.

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And his relationship to God.

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Dear God,

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was that necessary?

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Did you have to make him lame
just before the Shabbat?

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I think all of these things,

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all put together, make the story

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of Fiddler on the Roof so...

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compelling.

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[upbeat music]

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[Williams] I very well understand how

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United Artists and Walter Mirisch
would have chosen this man

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to do Fiddler on the Roof.

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He is so musical.

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He had fantastic
sense of rhythm, musically,

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which a musician can pick up right away.

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[Narrator]
Norman Jewison, a born performer,

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mounted satirical musical revues

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while earning his B.A. at the
University of Toronto's Victoria College.

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He carved out his own path in the
helterskelter world of early television.

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When he went to CBS
in New York in 1957,

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his work impressed a
multimedia superstar.

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Harry Belafonte's Calypso album

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was the first LP
to sell a million copies.

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♪ I don't know but I've been told
A gopher really don't live in a hole ♪

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♪ He don't!

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And then came
Tonight with Belafonte,

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the first special on American television

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starring a Black performer.

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♪ Who picked a bale of cotton? ♪
♪ Who put a bale of water? [

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[Narrator] Jewison writes:

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"As Harry saw it,

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the point was to give Americans
back a part of their culture

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they were not able to see
anywhere else on television.”

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"When the camera
scanned the faces of the actors,

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they were both Black and white.”

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"Years later, Harry told me
he thought we showed life

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as it should be in America.”

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I came from
live television and the theater.

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And much like John Frankenheimer

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and Franklin Shaffner
and Sidney Lumet,

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we all came from television,
we came from New York.

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♪ You made me love you

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♪ I didn't wanna do it
I didn't want to ♪

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[Williams] I knew him as
a director of variety television,

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high level musical work on television.

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Well, it certainly prepared
Norman from the point of view

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of what do you do with the camera

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when musical performances
are taking place?

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Do you want to be
in a close-up of a singer

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who's doing a big vocal performance
that might even distort the face?

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Do you want to pull it back?

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Knowing how to shoot music,
knowing how to shoot dance.

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For me it has to come from musicality.

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And then, lo and behold,

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he became a famous
movie director a year or two later.

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[Jewison]
When I came to Los Angeles,

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Tony Curtis got me involved
in 40 Pounds of Trouble

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which was my first film.

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[Narrator] Universal Pictures pegged
Jewison as their light comedy man.

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That pigeonhole depressed him.

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"I was wretched,"” he writes.

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So he found a way out of his contract,

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and came into his own as a filmmaker.

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Jewison imbued topical movies

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with a playful, liberating spirit.

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In the Cold War comedy

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The Russians are Coming,
the Russians are Coming!

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Alan Arkin, as a Soviet officer

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whose submarine gets
stranded in New England,

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had a warmth and humor
almost as winning as Tevye's.

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What would the Russians be doing
on United States of America island

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with so many animosities
and hatreds between these two countries?

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It is too funny an idea, is it not?

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[laugh]

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No, we are, of course, Norwegians.

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[Jewison]
I was skiing in Sun Valley

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and Bobby Kennedy had
his family up there skiing.

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And my kid broke
his leg in a ski race.

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And Bobby Kennedy's kid
broke his leg in the same race.

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So we end up
at the hospital in Sun Valley.

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And there was kind
of an awkward silence,

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I knew who he was,
he didn't know who I was.

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Now, we were sitting there and

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he says, "What do you do?"

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And I said, "I'm a filmmaker."”

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"What kind of films do you make?"”

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I said, "Well,
I'm gonna make a film this year."”

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"It's about a black
detective from Philadelphia

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who gets caught up in a murder
investigation in Mississippi.”

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And I told him the story.

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And he says, "This could be
a very important film, Norman."

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Was Mr. Colbert ever
in this greenhouse?

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Say, last night, about midnight?

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That's the first time anyone told me

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that it could be an important film.

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[soul gospel music plays]

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And about a year later,

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it won the New York Critics Award.

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And I went to Sardi's Restaurant
to receive this award.

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And they said, "Presenting the award

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is the senator from
New York, Robert Kennedy."

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And I went up,
and he looked at me and he says,

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"See? I told you the timing was right."

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"Cause he told me it's all about timing.

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He said, "Timing is the most
important thing in life,

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in politics, and in art,

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and in life itself.”

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[gunshot]

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[Narrator] Jewison writes:

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"The night Bobby Kennedy was assassinated,

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I sat outside in the garden

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staring at the night sky,

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thinking that Bobby
had been a beacon for all of us

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in the civil rights movement.”

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"His assassination meant
that America was so violent a society,

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it could not abide its best.”

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00:12:01,471 --> 00:12:04,515
"First John Kennedy,
then Martin Luther King,

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now Bobby Kennedy."

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00:12:07,101 --> 00:12:09,145
[Jewison]
When he was assassinated,

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and I thought he was going
to be the next President.

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00:12:12,482 --> 00:12:15,485
I felt totally... lost.

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[Narrator] Jewison writes,

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"I didn't have to tell Dixie

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00:12:31,501 --> 00:12:33,753
that the night
Bobby Kennedy was assassinated,

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I realized that I had to get
out of the United States

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to preserve what joy
and hope I had about life.”

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00:12:42,220 --> 00:12:43,221
"She knew."

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"And she knew that I wouldn't be able
to make Fiddler without that."”

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00:12:54,732 --> 00:12:55,775
[Jewison] Arthur Krim,

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00:12:55,858 --> 00:12:57,652
who was the head of United Artists,

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called me up in Hollywood and said,

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00:13:01,489 --> 00:13:05,660
would I come to New York
and have a meeting with him?

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00:13:06,327 --> 00:13:10,164
So I went to the meeting
and Arthur Krim looked at me

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00:13:10,248 --> 00:13:12,750
and he says, "What would you say

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00:13:13,251 --> 00:13:17,922
if we were to say, we
want you to produce

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00:13:18,006 --> 00:13:21,509
and direct "Fiddler on the Roof?"

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00:13:24,387 --> 00:13:27,348
And my heart came up into my mouth.

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00:13:27,849 --> 00:13:30,226
And I thought, "Oh my God!"

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And I looked over and I waited,

236
00:13:34,230 --> 00:13:37,150
and they waited, and they
all kind of leaned forward.

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00:13:37,233 --> 00:13:39,152
They thought,
"What he is waiting for?"

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00:13:40,278 --> 00:13:41,446
And then I said,

239
00:13:42,280 --> 00:13:43,823
"What would you say...

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00:13:45,116 --> 00:13:48,411
if I told you... I'm a Goy?"

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00:13:49,579 --> 00:13:53,541
And I saw a few faces go like this...

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00:13:53,875 --> 00:13:56,002
And Arthur Krim was very calm,

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00:13:56,085 --> 00:13:58,379
he put his hands together and he said,

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00:13:58,921 --> 00:14:00,381
"What does that matter?

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00:14:00,965 --> 00:14:05,345
We don't want a Second
Avenue Yiddish production.

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00:14:06,929 --> 00:14:11,059
We want a film for everybody."

247
00:14:15,521 --> 00:14:17,607
In the book that I wrote

248
00:14:17,690 --> 00:14:21,319
about my life, the first line is,

249
00:14:27,283 --> 00:14:28,743
And that is true,

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00:14:28,826 --> 00:14:31,371
because my name is Jewison,

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Son of a Jew.

252
00:14:36,084 --> 00:14:37,543
So, naturally,

253
00:14:38,169 --> 00:14:40,421
everybody assumes I'm Jewish.

254
00:14:40,505 --> 00:14:43,049
Even the Gentiles assume I'm Jewish.

255
00:14:43,132 --> 00:14:45,718
And I thought I was Jewish.

256
00:14:46,719 --> 00:14:49,013
And so, when I was five or six,

257
00:14:49,097 --> 00:14:52,934
and going to public school
in the East end of Toronto,

258
00:14:53,017 --> 00:14:54,936
which was a little antisemitic...

259
00:14:55,436 --> 00:14:58,147
It was mostly Irish and Polish,

260
00:14:58,898 --> 00:15:00,149
I could feel it.

261
00:15:00,817 --> 00:15:05,655
And there was only
two Jewish kids in the school,

262
00:15:05,738 --> 00:15:07,448
or in my class.

263
00:15:07,532 --> 00:15:09,117
There was one kid...

264
00:15:09,992 --> 00:15:11,494
Sidney Zahn.

265
00:15:12,120 --> 00:15:15,706
His parents ran a dry-cleaning store.

266
00:15:16,457 --> 00:15:18,334
And then there was myself.

267
00:15:18,960 --> 00:15:22,380
And so, at recess,

268
00:15:23,172 --> 00:15:25,550
somebody would start saying, you know,

269
00:15:25,633 --> 00:15:28,177
"Jew boy. Hey, Jewy! Hey, Jewy."

270
00:15:28,511 --> 00:15:29,762
They called me Jewy.

271
00:15:30,471 --> 00:15:34,475
And I knew a lot about Jewish life,

272
00:15:34,559 --> 00:15:37,520
simply because I went with Sidney

273
00:15:37,603 --> 00:15:41,149
to an orthodox temple
on Kenilworth Avenue.

274
00:15:42,275 --> 00:15:45,570
And I'll never forget,
the Mel a med looked at me and he says,

275
00:15:45,653 --> 00:15:47,363
"Where do you live?”

276
00:15:47,447 --> 00:15:49,115
I said, "Well I live up here.

277
00:15:49,198 --> 00:15:52,118
My parents own a dry goods store.”

278
00:15:52,618 --> 00:15:54,328
"Oh yes.

279
00:15:55,455 --> 00:15:57,582
I never see them in temple.

280
00:15:58,499 --> 00:16:01,419
Why is that?
I never see them on the Sabbath?"

281
00:16:03,087 --> 00:16:06,424
And I said, "Oh no, that's because
we go to church up--"

282
00:16:06,507 --> 00:16:08,468
[laughs]

283
00:16:08,801 --> 00:16:11,220
And so that's when he knew I was treif.

284
00:16:12,180 --> 00:16:13,806
So, he said: "That's fine.

285
00:16:13,890 --> 00:16:16,267
But I don't think you should come here

286
00:16:16,350 --> 00:16:17,643
to study Hebrew."”

287
00:16:18,728 --> 00:16:21,731
When the Mel a med at
the temple told me to leave,

288
00:16:22,106 --> 00:16:22,982
I thought,

289
00:16:25,610 --> 00:16:29,822
[melancholic music plays]

290
00:16:32,575 --> 00:16:35,870
[Narrator] Jewison signed on
to produce and direct Fiddler on the Roof

291
00:16:35,953 --> 00:16:37,580
when Hollywood was coming apart.

292
00:16:37,663 --> 00:16:42,043
♪ The hills are alive
with the sound of music ♪

293
00:16:42,126 --> 00:16:45,546
[Narrator] In a mad rush to duplicate
the success of The Sound of Music,

294
00:16:45,630 --> 00:16:49,759
the studios financed a string
of inept and overproduced musicals

295
00:16:49,842 --> 00:16:52,261
that nearly bankrupt the industry.

296
00:16:52,345 --> 00:16:56,265
These films featured stars
who could not belt out a tune.

297
00:16:57,058 --> 00:17:04,190
♪ But suddenly my words
reach someone else's ear

298
00:17:04,273 --> 00:17:06,234
Or stars of stage hits

299
00:17:06,317 --> 00:17:07,860
who couldn't act for the camera.

300
00:17:09,695 --> 00:17:11,614
♪ 'Old it, flash, bang,
wallop, what a picture ♪

301
00:17:11,697 --> 00:17:13,533
♪ What a picture!
What a photograph

302
00:17:13,616 --> 00:17:16,369
[Jewison] You know,
whether you're doing West Side Story

303
00:17:16,452 --> 00:17:19,038
or whether you're doing
Hello, Dolly!, whatever.

304
00:17:19,121 --> 00:17:24,460
It's always a challenge
to make something powerful out of it.

305
00:17:24,544 --> 00:17:28,047
And I said, "The casting
has gotta be right in this film."

306
00:17:28,130 --> 00:17:31,467
♪ Matchmaker, matchmaker

307
00:17:32,510 --> 00:17:33,970
♪ Make me a match ♪

308
00:17:34,053 --> 00:17:36,180
[Jewison]
I started to get these phone calls

309
00:17:36,264 --> 00:17:37,723
Like Danny Kaye.

310
00:17:38,307 --> 00:17:42,311
Danny Kaye wanted to play Tevye.

311
00:17:42,395 --> 00:17:46,440
Then I get a phone call
from Frank Sinatra's manager.

312
00:17:46,899 --> 00:17:51,112
I think: "Frank Sinatra
wants to play Tevye?!"

313
00:17:51,195 --> 00:17:52,488
I couldn't believe it!

314
00:17:52,572 --> 00:17:53,531
Couldn't believe it.

315
00:17:54,323 --> 00:17:56,284
[Turan]
I saw the original Broadway run,

316
00:17:56,367 --> 00:17:59,537
I bought standing room
when I was in high school or college,

317
00:17:59,620 --> 00:18:01,330
to see Zero Mostel on Broadway.

318
00:18:01,414 --> 00:18:04,166
Oh my God!
Zero Mostel was like,

319
00:18:04,250 --> 00:18:05,585
I don't even know how to describe it.

320
00:18:05,668 --> 00:18:08,671
I mean, he was just
a great theatrical actor.

321
00:18:09,213 --> 00:18:11,299
We've seen him in films,
but he's one of these actors

322
00:18:11,382 --> 00:18:13,217
that's almost too large for films.

323
00:18:13,301 --> 00:18:14,844
Film tries to contain people,

324
00:18:14,927 --> 00:18:17,471
and onstage you can
be as big as you can be.

325
00:18:17,555 --> 00:18:19,140
And he was enormous,

326
00:18:19,223 --> 00:18:21,225
but in a very light-hearted way,

327
00:18:21,309 --> 00:18:23,227
in a very nimble way, he wasn't

328
00:18:23,686 --> 00:18:26,063
like Laurence Olivier enormous.

329
00:18:26,147 --> 00:18:28,733
But he had such a great energy,
such a great spirit.

330
00:18:28,816 --> 00:18:31,027
He was almost like
twinkling on stage.

331
00:18:31,652 --> 00:18:34,655
I can still see him
hopping along the stage, you know,

332
00:18:34,739 --> 00:18:36,824
doing "If I was a wealthy man."

333
00:18:36,907 --> 00:18:38,826
♪ If I were a rich man ♪

334
00:18:38,909 --> 00:18:42,330
♪ Ya ba dibba dibba dibba
dibba dibba dibba dum ♪

335
00:18:43,623 --> 00:18:47,251
[Jewison]
Zero Mostel really threw me off.

336
00:18:49,295 --> 00:18:54,050
I really felt that
he was bigger than the play.

337
00:18:55,134 --> 00:18:57,219
He was doing everything for laughs.

338
00:18:58,638 --> 00:19:00,806
I felt he was too American.

339
00:19:01,223 --> 00:19:02,892
I felt that he wasn't

340
00:19:03,726 --> 00:19:05,686
what Sholem Aleichem had in mind.

341
00:19:07,063 --> 00:19:11,901
I didn't feel he was a Russian dairyman.

342
00:19:11,984 --> 00:19:14,111
[upbeat music]

343
00:19:14,195 --> 00:19:15,696
Sheldon Harnick said,

344
00:19:15,780 --> 00:19:20,034
"You know, there's
an Israeli guy, Topol.

345
00:19:20,660 --> 00:19:23,621
"And he is playing the lead in London."

346
00:19:24,121 --> 00:19:26,874
[Topol]
I was very lucky in Fiddler on The Roof

347
00:19:26,957 --> 00:19:31,128
to be directed by
a genius, Jerry Robbins.

348
00:19:32,046 --> 00:19:33,756
When Jerry auditioned me,

349
00:19:33,839 --> 00:19:37,051
he was a very clear director.

350
00:19:37,551 --> 00:19:40,721
For example, when he talked
to the cast in "Tradition."”

351
00:19:41,138 --> 00:19:42,515
And he said to them,

352
00:19:42,598 --> 00:19:47,853
"All I want from you that
you'll all be proud of your tradition.”

353
00:19:48,688 --> 00:19:51,524
Now, how do you express
pride with your body?

354
00:19:52,191 --> 00:19:54,694
He said, "I want long necks."”

355
00:19:55,236 --> 00:19:57,488
Up. No gravitation.

356
00:19:57,571 --> 00:20:00,783
I mean, up, up, up, up.

357
00:20:01,534 --> 00:20:02,785
And that will...

358
00:20:03,869 --> 00:20:05,955
will project pride.”

359
00:20:06,288 --> 00:20:07,248
Which he was right.

360
00:20:07,748 --> 00:20:11,127
♪ Tradition, tradition

361
00:20:12,586 --> 00:20:15,005
♪ Tradition, tradition

362
00:20:15,089 --> 00:20:17,675
[Jewison]
I flew to London and I saw Topol.

363
00:20:18,008 --> 00:20:21,220
And I saw the play,
and all of a sudden

364
00:20:21,303 --> 00:20:23,806
I felt truth.

365
00:20:25,015 --> 00:20:26,934
I felt believability.

366
00:20:32,064 --> 00:20:36,736
I felt that I wasn't looking
at an American Production

367
00:20:36,819 --> 00:20:39,280
with a guy from
Brooklyn or something.

368
00:20:40,072 --> 00:20:43,409
I felt he was proud

369
00:20:43,784 --> 00:20:46,162
of being a Jew.

370
00:20:47,037 --> 00:20:49,832
[Topol] When Norman Jewison
came in February '68,

371
00:20:49,915 --> 00:20:53,002
which was the last month
I did a show in London,

372
00:20:53,085 --> 00:20:55,421
and I didn't know he was there.

373
00:20:55,755 --> 00:20:59,675
And the company manager
came after the show and said,

374
00:21:00,009 --> 00:21:04,430
"Mr. Norman Jewison would like
to come backstage and see you."

375
00:21:05,139 --> 00:21:06,932
I said, "With the greatest pleasure."

376
00:21:07,016 --> 00:21:08,976
And then he sat down and said,

377
00:21:09,059 --> 00:21:12,104
"I want you to play
the part in the film."

378
00:21:12,730 --> 00:21:15,524
I grew up on Sholem Aleichem.

379
00:21:15,608 --> 00:21:18,778
Sholem Aleichem stories
were my bedtime stories.

380
00:21:18,861 --> 00:21:20,988
My father knew it all by heart,

381
00:21:21,071 --> 00:21:22,782
so he didn't have really to read it.

382
00:21:23,282 --> 00:21:25,618
Really from the day I remember myself,

383
00:21:26,243 --> 00:21:28,370
I remember Sholem Aleichem.

384
00:21:29,038 --> 00:21:31,832
[Turan] I feel a connection
to Sholem Aleichem's stories

385
00:21:31,916 --> 00:21:34,293
the Tevye stories,
for a variety of reasons.

386
00:21:34,376 --> 00:21:36,796
I mean, I come from
a Yiddish-speaking background.

387
00:21:36,879 --> 00:21:39,423
My parents were native speakers,
they were immigrants.

388
00:21:40,007 --> 00:21:43,219
Tevye is really a quintessential
Eastern European Jew.

389
00:21:43,302 --> 00:21:46,055
That was the heart and soul
of Sholem Aleichem's work,

390
00:21:46,138 --> 00:21:48,641
writing in Yiddish,
dealing with those people.

391
00:21:49,308 --> 00:21:51,811
Topol was many things,
but no one would ever confuse him

392
00:21:51,894 --> 00:21:53,312
with an Eastern European Jew.

393
00:21:53,395 --> 00:21:55,022
And that didn't work for me.

394
00:21:55,105 --> 00:21:56,524
That was a sticking point for me.

395
00:21:57,316 --> 00:22:00,653
I mean, Israeli Jews
have a different physicality,

396
00:22:00,736 --> 00:22:02,738
a different relationship to the world.

397
00:22:02,822 --> 00:22:04,990
They wouldn't take
any guff from anybody.

398
00:22:05,074 --> 00:22:09,036
And I think Topol as an actor
is very much in that tradition.

399
00:22:09,119 --> 00:22:11,080
Topol was a universal Jew.

400
00:22:11,163 --> 00:22:13,249
He was a Jew from everywhere.

401
00:22:13,707 --> 00:22:17,837
Big and strong and
a great father and a great farmer,

402
00:22:17,920 --> 00:22:19,171
and confident.

403
00:22:19,755 --> 00:22:23,092
I see how he fits in with
Norman Jewison's conception.

404
00:22:23,425 --> 00:22:26,887
But Jewison's idea was
to universalize the story.

405
00:22:26,971 --> 00:22:28,597
He wanted everyone to see it.

406
00:22:28,681 --> 00:22:30,391
I hope the Canadians like it.

407
00:22:30,474 --> 00:22:31,934
I hope the Gentiles like it.

408
00:22:32,017 --> 00:22:34,353
[laughter]

409
00:22:35,646 --> 00:22:36,814
Okay. Alright.

410
00:22:41,068 --> 00:22:43,779
[Harris] I realized that
if I wanted what I wanted

411
00:22:43,863 --> 00:22:46,240
I had to do it from my soul

412
00:22:46,323 --> 00:22:47,950
and I had to go after it in a way that

413
00:22:48,033 --> 00:22:50,703
was not gonna follow
the rule book, because

414
00:22:50,786 --> 00:22:52,329
I was a Semitic-looking actor

415
00:22:52,413 --> 00:22:55,457
and, you know, there weren't
a lot of roles for people like me.

416
00:22:55,541 --> 00:22:57,626
Once Barbra Streisand became famous,

417
00:22:57,710 --> 00:23:00,129
I remember, I used to walk
around the halls like this,

418
00:23:00,212 --> 00:23:01,589
covering up my nose, you know.

419
00:23:01,672 --> 00:23:03,048
Like walking profile.

420
00:23:03,883 --> 00:23:05,759
And then when she
became famous, some said,

421
00:23:05,843 --> 00:23:08,429
"Roz, there's someone on
the Ed Sullivan Show looks like you."

422
00:23:09,054 --> 00:23:10,139
And I went to the TV,

423
00:23:10,222 --> 00:23:11,348
"Oh my God!"

424
00:23:11,724 --> 00:23:15,185
And suddenly the hand
came away and I was proud.

425
00:23:15,269 --> 00:23:16,103
Look!

426
00:23:16,437 --> 00:23:17,897
[Marsh] I had done a production

427
00:23:17,980 --> 00:23:20,190
of Tevye and his Daughters
in high school

428
00:23:20,274 --> 00:23:21,775
and I played Bielke,

429
00:23:21,859 --> 00:23:23,652
one of the younger daughters.

430
00:23:24,194 --> 00:23:25,988
[Small] I started doing theater.

431
00:23:26,071 --> 00:23:27,865
And I had done some television,

432
00:23:27,948 --> 00:23:32,828
including some kind of version
of Sholem Aleichem's stories.

433
00:23:32,912 --> 00:23:35,247
So, I come to New York.
I'm studying acting.

434
00:23:35,873 --> 00:23:37,207
And I'm auditioning.

435
00:23:37,750 --> 00:23:41,670
I get a call, "Rosalind, we want
to see you for the understudy to Tzeitel”

436
00:23:41,754 --> 00:23:43,505
who was, at that time, Bette Midler.

437
00:23:43,589 --> 00:23:46,425
And I get the role.
I'm understudying Tzeitel.

438
00:23:46,508 --> 00:23:48,469
One day Bette said to me backstage,

439
00:23:48,552 --> 00:23:51,722
"Roz, did you get
an audition for the film?

440
00:23:52,473 --> 00:23:54,516
Listen, they don't want me,

441
00:23:54,600 --> 00:23:56,268
get your ass down there."

442
00:23:56,810 --> 00:23:57,937
I go, "Really?"”

443
00:23:58,312 --> 00:24:00,814
I go down to the audition,
no appointment,

444
00:24:00,898 --> 00:24:03,359
everyone there with
their agent, their manager.

445
00:24:03,776 --> 00:24:06,278
And I just sat there
and every time they came out I said,

446
00:24:06,779 --> 00:24:09,657
"Hello, I'm understudying
Tzeitel on Broadway

447
00:24:09,740 --> 00:24:12,451
and I'd like to read.
I am Tzeitel."

448
00:24:12,868 --> 00:24:15,245
I read and I sang "Matchmaker”

449
00:24:15,329 --> 00:24:18,415
and they said,
"Get Jewison, he's at the hotel."

450
00:24:18,832 --> 00:24:20,125
Norman says, "Go ahead sing”

451
00:24:20,209 --> 00:24:22,711
and I sang all
three roles to "Matchmaker”

452
00:24:22,795 --> 00:24:24,421
'cause I really didn't
know what else to sing.

453
00:24:24,505 --> 00:24:26,298
|I was in the show!
So I'm singing, you know,

454
00:24:26,382 --> 00:24:27,967
Chava's role and Hodel's role:

455
00:24:28,050 --> 00:24:29,259
♪ Papa! [I
♪ Oh, Hodel! ♪

456
00:24:29,343 --> 00:24:31,053
I'm running around
like a mad woman.

457
00:24:31,136 --> 00:24:32,471
He's going, "Roz!

458
00:24:33,389 --> 00:24:35,182
Sit, sit on your hands.

459
00:24:35,557 --> 00:24:38,644
Sit on your hands
and just sing to Yente.

460
00:24:38,727 --> 00:24:41,271
Just in one.
Just sing to Yente.

461
00:24:41,647 --> 00:24:44,566
♪ Matchmaker, Matchmaker,
make me a match

462
00:24:44,650 --> 00:24:46,568
And he's walking around me like this.

463
00:24:46,652 --> 00:24:49,238
You know, all around,
like with the camera.

464
00:24:49,321 --> 00:24:50,781
I was 22.

465
00:24:51,156 --> 00:24:53,450
I was 22.
Yeah, I was 22.

466
00:24:53,534 --> 00:24:56,412
At that time I was 17,
going on 18.

467
00:24:57,037 --> 00:25:00,708
I sang in New York for Mr. Jewison.

468
00:25:00,791 --> 00:25:03,168
And I sang for Mr. Williams.

469
00:25:03,252 --> 00:25:06,046
Then, they flew me out

470
00:25:06,130 --> 00:25:08,257
for two screen tests.

471
00:25:08,340 --> 00:25:10,342
Because I'm such a strong singer,

472
00:25:10,426 --> 00:25:12,344
they tested me for Chava,

473
00:25:12,678 --> 00:25:15,556
and they tested me for Hodel.

474
00:25:16,557 --> 00:25:18,142
[Marsh] I was in Oh! Calcutta!

475
00:25:18,225 --> 00:25:20,811
The whole cast walked across the stage

476
00:25:20,894 --> 00:25:23,105
and we had bathrobes on, but we--

477
00:25:23,188 --> 00:25:24,189
[laughs]

478
00:25:24,273 --> 00:25:26,734
I was raised very conservatively.

479
00:25:26,817 --> 00:25:29,987
You don't raise your voice,
you don't cause a scene

480
00:25:30,070 --> 00:25:32,364
in public or anything like this.

481
00:25:32,948 --> 00:25:36,577
We were all arrested
for indecent exposure

482
00:25:36,660 --> 00:25:38,579
and we were mugged
and fingerprinted.

483
00:25:39,663 --> 00:25:42,583
I went in. John Williams
was there at the piano.

484
00:25:42,666 --> 00:25:46,795
And Norman was there and
he gave me some adjustments after I read,

485
00:25:46,879 --> 00:25:50,090
and he liked that I took his direction.

486
00:25:50,507 --> 00:25:53,927
And then the inevitable question came,

487
00:25:54,636 --> 00:25:56,638
"So, what have you been doing lately?"

488
00:25:57,389 --> 00:25:58,223
And I said,

489
00:25:59,224 --> 00:26:00,100
[sighs]

490
00:26:00,934 --> 00:26:03,896
"I'm in Oh! Calcutta! but I hate it."

491
00:26:05,606 --> 00:26:07,441
And Norman just looked at me...

492
00:26:10,486 --> 00:26:11,904
And he leaned back,

493
00:26:14,281 --> 00:26:15,157
and he said,

494
00:26:16,408 --> 00:26:18,160
"I was there opening night."

495
00:26:18,494 --> 00:26:20,204
"Hilly Elkins is a friend of mine."

496
00:26:20,287 --> 00:26:22,498
That was the producer, Hilly Elkins.

497
00:26:22,581 --> 00:26:27,127
And I thought,
"I'm screwed. That's it!"

498
00:26:27,211 --> 00:26:30,464
I remember, I was in-between shows,
it was a matinee day.

499
00:26:31,048 --> 00:26:32,674
And I came home. I was exhausted.

500
00:26:32,758 --> 00:26:34,093
And the phone rings.

501
00:26:34,676 --> 00:26:37,179
"Hello Rosalind,
this is Lynn Stalmaster.”

502
00:26:37,262 --> 00:26:40,474
"How would you like to be Tzeitel
in the film of Fiddler on the Roof?

503
00:26:41,350 --> 00:26:44,311
And I said, "Just a moment, please."

504
00:26:44,645 --> 00:26:45,813
"I would love that."

505
00:26:45,896 --> 00:26:47,815
And I put it down and screamed blood--

506
00:26:47,898 --> 00:26:48,816
[screams]

507
00:26:48,899 --> 00:26:50,734
And screamed bloody murder.

508
00:26:50,818 --> 00:26:52,361
He gets back, "Are you okay?"

509
00:26:52,444 --> 00:26:53,737
I said, "I'm fine."

510
00:26:54,446 --> 00:26:57,491
[Marsh] I got a call
from my agent saying,

511
00:26:57,574 --> 00:27:01,245
I was Norman's choice, but he wanted
to hear me sing one more time.

512
00:27:01,328 --> 00:27:03,914
He worried about
my voice being too breathy.

513
00:27:03,997 --> 00:27:07,876
Norman sent Johnny
and I into sound stage

514
00:27:07,960 --> 00:27:09,503
so he could work with me.

515
00:27:09,586 --> 00:27:11,839
About half an hour later,
Norman showed up

516
00:27:11,922 --> 00:27:13,215
and I sang for him.

517
00:27:13,298 --> 00:27:15,217
And Johnny says,
"No, we can make this work."”

518
00:27:15,300 --> 00:27:16,718
"We can make her voice work."”

519
00:27:16,802 --> 00:27:21,056
Norman walked to one end
of the sound stage and walked back...

520
00:27:21,515 --> 00:27:23,976
pensively... and said,

521
00:27:25,811 --> 00:27:26,854
"You've got the part.”

522
00:27:27,688 --> 00:27:28,730
"You're going to be a star."

523
00:27:28,814 --> 00:27:29,815
And I went "ah!"

524
00:27:30,315 --> 00:27:32,234
[Williams] A polished, professional,

525
00:27:32,317 --> 00:27:35,279
experienced, vocal
performance from these kids

526
00:27:35,362 --> 00:27:37,531
may not be exactly what you want.

527
00:27:37,614 --> 00:27:39,074
These are village kids.

528
00:27:39,616 --> 00:27:41,535
You know, you want
to sit down on a chair

529
00:27:41,618 --> 00:27:44,037
and rock and sing something that

530
00:27:45,330 --> 00:27:50,878
is simple and believable, and... felt.

531
00:27:50,961 --> 00:27:56,091
John Williams managed
to harness my singing,

532
00:27:56,175 --> 00:27:58,135
especially singing of ballads.

533
00:27:58,218 --> 00:28:01,180
And almost make the verse
that I do with the shawl

534
00:28:01,513 --> 00:28:02,890
kind of ballad-like,

535
00:28:03,390 --> 00:28:05,058
very whimsical.

536
00:28:05,142 --> 00:28:09,104
♪ Matchmaker, Matchmaker,
I'll bring the veil ♪

537
00:28:09,563 --> 00:28:14,610
♪ You bring the groom,
slender and pale &

538
00:28:14,693 --> 00:28:17,738
♪ Bring me a ring
for I'm longing to be ♪

539
00:28:17,821 --> 00:28:21,575
♪ The envy of all I see ♪

540
00:28:21,658 --> 00:28:23,869
The first thing would be
my going to the piano

541
00:28:23,952 --> 00:28:26,872
with that particular actor, with Norman

542
00:28:26,955 --> 00:28:28,498
and finding a key for the song

543
00:28:28,582 --> 00:28:30,334
that fit that particular person.

544
00:28:30,417 --> 00:28:33,503
♪ Matchmaker, Matchmaker,
make me a match

545
00:28:33,587 --> 00:28:35,339
♪ Find me a find ♪

546
00:28:35,422 --> 00:28:36,840
♪ Catch me a catch

547
00:28:36,924 --> 00:28:40,093
♪ Matchmaker, matchmaker
look through your book [

548
00:28:40,177 --> 00:28:44,014
♪ And make me a perfect match ♪

549
00:28:44,097 --> 00:28:45,849
Ah, can we do it once more, please?

550
00:28:45,933 --> 00:28:48,101
[Williams] And the next thing
to do would be to sit with Norman

551
00:28:48,185 --> 00:28:51,813
and discuss how he wanted
to plan the shooting of the scene.

552
00:28:52,522 --> 00:28:54,650
Because he wants
to make these camera moves

553
00:28:54,733 --> 00:28:55,984
which might elongate a shot,

554
00:28:56,068 --> 00:28:59,321
or he may particularly want to take

555
00:28:59,404 --> 00:29:02,866
a certain line in the song

556
00:29:04,034 --> 00:29:05,160
in a close-up,

557
00:29:05,577 --> 00:29:07,621
and the camera
was going to pull back this way,

558
00:29:07,704 --> 00:29:10,666
which may affect the way
you kind of vocalize that line.

559
00:29:10,749 --> 00:29:12,501
You may want to
project it a little bit more.

560
00:29:12,584 --> 00:29:16,088
[vocalizing]

561
00:29:21,468 --> 00:29:23,679
So it's almost like asking the director

562
00:29:23,762 --> 00:29:27,057
to storyboard what
you're gonna do with musical numbers

563
00:29:27,140 --> 00:29:28,475
as much as possible.

564
00:29:29,351 --> 00:29:33,021
[Small] We sang the score
in the recording studios.

565
00:29:33,105 --> 00:29:34,856
[Williams]
The singer would then go home

566
00:29:34,940 --> 00:29:37,526
with his or her tape and practice for days.

567
00:29:37,985 --> 00:29:40,696
[Small] We were given
a cassette version of the score

568
00:29:41,029 --> 00:29:44,116
and asked to master our delivery.

569
00:29:44,199 --> 00:29:45,659
Then come onto the stage

570
00:29:45,742 --> 00:29:48,704
to a pre-agreed upon
choreography for the scene.

571
00:29:49,079 --> 00:29:50,163
And Norman would shoot it.

572
00:29:51,039 --> 00:29:52,374
All right. Rehearsal.

573
00:29:53,709 --> 00:29:55,252
["Anatevka" playing]

574
00:29:56,003 --> 00:29:58,130
♪ What do we leave? ♪

575
00:29:58,505 --> 00:30:00,632
♪ Nothing much ♪

576
00:30:00,716 --> 00:30:03,927
♪ Only Anatevka ♪

577
00:30:04,803 --> 00:30:06,388
Bringing Fiddler to the big screen

578
00:30:06,471 --> 00:30:09,433
was certainly one
of my great challenges

579
00:30:09,516 --> 00:30:10,976
and also Norman's.

580
00:30:11,059 --> 00:30:14,604
In early discussions about
what to do for the credits of the film,

581
00:30:14,688 --> 00:30:15,814
the beginning of the film,

582
00:30:17,357 --> 00:30:20,319
for which there was no music
from the Broadway show,

583
00:30:20,402 --> 00:30:23,864
we had to create some music,
based on Bock and Harnick's score.

584
00:30:23,947 --> 00:30:26,325
And Norman and I said,
"Who is the greatest fiddler?"

585
00:30:26,408 --> 00:30:29,077
At that time in the world,
we would only say it would be Isaac Stern.

586
00:30:29,745 --> 00:30:31,371
[Jewison] The Mirisch Company said,

587
00:30:31,455 --> 00:30:33,665
"You can't hire Isaac Stern.”

588
00:30:33,749 --> 00:30:35,334
"It's gonna cost too much money."

589
00:30:35,417 --> 00:30:37,544
And I said,
"What are you talking about?”

590
00:30:37,627 --> 00:30:40,630
"He's the best violinist in the world,

591
00:30:40,714 --> 00:30:42,007
and he's a Russian Jew!"

592
00:30:42,090 --> 00:30:43,550
[stutters]

593
00:30:43,633 --> 00:30:46,553
"I'm telling you,
it will mean something to him."

594
00:30:46,970 --> 00:30:49,806
So I flew to Chicago

595
00:30:49,890 --> 00:30:52,642
where he was appearing
with the Chicago Symphony.

596
00:30:52,726 --> 00:30:58,440
["Violin Concerto in D minor"]

597
00:31:02,486 --> 00:31:05,238
And I said, "I want you to be

598
00:31:05,614 --> 00:31:07,616
the fiddler on the roof.

599
00:31:08,784 --> 00:31:10,452
He says,
"I can't climb up on a roof!"

600
00:31:10,535 --> 00:31:13,205
I said, "No, no.
You don't have to play it."

601
00:31:16,083 --> 00:31:18,919
I said,
"I will get an actor to play it."

602
00:31:19,002 --> 00:31:22,089
"I'll get a musician, a violinist,

603
00:31:22,172 --> 00:31:24,716
and he will sync with your recording,

604
00:31:25,300 --> 00:31:27,135
but I want your sound.”

605
00:31:27,219 --> 00:31:30,263
"I want your talent.
I want your love.”

606
00:31:30,347 --> 00:31:33,308
"I want your devotion to this."”

607
00:31:33,392 --> 00:31:34,559
So I got back on the plane

608
00:31:34,643 --> 00:31:36,395
and flew to Los Angeles.

609
00:31:36,728 --> 00:31:38,563
And I was so excited.

610
00:31:38,647 --> 00:31:40,732
I called John Williams and I said,

611
00:31:40,816 --> 00:31:42,359
"I met with Isaac Stern!"

612
00:31:42,901 --> 00:31:44,736
"I think he's going to do it!"

613
00:31:45,695 --> 00:31:51,368
["Prologue” playing]

614
00:32:00,460 --> 00:32:02,129
[Jewison] And John Williams,

615
00:32:02,212 --> 00:32:05,257
the conductor and arranger on the film,

616
00:32:05,340 --> 00:32:08,760
was very excited to have Isaac Stern.

617
00:32:08,844 --> 00:32:13,640
And so, John wrote this wonderful

618
00:32:14,099 --> 00:32:18,311
cadenza in the opening music.

619
00:32:18,395 --> 00:32:20,480
My musical chore was to write something

620
00:32:20,564 --> 00:32:22,649
in a Jewish tradition for Isaac

621
00:32:23,275 --> 00:32:25,694
to accompany five,
six, or seven minutes

622
00:32:25,777 --> 00:32:29,156
of a camera probe
of a Marc Chagall painting

623
00:32:29,239 --> 00:32:30,782
which could have been very beautiful.

624
00:32:31,241 --> 00:32:35,036
Marc Chagall was famous for
Fiddler on the Roof and that image.

625
00:32:36,079 --> 00:32:38,039
But sadly, we never got the painting,

626
00:32:38,123 --> 00:32:40,208
but we got the cadenza and variations.

627
00:32:41,126 --> 00:32:44,337
In the years since then,
I put it into a kind of concert version

628
00:32:44,421 --> 00:32:45,964
which we played all over the world.

629
00:32:46,339 --> 00:32:47,299
There's a...

630
00:32:49,968 --> 00:32:52,012
a tear, there's a tear,

631
00:32:52,095 --> 00:32:53,180
there's pain.

632
00:32:53,680 --> 00:32:56,850
In Polish, Russian, Romanian,

633
00:32:57,726 --> 00:32:59,186
I want to say Yiddish music.

634
00:33:00,812 --> 00:33:03,607
I know we had him
for two days in London.

635
00:33:03,690 --> 00:33:07,319
[Jewison] And I'll never forget
when Isaac Stern came in,

636
00:33:07,402 --> 00:33:09,112
all the orchestra went,

637
00:33:10,322 --> 00:33:12,073
"Maestro, Maestro."”

638
00:33:12,157 --> 00:33:14,075
And he walked in with his fiddle.

639
00:33:14,159 --> 00:33:18,497
And then I had bought,
at auction in Sotheby's,

640
00:33:20,123 --> 00:33:21,124
a Chagall.

641
00:33:22,125 --> 00:33:25,212
And it was a sketch of The Fiddler.

642
00:33:25,545 --> 00:33:30,884
So now, as Isaac Stern
walked into the orchestra

643
00:33:31,593 --> 00:33:34,930
to record, I held up The Fiddler

644
00:33:35,597 --> 00:33:37,516
and I tapped on the glass

645
00:33:38,099 --> 00:33:43,021
and he looked, and he says,
"We have Chagall here?"”

646
00:33:43,605 --> 00:33:45,941
"We have The Fiddler here?"”

647
00:33:46,691 --> 00:33:47,817
And he says,

648
00:33:48,276 --> 00:33:51,196
"I'm going to play it
a quarter tone flat."

649
00:33:51,738 --> 00:33:53,073
Because, he said,

650
00:33:53,615 --> 00:33:57,035
"Chagall's uncle used to get drunk

651
00:33:57,702 --> 00:33:59,704
and climb up on the roof

652
00:34:00,163 --> 00:34:03,625
and play the fiddle.
That's where he got the idea!”

653
00:34:03,708 --> 00:34:08,547
["Prologue” plays]

654
00:34:17,597 --> 00:34:19,182
[Jewison] The production designer

655
00:34:19,266 --> 00:34:23,270
is the one relationship
that a director has

656
00:34:23,353 --> 00:34:27,315
that starts long before the film begins

657
00:34:28,733 --> 00:34:32,028
and doesn't end until the last shot.

658
00:34:32,988 --> 00:34:37,826
And the good ones
can have a great effect

659
00:34:37,909 --> 00:34:41,121
upon the look of the film itself.

660
00:34:41,204 --> 00:34:42,080
[door closes]

661
00:34:45,208 --> 00:34:46,334
[Tevye sighs]

662
00:34:48,628 --> 00:34:51,673
And all this from killing
innocent animals.

663
00:34:51,756 --> 00:34:54,217
-Don't touch anything.
-All right.

664
00:34:54,301 --> 00:34:56,595
[Jewison]
Bob, as a production designer,

665
00:34:56,678 --> 00:34:59,472
could bring to each story

666
00:34:59,556 --> 00:35:02,058
a look that seemed to be organic,

667
00:35:02,142 --> 00:35:07,022
that seemed to be part of
those people and their lives.

668
00:35:07,105 --> 00:35:10,108
With Norman, you get
together and you talked a lot.

669
00:35:11,151 --> 00:35:15,405
And you discussed
mostly these human values.

670
00:35:15,488 --> 00:35:18,158
What were we after?
What were we trying to say

671
00:35:18,700 --> 00:35:22,162
about this situation or this person?

672
00:35:22,495 --> 00:35:25,040
[Jewison]
I was in awe of Robert Boyle

673
00:35:25,123 --> 00:35:27,542
because he had done
all those films with Hitchcock.

674
00:35:29,294 --> 00:35:31,379
[Narrator]
Robert Boyle had recently designed

675
00:35:31,463 --> 00:35:33,840
another movie version
of a Broadway smash:

676
00:35:33,923 --> 00:35:36,176
How to Succeed in Business
Without Really Trying

677
00:35:39,012 --> 00:35:41,222
<i>♪ This book is all that I need {</i>

678
00:35:41,556 --> 00:35:44,643
[Narrator] The big numbers
were choreographed for studio sets

679
00:35:44,726 --> 00:35:47,854
and shot as if the camera
were facing a proscenium.

680
00:35:51,274 --> 00:35:53,026
[cow mooing]

681
00:35:53,109 --> 00:35:56,071
[Narrator] /In Fiddler,
Jewison aims to stage the numbers

682
00:35:56,154 --> 00:35:58,698
throughout his own
little piece of the Old Country.

683
00:36:01,910 --> 00:36:05,163
He wants Topol to sing
"If I Were a Rich Man"

684
00:36:05,246 --> 00:36:08,083
as Tevye feeds his horse, in a barn.

685
00:36:08,667 --> 00:36:11,836
Working with John Williams
and choreographer Tommy Abbott,

686
00:36:11,920 --> 00:36:13,546
Boyle lays out the barn

687
00:36:13,630 --> 00:36:15,840
so Topol can climb to the loft

688
00:36:15,924 --> 00:36:17,592
at a precise moment in the song.

689
00:36:18,259 --> 00:36:22,806
♪ There would be one
long staircase just going up ♪

690
00:36:22,889 --> 00:36:25,308
♪ And one even
longer coming down ♪

691
00:36:26,226 --> 00:36:31,064
♪ And one more leading
nowhere, just for show ♪

692
00:36:34,651 --> 00:36:36,611
♪ I wouldn't have to work hard ♪

693
00:36:36,695 --> 00:36:40,573
♪ Ya ba dibba dibba dibba
dibba dibba dibba dum ♪

694
00:36:41,950 --> 00:36:43,785
♪ If I were a biddy biddy rich ♪

695
00:36:43,868 --> 00:36:45,161
[Williams] Just parenthetically,

696
00:36:45,245 --> 00:36:48,623
just showing me that
little bit of Topol up on the barn

697
00:36:48,707 --> 00:36:50,125
that's worth the price of the ticket.

698
00:36:50,208 --> 00:36:53,044
Just watching just that little... piece!

699
00:36:54,546 --> 00:36:57,340
The collaborative process
of making a musical number

700
00:36:57,424 --> 00:36:59,968
fit all the choreographed
action in the scene

701
00:37:00,051 --> 00:37:02,554
is sort of basically... arithmetic.

702
00:37:02,887 --> 00:37:04,973
Like Topol going up
the ladder in his barn.

703
00:37:05,056 --> 00:37:07,934
How many beats do we need
to get from here to there?

704
00:37:08,017 --> 00:37:11,229
We've got to take one step
off the ladder so he gets up quicker.

705
00:37:11,312 --> 00:37:13,148
Or we've got to add two beats of music

706
00:37:13,231 --> 00:37:16,526
so that he can get up there
a couple of beats later to make his turn.

707
00:37:17,402 --> 00:37:20,572
Jewison is one of the few
directors who understood that.

708
00:37:20,655 --> 00:37:22,198
How do we do that musically?

709
00:37:24,159 --> 00:37:27,495
[Boyle] The idea of
Fiddler on the Roof is very concrete.

710
00:37:27,579 --> 00:37:29,164
We understand the idea,

711
00:37:29,831 --> 00:37:33,376
but to make it understandable
in a physical sense,

712
00:37:33,460 --> 00:37:37,338
we have to organize all of
the different things that go into it.

713
00:37:37,672 --> 00:37:39,007
Tevye's house.

714
00:37:41,676 --> 00:37:43,261
Tevye's synagogue.

715
00:37:44,721 --> 00:37:48,600
Tevye's relation of
the religion to the community.

716
00:37:49,517 --> 00:37:52,854
All of this has to be
synthesized in such a way

717
00:37:53,229 --> 00:37:57,525
That it becomes dramatically... involving.

718
00:38:03,656 --> 00:38:07,035
What is important about a community?
It's the people within it.

719
00:38:07,118 --> 00:38:08,536
Look at this!

720
00:38:09,162 --> 00:38:10,997
Look what it says in the paper!

721
00:38:11,080 --> 00:38:13,666
[Boyle] So we have
to make it physically possible

722
00:38:13,750 --> 00:38:16,169
to bring all of the people into focus

723
00:38:16,252 --> 00:38:18,838
so that they don't become too confusing.

724
00:38:19,297 --> 00:38:20,924
We have to understand the people.

725
00:38:21,007 --> 00:38:23,259
So we have to make it possible

726
00:38:23,343 --> 00:38:25,178
for them to be understood.

727
00:38:25,261 --> 00:38:27,722
"In a village called Rajanka,

728
00:38:28,264 --> 00:38:30,475
all the Jews were evicted,

729
00:38:30,558 --> 00:38:32,519
forced to leave their homes."

730
00:38:35,104 --> 00:38:36,397
For what reason?

731
00:38:38,149 --> 00:38:39,067
It doesn't say.

732
00:38:39,734 --> 00:38:41,528
Maybe the Tsar wanted their land.

733
00:38:41,611 --> 00:38:42,403
Maybe a plague.

734
00:38:42,487 --> 00:38:44,405
May the Tsar have
his own personal plague!

735
00:38:44,489 --> 00:38:45,406
Amen!

736
00:38:46,366 --> 00:38:48,243
The research for the film was,

737
00:38:48,993 --> 00:38:50,870
a lot of it was right in this house.

738
00:38:51,913 --> 00:38:55,291
My wife, Bess,
had been a child actress

739
00:38:55,375 --> 00:38:57,961
in the Yiddish theater in New York

740
00:38:58,044 --> 00:39:00,505
and was steeped
in the Yiddish language.

741
00:39:00,588 --> 00:39:01,923
She could speak it.

742
00:39:02,006 --> 00:39:04,008
She knew all about Sholem Aleichem,

743
00:39:04,342 --> 00:39:05,969
and all of these stories, so

744
00:39:06,386 --> 00:39:09,472
I didn't come to this
without some previous knowledge.

745
00:39:10,807 --> 00:39:13,601
[Jewison] I remember Bob
bringing me a whole book

746
00:39:13,977 --> 00:39:16,354
of photographs by Vishniac.

747
00:39:16,980 --> 00:39:19,315
And he came to me and he says,

748
00:39:19,399 --> 00:39:20,859
"I have found it."

749
00:39:20,942 --> 00:39:25,905
"I have found the answer
to the whole film."

750
00:39:25,989 --> 00:39:29,617
He said, "We've got costumes,
we've got everything.”

751
00:39:29,701 --> 00:39:34,914
Because he was taking
photographs of shtetl life.

752
00:39:36,082 --> 00:39:38,585
This became our bible, Vishniac,

753
00:39:38,918 --> 00:39:43,047
those photographs,
because they were so honest.

754
00:39:43,131 --> 00:39:44,132
They were so real.

755
00:39:44,632 --> 00:39:47,927
And I based all my costume design

756
00:39:48,011 --> 00:39:53,141
and everything on
these photographs of shtetl life.

757
00:39:55,810 --> 00:39:58,313
[Narrator]
The Russian-French artist Marc Chagall

758
00:39:58,396 --> 00:40:00,899
inspired the creators
of the Broadway show

759
00:40:00,982 --> 00:40:04,861
with paintings of a fiddler
floating just above the roof,

760
00:40:04,944 --> 00:40:07,238
or standing with one foot on the roof

761
00:40:07,322 --> 00:40:08,656
and the other on the ground.

762
00:40:09,908 --> 00:40:13,828
Jerome Robbins and his
production designer Boris Aronson

763
00:40:13,912 --> 00:40:18,875
emulated Chagall's sprightly
and often surreal visual style.

764
00:40:20,335 --> 00:40:23,004
The fiddler became
the show's key metaphor.

765
00:40:23,630 --> 00:40:24,589
Tevye says:

766
00:40:40,188 --> 00:40:41,898
Could we have Tutti on the roof?

767
00:40:42,273 --> 00:40:45,026
Dick, tell Tutti to get on the roof!

768
00:40:45,109 --> 00:40:46,653
[Narrator]
Jewison wanted to make Chagall's

769
00:40:46,736 --> 00:40:50,239
archetype fiddle
and dance in the real world.

770
00:40:50,949 --> 00:40:53,368
Go on, children.
Another story tomorrow.

771
00:40:54,118 --> 00:40:58,122
[Jewison]
I felt the ambience and the reality

772
00:40:58,206 --> 00:41:03,378
you found on location,
where a story actually took place,

773
00:41:03,461 --> 00:41:07,006
put the actors into a different mode.

774
00:41:07,966 --> 00:41:09,676
[Boyle] When we looked for locations,

775
00:41:09,759 --> 00:41:12,720
we know we're going
to do a musical play.

776
00:41:13,262 --> 00:41:16,140
So we carried the music from the musical

777
00:41:16,849 --> 00:41:18,226
with us on tapes,

778
00:41:18,601 --> 00:41:20,228
and whenever we go into a village,

779
00:41:20,311 --> 00:41:21,854
we'd turn on our tapes,

780
00:41:22,522 --> 00:41:25,608
and try to feel how this music

781
00:41:25,692 --> 00:41:28,361
or how this village
was reacting to the music.

782
00:41:29,028 --> 00:41:32,281
If it felt wrong,
we'd pass up that town.

783
00:41:33,116 --> 00:41:35,451
I'm not a dancer nor do I sing.

784
00:41:35,535 --> 00:41:37,537
But I had this tape recorder,

785
00:41:37,620 --> 00:41:41,582
and I would try
to pace out the distances

786
00:41:42,083 --> 00:41:45,378
according to the musical beats.

787
00:41:45,878 --> 00:41:47,922
Because in doing a musical,

788
00:41:48,548 --> 00:41:50,842
we were dependent
upon the choreography.

789
00:41:50,925 --> 00:41:55,096
In other words, how long it took
to get from point A to point B.

790
00:41:57,640 --> 00:41:59,559
If, according to the music,

791
00:42:00,601 --> 00:42:03,688
let's say Miracle of Miracles
or one of those,

792
00:42:04,063 --> 00:42:06,024
you would sort of do a dance!

793
00:42:06,107 --> 00:42:09,193
♪ Wonder of wonders,
miracle of miracles ♪

794
00:42:09,277 --> 00:42:12,280
♪ I was afraid that God would frown ♪

795
00:42:12,363 --> 00:42:15,408
♪ But like he did
so long ago in Jericho ♪

796
00:42:15,491 --> 00:42:18,494
♪ God just made a wall fall down [

797
00:42:20,872 --> 00:42:24,125
[somber music playing]

798
00:42:25,585 --> 00:42:27,170
[Jewison] ] said to Bob Boyle,

799
00:42:27,503 --> 00:42:30,339
"Our biggest problem
is to make this film

800
00:42:30,840 --> 00:42:35,011
and make it look
like we're in Russia."”

801
00:42:35,553 --> 00:42:37,346
Now we can't go to Russia

802
00:42:37,430 --> 00:42:39,348
because of the political system.

803
00:42:39,432 --> 00:42:43,728
Let's get as close as
we can to that look.

804
00:42:46,022 --> 00:42:47,982
So then, someone said,

805
00:42:48,066 --> 00:42:50,068
"You should try Yugoslavia

806
00:42:50,151 --> 00:42:54,697
because Tito has the biggest
standing army in Europe

807
00:42:55,114 --> 00:42:57,784
and he has his own independence,

808
00:42:57,867 --> 00:43:01,537
the Russians won't
come in to Yugoslavia

809
00:43:01,621 --> 00:43:03,372
because Tito was too strong."

810
00:43:03,831 --> 00:43:05,875
And I said, "Does he like movies?"

811
00:43:05,958 --> 00:43:08,753
And they said,
"Oh yeah, yeah, he does like movies."

812
00:43:10,630 --> 00:43:13,174
So we flew to Zagreb.

813
00:43:13,257 --> 00:43:16,886
And then we went out
into the countryside

814
00:43:17,345 --> 00:43:20,556
and we found this
little village called Lekenik.

815
00:43:22,725 --> 00:43:26,896
And I said, "You know,
this could be Anatevka, right here."

816
00:43:27,396 --> 00:43:28,731
"Look at this village."

817
00:43:28,815 --> 00:43:32,485
"These little old houses, barns."

818
00:43:32,568 --> 00:43:34,070
"Look at this place.”

819
00:43:34,946 --> 00:43:37,448
"We can build our own synagogue,

820
00:43:37,532 --> 00:43:40,535
we can build Tevye's little barn."”

821
00:43:41,494 --> 00:43:43,079
Bob Boyle says, "You know,

822
00:43:43,579 --> 00:43:45,957
this looks exactly like it would

823
00:43:46,040 --> 00:43:48,167
150, 200 years ago.”

824
00:43:48,501 --> 00:43:52,964
So that's when we started
to negotiate with Tito.

825
00:44:03,933 --> 00:44:06,936
There were no wooden synagogues left

826
00:44:07,603 --> 00:44:10,273
in Europe after the Holocaust.

827
00:44:10,857 --> 00:44:12,191
Those had all been burned.

828
00:44:13,276 --> 00:44:16,362
We found records
of the old wooden synagogues

829
00:44:16,445 --> 00:44:20,908
and we managed to build
a synagogue based on those records.

830
00:44:22,618 --> 00:44:24,662
We relied on peasant workmen.

831
00:44:25,246 --> 00:44:27,957
People who were used to building barns

832
00:44:28,040 --> 00:44:30,001
and houses out of wood.

833
00:44:31,043 --> 00:44:33,921
And we found that
the systems of construction

834
00:44:34,005 --> 00:44:37,925
and even the kind of wood that was used
in the building of the synagogue

835
00:44:38,259 --> 00:44:39,510
were almost identical.

836
00:44:42,805 --> 00:44:46,058
[Narrator] Critic and professor
Alisa Solomon, in her book

837
00:44:46,142 --> 00:44:49,270
Wonder of Wonders: A Cultural History
of Fiddler on the Roof,

838
00:44:49,353 --> 00:44:52,773
was the first to note
how critical the synagogue was

839
00:44:52,857 --> 00:44:55,776
to defining tradition in Jewison's movie.

840
00:44:56,986 --> 00:45:00,114
Solomon marvels
at Boyle's Anatevka shul,

841
00:45:00,198 --> 00:45:04,702
"with images of a curly-horned
ram against a lavender sky,

842
00:45:05,369 --> 00:45:08,164
a pair of scales balanced just so,

843
00:45:08,581 --> 00:45:11,792
a brown scorpion
crawling on a blue field."”

844
00:45:12,418 --> 00:45:13,878
"This enchanting folk art,

845
00:45:13,961 --> 00:45:17,006
which mixed images of nature and text,

846
00:45:17,089 --> 00:45:19,425
secular hope and sacred prayer,

847
00:45:19,508 --> 00:45:21,636
was not widely known among Americans,

848
00:45:21,719 --> 00:45:24,055
Jewish or not, in 1971."

849
00:45:24,555 --> 00:45:25,973
As Solomon concludes,

850
00:45:26,057 --> 00:45:30,269
"It made the movie's shul
lovely and strange:

851
00:45:30,353 --> 00:45:33,731
an old-world relic of quiet grandeur.”

852
00:45:36,943 --> 00:45:38,945
Now, it would be nice...

853
00:45:39,028 --> 00:45:40,363
What if we just went opposite?

854
00:45:40,446 --> 00:45:43,157
We follow them around
with a hand-held this way.

855
00:45:43,241 --> 00:45:45,493
Then they come back into us this way.

856
00:45:45,576 --> 00:45:47,078
-Yes
-Now they're tight to us.

857
00:45:47,161 --> 00:45:48,454
Now they start that way.

858
00:45:48,788 --> 00:45:50,915
And we go this way.
And all you would get is just--

859
00:45:50,998 --> 00:45:53,876
That's right. Yes.
That would be fine. Fine.

860
00:45:53,960 --> 00:45:55,586
It's excitement,
even if it's only good for--

861
00:45:56,629 --> 00:46:01,008
["Wedding Celebration
And The Bottle Dance" plays]

862
00:46:03,135 --> 00:46:04,303
[Jewison] Ozzie Morris

863
00:46:04,387 --> 00:46:08,474
was one of the most brilliant
cinematographers in England

864
00:46:08,557 --> 00:46:09,475
at that time.

865
00:46:10,935 --> 00:46:13,562
And I knew he
had worked with John Huston

866
00:46:13,646 --> 00:46:15,898
and I knew he loved challenges.

867
00:46:16,899 --> 00:46:19,110
[Morris] Fiddler was
a cinematographer's dream.

868
00:46:19,193 --> 00:46:21,487
It really was. I mean,
it had everything in it, you know,

869
00:46:21,570 --> 00:46:26,158
dawn, day, dusk, sunset, night,

870
00:46:26,575 --> 00:46:29,453
winter, autumn and summer.

871
00:46:30,121 --> 00:46:32,581
I went out early with Norman Jewison

872
00:46:32,665 --> 00:46:33,958
to look at the locations

873
00:46:34,458 --> 00:46:37,920
and he said, "I want you to come up
with a color style for the film."

874
00:46:38,838 --> 00:46:42,341
[Jewison] I said, "It's got to have
a faded look to it."

875
00:46:43,175 --> 00:46:45,303
"It's got to have browns

876
00:46:45,803 --> 00:46:47,847
and no vibrant colors,

877
00:46:48,639 --> 00:46:50,099
no hot colors.”

878
00:46:52,435 --> 00:46:56,147
[Morris] So I said, "Look, I'll get
a crew and I'll go out

879
00:46:56,230 --> 00:46:58,065
and we'll do some tests.”

880
00:46:58,566 --> 00:47:00,985
Now, I noticed that where we did it,

881
00:47:01,068 --> 00:47:02,653
a place called Lekenik,

882
00:47:03,070 --> 00:47:07,283
everything was the color
of the soil, a rich brown.

883
00:47:07,366 --> 00:47:10,369
All the people,
the men that worked on the soil

884
00:47:10,453 --> 00:47:13,831
had it ingrained
in their faces, in their hands.

885
00:47:14,790 --> 00:47:17,376
The houses had this sort of gray,

886
00:47:17,460 --> 00:47:19,628
brown veneer on it almost.

887
00:47:20,254 --> 00:47:22,006
And the interiors are the same.

888
00:47:22,089 --> 00:47:24,216
It's the dust from the soil.

889
00:47:26,010 --> 00:47:27,845
And I thought, well this is an idea,

890
00:47:28,304 --> 00:47:31,057
but how do I make
everything sort of brown?

891
00:47:31,932 --> 00:47:33,559
[Jewison] So he said to me,

892
00:47:33,642 --> 00:47:36,562
"Maybe I should shoot it
through something?"

893
00:47:37,897 --> 00:47:40,066
And he looked at a girl walking

894
00:47:40,149 --> 00:47:42,777
down the... hall

895
00:47:44,028 --> 00:47:47,031
and he said, "You know, if I had a...

896
00:47:47,615 --> 00:47:49,325
maybe a silk stocking...

897
00:47:50,451 --> 00:47:52,286
and I could cut a piece

898
00:47:52,912 --> 00:47:54,747
and put it in front of the camera--"

899
00:47:54,830 --> 00:47:56,791
I said, "Put it in front of the lens?!"

900
00:47:57,166 --> 00:47:58,376
"Are you crazy?"

901
00:47:58,459 --> 00:48:01,796
"You can't put it in front of the lens!"

902
00:48:02,296 --> 00:48:05,007
[Morris] In those days,
they didn't have seamless stockings,

903
00:48:05,091 --> 00:48:08,427
They had a seam down
the back and we had a big lens.

904
00:48:08,886 --> 00:48:10,554
The front lens was very big,

905
00:48:10,638 --> 00:48:12,640
so I needed a bit of stocking

906
00:48:12,723 --> 00:48:14,433
that would cover the whole of the lens.

907
00:48:16,560 --> 00:48:19,814
So I sent a clapper boy into Zagreb

908
00:48:19,897 --> 00:48:24,193
to buy a whole bundle
of ladies silk stockings,

909
00:48:24,276 --> 00:48:26,404
the largest size there was.

910
00:48:29,156 --> 00:48:32,326
So the clapper boy comes back
with all these stockings.

911
00:48:32,410 --> 00:48:34,161
And we did some tests.

912
00:48:36,414 --> 00:48:37,623
And we sat and ran them.

913
00:48:37,706 --> 00:48:39,625
And I remember Norman saying,

914
00:48:39,708 --> 00:48:40,626
Let's go.

915
00:48:41,085 --> 00:48:46,257
"Ozzie, that's the way I think
Fiddler on the Roof should look."”

916
00:48:46,340 --> 00:48:48,300
And the world was my oyster then.

917
00:48:56,058 --> 00:48:57,476
[Jewison]
I was an actor myself,

918
00:48:57,560 --> 00:49:00,312
and that's helped me a great deal
in my relationship with actors,

919
00:49:00,396 --> 00:49:01,897
in the way I work with them.

920
00:49:02,273 --> 00:49:06,485
But I don't think a director's ego
should ever get in the way.

921
00:49:06,569 --> 00:49:09,071
It's about Lazar Wolf, the butcher.

922
00:49:09,572 --> 00:49:11,449
A good man. A fine man.

923
00:49:11,532 --> 00:49:14,785
And I don't have to tell you
he's well-off, no? Yes!

924
00:49:14,869 --> 00:49:18,831
[Harris] On stage, I don't think
I did a characterization of Yente.

925
00:49:18,914 --> 00:49:20,583
I think I did it as Tzeitel.

926
00:49:20,666 --> 00:49:22,251
But when Norman
saw me do it, he said,

927
00:49:22,334 --> 00:49:25,504
"No, no, I want you
to impersonate Molly Picon."

928
00:49:25,963 --> 00:49:29,091
♪ Hodel, oh Hodel!
Have I got a match for you! ♪

929
00:49:29,175 --> 00:49:30,551
♪ He's handsome, he's young! »

930
00:49:30,634 --> 00:49:32,219
♪ Alright, he's 62

931
00:49:32,303 --> 00:49:35,014
♪ But he's a nice man,
a good catch, true?

932
00:49:35,097 --> 00:49:36,015
<i>♪ True!!</i>

933
00:49:36,098 --> 00:49:37,141
[Harris] And that was new for me.

934
00:49:37,224 --> 00:49:38,976
I wish I'd even done it bigger.

935
00:49:39,059 --> 00:49:41,937
♪ Tzeitel, oh Tzeitel!
Have I made a match for you! ♪

936
00:49:42,021 --> 00:49:43,731
You know. So, I was young.

937
00:49:43,814 --> 00:49:45,441
But it was enough, it was enough.

938
00:49:45,524 --> 00:49:48,235
[Small] Sometimes,
Norman Jewison would actually--

939
00:49:48,319 --> 00:49:50,362
Not so much in the dramatic scenes,

940
00:49:50,446 --> 00:49:52,656
but sometimes in the fun scenes,

941
00:49:53,282 --> 00:49:55,326
I think maybe he couldn't help himself,

942
00:49:55,409 --> 00:49:58,287
and he would become a girl

943
00:49:58,662 --> 00:50:01,415
and become one
of the daughters and kind of

944
00:50:01,874 --> 00:50:02,958
do the reading.

945
00:50:03,042 --> 00:50:05,294
Not that he was giving us line readings,

946
00:50:05,377 --> 00:50:06,712
but it was such a delight

947
00:50:06,795 --> 00:50:10,633
to see him turn
into a 16-year-old girl.

948
00:50:11,050 --> 00:50:13,594
[Harris]
Part of his genius is that he hires actors

949
00:50:13,677 --> 00:50:15,513
that know their part,

950
00:50:15,596 --> 00:50:18,766
and that are
magically connected to their role

951
00:50:18,849 --> 00:50:20,059
and just work.

952
00:50:20,142 --> 00:50:22,436
And then he kind of
stays out of the way.

953
00:50:22,895 --> 00:50:25,481
[Marsh] Norman was a very gentle,

954
00:50:25,564 --> 00:50:27,650
supportive director.

955
00:50:27,733 --> 00:50:29,443
And then he would give suggestions

956
00:50:29,527 --> 00:50:31,654
of what you were missing.

957
00:50:31,737 --> 00:50:35,783
I felt insecure, not being Jewish.

958
00:50:36,158 --> 00:50:39,119
I felt insecure that
he was gonna change his mind.

959
00:50:40,120 --> 00:50:41,830
I have a couple of letters,

960
00:50:41,914 --> 00:50:43,958
notes that Norman wrote

961
00:50:44,041 --> 00:50:46,418
to me that just mean the world to me.

962
00:50:46,877 --> 00:50:47,920
Let me see, I have to--

963
00:50:49,171 --> 00:50:50,005
It says,

964
00:50:52,091 --> 00:50:53,342
"Dearest Michele,

965
00:50:53,717 --> 00:50:56,887
something to carry you
through this film and always."

966
00:50:56,971 --> 00:51:01,141
"I hope this will be one of the most
memorable experiences of your life."

967
00:51:02,643 --> 00:51:05,354
"You are everything
I wanted Hodel to be."

968
00:51:06,522 --> 00:51:08,065
I'm going to tear up now.

969
00:51:08,566 --> 00:51:11,277
"Much success and joy
attends you always."

970
00:51:11,360 --> 00:51:12,653
"Love, Norman."

971
00:51:14,154 --> 00:51:15,072
I mean...

972
00:51:15,990 --> 00:51:17,408
I'm a very good teacher.

973
00:51:17,491 --> 00:51:20,286
I heard once that the rabbi
who must praise himself

974
00:51:20,369 --> 00:51:21,829
has a congregation of one.

975
00:51:21,912 --> 00:51:23,664
[laughter]

976
00:51:23,747 --> 00:51:25,833
Your daughter has
a quick and witty tongue.

977
00:51:25,916 --> 00:51:28,877
I think that Hodel really
has kind of a mind of her own.

978
00:51:30,921 --> 00:51:33,007
And she's not afraid to go with it.

979
00:51:33,090 --> 00:51:34,800
I believe she was very brave.

980
00:51:36,093 --> 00:51:39,179
In many ways I was... I still am,

981
00:51:39,555 --> 00:51:40,848
insecure.

982
00:51:41,599 --> 00:51:44,226
But that's where
I found some confidence,

983
00:51:44,310 --> 00:51:45,603
or I found my strength,

984
00:51:45,936 --> 00:51:47,771
when I was playing a character.

985
00:51:48,814 --> 00:51:51,233
So I discovered Hodel

986
00:51:51,317 --> 00:51:52,985
as I was discovering myself

987
00:51:53,444 --> 00:51:54,695
playing Hodel.

988
00:51:57,197 --> 00:52:00,826
[Small] The chemistry
with the sisters came pretty naturally.

989
00:52:00,909 --> 00:52:02,828
We were all young women

990
00:52:02,911 --> 00:52:05,372
and we were all
living in the same place.

991
00:52:06,123 --> 00:52:09,043
[Harris] The girls were my family.
They were my sisters.

992
00:52:09,460 --> 00:52:11,086
Michele and I were closer in age

993
00:52:11,170 --> 00:52:13,130
and we would do girl talk.

994
00:52:13,213 --> 00:52:16,216
It was very much like
the family dynamic, to be truthful.

995
00:52:16,300 --> 00:52:17,885
It didn't feel like acting.

996
00:52:18,886 --> 00:52:22,806
[Marsh] Getting to know
the actresses who played my sisters,

997
00:52:22,890 --> 00:52:25,601
I would hang out
with them and compare notes

998
00:52:25,684 --> 00:52:28,020
on how a scene is going for you or not,

999
00:52:28,103 --> 00:52:30,522
I think that brought
us close together,

1000
00:52:30,606 --> 00:52:32,441
which gives you the sense of family.

1001
00:52:32,524 --> 00:52:35,569
["Wedding Celebration
And The Bottle Dance“ plays]

1002
00:52:37,446 --> 00:52:40,282
Doing the wedding scene,
Roz and I were very close.

1003
00:52:41,617 --> 00:52:45,287
She was just following through
an instinct to give me a hug,

1004
00:52:47,539 --> 00:52:49,416
Michele, Neva and I decided

1005
00:52:49,792 --> 00:52:51,710
that we are really Method Actors

1006
00:52:51,794 --> 00:52:54,296
and we should be real to the time,

1007
00:52:54,380 --> 00:52:56,048
turn of the century in Europe.

1008
00:52:56,131 --> 00:52:58,884
So we all decided
to grow our hair, everywhere.

1009
00:52:59,259 --> 00:53:00,678
And we're filming "Matchmaker?”...

1010
00:53:00,761 --> 00:53:03,430
♪ Matchmaker, matchmaker,
you know that |

1011
00:53:03,514 --> 00:53:05,683
And Norman says, "Stop the cameras.”

1012
00:53:06,725 --> 00:53:08,727
"What the heck's going on here?"

1013
00:53:08,811 --> 00:53:10,229
"Well, we want to be real.”

1014
00:53:10,312 --> 00:53:12,356
"We wanted to look
like European women."

1015
00:53:12,439 --> 00:53:13,565
He says, "Okay."

1016
00:53:13,649 --> 00:53:16,151
"I'm going to stop filming.
Go back to the hotel,

1017
00:53:16,235 --> 00:53:17,444
shave your pits."

1018
00:53:18,445 --> 00:53:20,114
When we were filming "Matchmaker”,

1019
00:53:20,197 --> 00:53:21,573
I was always stuffing my apron

1020
00:53:21,657 --> 00:53:25,035
with donuts and things,
and iced donuts and cupcakes.

1021
00:53:25,119 --> 00:53:28,914
Fabulous food, you know,
for the crew and the cast.

1022
00:53:28,997 --> 00:53:29,998
We gained weight,

1023
00:53:30,457 --> 00:53:33,419
and Norman said,
"You're getting to be pudgy.”

1024
00:53:33,502 --> 00:53:35,713
He had to close down
shooting for about a week.

1025
00:53:35,796 --> 00:53:38,382
[indistinct yelling]

1026
00:53:41,385 --> 00:53:43,595
What's your line? What's your line?

1027
00:53:45,931 --> 00:53:47,099
"If the terms..."

1028
00:53:47,182 --> 00:53:50,102
"We drank on it,
but the terms weren't settled.”

1029
00:53:50,185 --> 00:53:52,563
"Once a butcher, always a butcher."

1030
00:53:52,646 --> 00:53:53,897
Stop. Stop. Stop.

1031
00:53:54,773 --> 00:53:55,941
[Topol] On top of being lucky

1032
00:53:56,024 --> 00:53:59,111
to be directed by Jerry Robbins,

1033
00:53:59,570 --> 00:54:03,031
I had the privilege
of working with Norman Jewison,

1034
00:54:03,615 --> 00:54:08,662
who needed to make it
now right for the camera.

1035
00:54:09,288 --> 00:54:12,082
Not for the last row in the theater.

1036
00:54:13,542 --> 00:54:14,585
But for the camera,

1037
00:54:15,127 --> 00:54:17,880
which is three yards away from you

1038
00:54:17,963 --> 00:54:19,757
or two yards away from you.

1039
00:54:19,840 --> 00:54:21,091
So what can we do?

1040
00:54:21,675 --> 00:54:23,927
So that was a process

1041
00:54:24,344 --> 00:54:27,681
that definitely helped me

1042
00:54:27,765 --> 00:54:32,561
not to overdo things
which you're allowed on stage,

1043
00:54:32,644 --> 00:54:35,939
so to speak, but to minimize, really.

1044
00:54:38,776 --> 00:54:39,610
Golde?

1045
00:54:40,986 --> 00:54:41,820
♪ Do you love me? ♪

1046
00:54:44,239 --> 00:54:45,282
Do I what?

1047
00:54:46,325 --> 00:54:48,285
♪ Do you love me? ♪

1048
00:54:48,619 --> 00:54:50,829
I remember the feeling, you know,

1049
00:54:51,288 --> 00:54:53,415
of translating it, so to speak,

1050
00:54:53,499 --> 00:54:58,378
transferring it from
scenes that I do on stage.

1051
00:54:58,462 --> 00:55:00,964
It's a retrospect that he sings:

1052
00:55:02,132 --> 00:55:04,718
"The first time I met you
was on our wedding day."”

1053
00:55:04,802 --> 00:55:07,346
♪ The first time I met you
was on our wedding day ♪

1054
00:55:07,679 --> 00:55:09,973
<i>♪ I was scared
3 I was shy!</i>

1055
00:55:10,057 --> 00:55:11,642
♪ I was nervous ♪
♪ So was !'

1056
00:55:11,725 --> 00:55:13,185
"But my father and my mother..."

1057
00:55:13,268 --> 00:55:15,187
♪ But my father and my mother ♪

1058
00:55:15,270 --> 00:55:17,481
"Told me that
we would learn to love each other.

1059
00:55:17,564 --> 00:55:18,941
Now I'm asking..."

1060
00:55:19,024 --> 00:55:21,235
So now I'm asking, Golde,

1061
00:55:22,194 --> 00:55:24,404
♪ Do you love me? [

1062
00:55:24,488 --> 00:55:26,990
[Topol] So you can
do it in a hundred ways

1063
00:55:27,074 --> 00:55:29,451
especially if you are on stage

1064
00:55:29,535 --> 00:55:33,997
and we were not restrained
by Norman Jewison

1065
00:55:34,373 --> 00:55:36,959
who says, "The camera sees every nod

1066
00:55:37,042 --> 00:55:38,961
and every blink in your eyes”

1067
00:55:39,044 --> 00:55:40,379
and so on and so forth.

1068
00:55:40,796 --> 00:55:42,089
Don't work too hard.

1069
00:55:43,465 --> 00:55:49,263
Well, Anatevka hasn't exactly
been the Garden of Eden.

1070
00:55:49,346 --> 00:55:50,264
That's true.

1071
00:55:50,347 --> 00:55:53,141
[Topol] After we are told that
we have to leave Anatevka,

1072
00:55:53,225 --> 00:55:54,101
Tevye says,

1073
00:55:54,184 --> 00:55:55,978
"Someone should have set a match

1074
00:55:56,061 --> 00:55:58,146
to this place long ago."

1075
00:56:00,983 --> 00:56:02,276
And that's my father.

1076
00:56:03,277 --> 00:56:06,905
Someone should have
set a match to this place

1077
00:56:07,489 --> 00:56:08,907
years ago.

1078
00:56:08,991 --> 00:56:09,950
A bench.

1079
00:56:10,033 --> 00:56:11,034
A tree.

1080
00:56:11,118 --> 00:56:12,160
What's a house?

1081
00:56:12,578 --> 00:56:14,788
Every night, when I say it,

1082
00:56:15,789 --> 00:56:17,207
I know it's my father.

1083
00:56:20,210 --> 00:56:22,129
When I worked in Poland,

1084
00:56:22,212 --> 00:56:25,799
I went to Volomin, to the shtetl
where my father came from,

1085
00:56:25,883 --> 00:56:26,800
near Warsaw.

1086
00:56:27,175 --> 00:56:30,679
I took a camera and I went
to the house he lived in

1087
00:56:31,555 --> 00:56:33,891
and I photographed the staircase

1088
00:56:34,349 --> 00:56:38,061
from the point of view
of a young child.

1089
00:56:38,437 --> 00:56:41,899
And I took photographs of the apartment

1090
00:56:41,982 --> 00:56:44,026
and of the house from the outside,

1091
00:56:44,109 --> 00:56:47,321
of the courtyard, and so on
and so forth, of their shop.

1092
00:56:48,947 --> 00:56:51,033
And when I came back home,

1093
00:56:51,116 --> 00:56:54,286
I went to my father
and I showed him the photographs.

1094
00:56:57,122 --> 00:57:00,459
And I remember his face.
He looked at it, I said to him,

1095
00:57:01,376 --> 00:57:03,962
"Do you recognize it? This is your..."

1096
00:57:05,380 --> 00:57:06,757
And he looked at it

1097
00:57:08,717 --> 00:57:09,760
and he wiped

1098
00:57:11,470 --> 00:57:15,432
all the photographs... to the floor.

1099
00:57:18,101 --> 00:57:20,395
Obviously, I knew why he did it.

1100
00:57:20,479 --> 00:57:24,066
I mean, that's the place
that his parents,

1101
00:57:24,149 --> 00:57:27,736
his sisters didn't want
to leave when he left

1102
00:57:28,654 --> 00:57:31,281
and thought that
he was nuts to leave.

1103
00:57:31,949 --> 00:57:34,910
And none of them have survived.

1104
00:57:38,413 --> 00:57:42,793
And he was saying,

1105
00:57:42,876 --> 00:57:45,587
"I knew that
that was going to happen.”

1106
00:57:46,672 --> 00:57:49,132
So when I play Tevye,

1107
00:57:49,549 --> 00:57:51,802
it's commemorating my father,

1108
00:57:51,885 --> 00:57:54,513
my grandfather,
and my grand grandfather.

1109
00:57:56,848 --> 00:57:59,393
It was quite possible,
I was worried about it,

1110
00:57:59,476 --> 00:58:03,605
but I found it was quite possible
for me to identify with Tevye.

1111
00:58:04,606 --> 00:58:06,316
And to identify
with the Jewish religion.

1112
00:58:06,400 --> 00:58:10,070
The more I studied it
and the more I exposed myself to

1113
00:58:11,822 --> 00:58:14,741
Jewish homes, more orthodox homes.

1114
00:58:16,076 --> 00:58:18,578
I spent quite a bit
of time in Jerusalem and

1115
00:58:19,037 --> 00:58:22,165
I identify I think with
certain aspects of the Jewish religion.

1116
00:58:22,249 --> 00:58:23,667
I find it a very personal religion.

1117
00:58:23,750 --> 00:58:26,712
And any deep feelings I have at all

1118
00:58:27,379 --> 00:58:31,675
about God and about my own religion

1119
00:58:31,758 --> 00:58:32,968
are very personal.

1120
00:58:34,344 --> 00:58:36,596
[Narrator] Jewison
embraced Tevye's monologues

1121
00:58:36,680 --> 00:58:38,682
as dialogues with God.

1122
00:58:39,099 --> 00:58:41,935
Sometimes God is Tevye's straight man.

1123
00:58:42,436 --> 00:58:46,648
I know, I know.
We are the chosen people.

1124
00:58:48,442 --> 00:58:52,154
But once in a while,
can't you choose someone else?

1125
00:58:52,571 --> 00:58:56,033
[Narrator] And sometimes,
Tevye is God's fall guy.

1126
00:58:56,658 --> 00:58:59,161
Really. Sometimes I think,

1127
00:58:59,953 --> 00:59:02,039
when things are too quiet up there,

1128
00:59:02,873 --> 00:59:04,541
you say to yourself,

1129
00:59:05,083 --> 00:59:07,836
"Let's see. What kind of mischief

1130
00:59:07,919 --> 00:59:09,838
can I play on my friend Tevye?"

1131
00:59:10,213 --> 00:59:13,008
[Narrator] But God is always
present around him.

1132
00:59:13,800 --> 00:59:16,470
Whether Tevye is conjuring
some serious mischief

1133
00:59:16,553 --> 00:59:18,638
about a graveyard dream.

1134
00:59:19,431 --> 00:59:23,435
Or beseeching God
to explain injustice.

1135
00:59:24,394 --> 00:59:26,313
[Jewison]
You know, Topol was wonderful.

1136
00:59:26,396 --> 00:59:28,440
And it was remarkable

1137
00:59:28,523 --> 00:59:29,733
how well he did.

1138
00:59:29,816 --> 00:59:33,111
[Raim] Was he really looking at--
on a boom poll, a white dot?

1139
00:59:33,195 --> 00:59:35,447
Yeah. And he said...

1140
00:59:36,156 --> 00:59:39,242
And I said, "For instance,
you're always talking about God,

1141
00:59:40,077 --> 00:59:41,953
and you look up
there and you see him."

1142
00:59:43,163 --> 00:59:44,623
"And you should be able to--

1143
00:59:45,248 --> 00:59:48,376
But you must always
look at the same place.”

1144
00:59:48,460 --> 00:59:51,755
♪ You decreed I should be what I am ♪

1145
00:59:51,838 --> 00:59:56,301
♪ Would it spoil
some vast eternal plan ♪

1146
00:59:58,136 --> 01:00:00,388
So, he said,
"Well, how can we do that?"

1147
01:00:00,472 --> 01:00:02,015
And I said,
"I'm going to put a stick."

1148
01:00:02,390 --> 01:00:03,809
So |I got a big pole

1149
01:00:04,226 --> 01:00:05,936
and I put a white card on it.

1150
01:00:06,019 --> 01:00:07,020
And I held it up.

1151
01:00:07,104 --> 01:00:08,980
And he would look at the camera

1152
01:00:09,064 --> 01:00:10,857
and then he would look up at God.

1153
01:00:11,233 --> 01:00:12,234
And that worked.

1154
01:00:12,776 --> 01:00:16,154
[drum resounding]

1155
01:00:19,032 --> 01:00:22,786
[Jewison] We were always
looking for sunrises and sunsets.

1156
01:00:23,120 --> 01:00:25,539
And I'll never forget
when we did the wedding scene.

1157
01:00:26,039 --> 01:00:29,960
I wanted it to be shot just at sunset,

1158
01:00:30,418 --> 01:00:32,921
just with candles

1159
01:00:33,004 --> 01:00:35,090
lighting everybody's faces.

1160
01:00:36,424 --> 01:00:37,551
That's the way I see it.

1161
01:00:39,886 --> 01:00:43,473
I said it would be wonderful
if everybody brought candles

1162
01:00:43,557 --> 01:00:46,351
and we lit the whole
thing with candles.

1163
01:00:46,434 --> 01:00:49,646
Isn't there some way
if we shoot it the mystic hour?”

1164
01:00:51,648 --> 01:00:55,110
So Ozzie Morris got three candles,

1165
01:00:55,193 --> 01:00:57,737
put them together, lit them all,

1166
01:00:58,196 --> 01:01:00,907
and made enough candle power.

1167
01:01:01,908 --> 01:01:04,744
And I must say that whole scene,

1168
01:01:04,828 --> 01:01:08,039
the wedding scene
is probably the best

1169
01:01:08,498 --> 01:01:11,376
lit scene in any film I've done.

1170
01:01:12,836 --> 01:01:14,588
I mean, it is just magical.

1171
01:01:15,130 --> 01:01:20,010
And we managed
to get the right tone

1172
01:01:20,093 --> 01:01:23,263
for the song and for
the wedding number.

1173
01:01:23,889 --> 01:01:29,561
[Tevye]
♪ Is this the little girl I carried? ♪

1174
01:01:30,478 --> 01:01:35,442
♪ Is this the little boy at play? ♪

1175
01:01:37,194 --> 01:01:42,991
[Golde]
♪ I don't remember growing older ♪

1176
01:01:44,117 --> 01:01:48,330
♪ When did they? ♪

1177
01:01:48,413 --> 01:01:49,956
[Jewison] "Sunrise, Sunset”

1178
01:01:50,040 --> 01:01:52,292
is probably in my opinion,

1179
01:01:52,375 --> 01:01:55,921
one of the best songs
in the whole score.

1180
01:01:56,671 --> 01:01:59,549
The lyrics of the song
that Sheldon Harnick wrote

1181
01:01:59,966 --> 01:02:01,009
are so beautiful.

1182
01:02:01,843 --> 01:02:03,637
He's now in his 90s.

1183
01:02:03,720 --> 01:02:07,057
He's still alive.
He's the only one who's still alive.

1184
01:02:08,850 --> 01:02:12,103
[Harnick] "Sunrise, Sunset”
is about being a parent

1185
01:02:12,187 --> 01:02:13,897
and watching your children grow.

1186
01:02:14,522 --> 01:02:17,192
And when I worked
on "Sunrise, Sunset”

1187
01:02:17,525 --> 01:02:21,696
I wanted it to be a song that
they could sing at that ceremony.

1188
01:02:22,072 --> 01:02:25,784
So I thought, I don't even
think I thought about it,

1189
01:02:25,867 --> 01:02:27,827
it's just when I started working it,

1190
01:02:27,911 --> 01:02:32,457
I guess unconsciously, was the idea
that this is about a parent

1191
01:02:32,540 --> 01:02:34,709
singing about the children
who have grown up

1192
01:02:34,793 --> 01:02:36,419
and thinking about that process.

1193
01:02:36,753 --> 01:02:40,966
The music is played at every wedding

1194
01:02:41,049 --> 01:02:41,883
[laughs]

1195
01:02:42,968 --> 01:02:44,594
Since 1972.

1196
01:02:45,011 --> 01:02:46,054
[laughs]

1197
01:02:46,137 --> 01:02:50,100
[Harnick singing]
♪ Is this the little girl I carried? ♪

1198
01:02:50,600 --> 01:02:54,062
♪ Is this the little boy at play? ♪

1199
01:02:54,437 --> 01:02:59,192
♪ I don't remember growing older ♪

1200
01:02:59,276 --> 01:03:03,238
♪ When did they? ♪

1201
01:03:03,321 --> 01:03:07,492
♪ When did she get to be a beauty? [I

1202
01:03:07,826 --> 01:03:11,663
♪ When did he grow to be so tall? ♪

1203
01:03:11,746 --> 01:03:18,753
♪ Wasn't it yesterday
When they were small?

1204
01:03:20,171 --> 01:03:24,676
<i>3 Sunrise, sunset
Sunrise, sunset</i>

1205
01:03:25,093 --> 01:03:28,722
♪; Swiftly fly the years ♪

1206
01:03:28,805 --> 01:03:33,727
♪ One season following another ♪

1207
01:03:33,810 --> 01:03:39,607
♪ Laden with happiness and tears ♪

1208
01:03:40,066 --> 01:03:41,985
You're not crying.
What, how come?

1209
01:03:43,695 --> 01:03:46,323
What a lot of people may not
know about Norman Jewison

1210
01:03:46,406 --> 01:03:51,494
is that he's a man who is
fiercely committed to social justice.

1211
01:03:53,038 --> 01:03:55,707
I've met very few people
who have his kind of passion,

1212
01:03:56,791 --> 01:03:59,127
where it's just
in every aspect of his life.

1213
01:04:00,587 --> 01:04:02,172
[Jewison]
I was in the Canadian Navy

1214
01:04:02,255 --> 01:04:05,675
and I joined up when I was very young,
I was only 17-and-a-half.

1215
01:04:05,759 --> 01:04:09,220
And I only served a
year-and-a-half or so, or two years.

1216
01:04:09,304 --> 01:04:10,555
And then the war was over.

1217
01:04:10,972 --> 01:04:14,184
But they gave you leave at the end.

1218
01:04:14,267 --> 01:04:16,269
So I got very excited
because I thought,

1219
01:04:16,353 --> 01:04:17,395
"Well, I'll take a trip!"

1220
01:04:18,021 --> 01:04:20,398
I've always wanted
to go to the States.

1221
01:04:21,107 --> 01:04:22,984
Go all the way to New Orleans.

1222
01:04:23,318 --> 01:04:24,694
I love jazz.

1223
01:04:24,778 --> 01:04:27,238
So I got on this bus.

1224
01:04:27,781 --> 01:04:29,699
And I sat at the back of the bus.

1225
01:04:29,783 --> 01:04:32,410
And then I heard the bus driver,

1226
01:04:32,911 --> 01:04:35,663
and he was looking
in his rear vision mirror

1227
01:04:36,081 --> 01:04:38,500
and he says,
"You trying to be funny, sailor?"

1228
01:04:39,542 --> 01:04:41,378
I said, "What's the problem?”

1229
01:04:41,961 --> 01:04:43,880
And he says,
"Can't you read the sign?”

1230
01:04:44,381 --> 01:04:48,176
And I looked up,
and there was a sign in the bus.

1231
01:04:48,843 --> 01:04:53,139
And all it said was,
"Colored people to the rear.”

1232
01:04:53,640 --> 01:04:56,142
So I looked around me, and

1233
01:04:56,684 --> 01:05:00,397
there was a couple of African
American people sitting there.

1234
01:05:00,480 --> 01:05:02,816
And then I looked,
and then sure enough,

1235
01:05:02,899 --> 01:05:04,943
the whole front
of the bus was white.

1236
01:05:05,026 --> 01:05:06,528
And they were all looking at me.

1237
01:05:06,611 --> 01:05:09,531
And I didn't know what to do,
and I was very embarrassed.

1238
01:05:10,031 --> 01:05:12,242
"Cause I was a kid, you know,

1239
01:05:12,325 --> 01:05:15,412
I was very young, 19 years old.

1240
01:05:15,495 --> 01:05:16,329
I didn't know.

1241
01:05:17,163 --> 01:05:18,915
So I didn't know what to do, so |

1242
01:05:19,332 --> 01:05:21,042
picked up my sea bag and I said,

1243
01:05:21,459 --> 01:05:22,669
"Let me off the bus.”

1244
01:05:23,962 --> 01:05:25,588
He opened the door very...

1245
01:05:25,672 --> 01:05:26,589
[laughs]

1246
01:05:26,673 --> 01:05:29,342
Thankfully, I would imagine,

1247
01:05:29,426 --> 01:05:31,010
and put me off the bus.

1248
01:05:31,469 --> 01:05:34,597
And I stood there in the sun,

1249
01:05:35,098 --> 01:05:36,933
watching the bus pull away.

1250
01:05:37,308 --> 01:05:38,685
And I thought to myself,

1251
01:05:39,185 --> 01:05:43,815
of all the thousands
of African American soldiers,

1252
01:05:44,190 --> 01:05:46,401
sailors, airmen,

1253
01:05:46,484 --> 01:05:48,736
all of those men and women

1254
01:05:49,529 --> 01:05:53,992
many of them who gave
their lives defending America.

1255
01:05:54,868 --> 01:05:56,661
And I thought, "This isn't right.”

1256
01:05:57,454 --> 01:05:58,663
"When they come home,

1257
01:05:59,372 --> 01:06:01,458
they have to sit
at the back of the bus?"

1258
01:06:01,791 --> 01:06:03,418
"They can't sit where they want?"

1259
01:06:04,586 --> 01:06:06,129
I thought, "This isn't right."

1260
01:06:08,756 --> 01:06:11,176
I was totally disillusioned in America

1261
01:06:11,759 --> 01:06:14,512
It was the politics. It was the fear

1262
01:06:14,596 --> 01:06:18,099
of what was going to happen
to America at that time.

1263
01:06:18,183 --> 01:06:21,728
And there was problems in Israel,
there was problems in Europe.

1264
01:06:22,395 --> 01:06:26,941
And unfortunately, two actors
that I was supposed to audition,

1265
01:06:27,025 --> 01:06:29,068
Hanna Maron and Assaf Dayan,

1266
01:06:29,152 --> 01:06:31,988
were injured on trying to get to me

1267
01:06:32,447 --> 01:06:34,949
when the plane landed in Munich

1268
01:06:35,033 --> 01:06:37,577
and there was a terrorist attack.

1269
01:06:38,369 --> 01:06:40,914
So, there were things
happening in the world.

1270
01:06:41,331 --> 01:06:45,543
And there was things happening
in the world of Anatevka, in the story.

1271
01:06:45,627 --> 01:06:49,172
So I think it all started
to churn together

1272
01:06:50,632 --> 01:06:52,175
as I was making the film.

1273
01:06:53,635 --> 01:06:54,511
On my way.

1274
01:06:54,594 --> 01:06:55,470
Where are you going?

1275
01:06:58,264 --> 01:07:00,558
Chicago. In America.

1276
01:07:01,226 --> 01:07:02,477
Chicago, America?

1277
01:07:03,394 --> 01:07:05,647
We are going to New York, America.

1278
01:07:05,980 --> 01:07:07,524
The exodus

1279
01:07:08,274 --> 01:07:11,319
of all the people in Anatevka,

1280
01:07:12,237 --> 01:07:14,572
going to different parts of the world,

1281
01:07:14,656 --> 01:07:18,201
some going to Israel,
some going to America.

1282
01:07:18,910 --> 01:07:21,371
It's the history, in a way,

1283
01:07:21,913 --> 01:07:24,707
of the Jewish people moving

1284
01:07:25,291 --> 01:07:28,670
out of Eastern Europe
and out of Russia,

1285
01:07:29,629 --> 01:07:33,550
at a period in history where
they were being forced out

1286
01:07:33,925 --> 01:07:36,970
through antisemitism and pogroms.

1287
01:07:37,428 --> 01:07:39,097
[people screaming]

1288
01:07:39,180 --> 01:07:40,682
[glass shatters]

1289
01:07:40,765 --> 01:07:44,060
And so I wanted to put up
a pogrom into the film.

1290
01:07:44,519 --> 01:07:48,523
I thought we could do something
that they could never do in the play.

1291
01:07:49,649 --> 01:07:51,985
I wanted to show the Cossacks.

1292
01:07:52,068 --> 01:07:54,904
I wanted to show
a little bit of the violence.

1293
01:07:55,572 --> 01:07:57,115
I wanted to take Perchik,

1294
01:07:57,198 --> 01:07:59,784
I wanted him to wave a red flag

1295
01:07:59,867 --> 01:08:03,204
and to show the rise of communism

1296
01:08:03,538 --> 01:08:04,956
against the Tsar,

1297
01:08:05,039 --> 01:08:08,418
against the establishment at that time.

1298
01:08:08,501 --> 01:08:10,920
[crowd cheering]

1299
01:08:11,462 --> 01:08:12,714
The time has come.

1300
01:08:13,381 --> 01:08:14,966
And the time is now.

1301
01:08:16,342 --> 01:08:17,677
Now we stand here before you

1302
01:08:17,760 --> 01:08:19,762
Not one, but many.

1303
01:08:20,513 --> 01:08:21,556
Many like you.

1304
01:08:22,807 --> 01:08:24,726
Students, workers,

1305
01:08:25,560 --> 01:08:27,395
striving for a better life.

1306
01:08:29,981 --> 01:08:30,982
Your father is coming.

1307
01:08:34,819 --> 01:08:37,071
Chava, let me talk to him.
Let me tell him about us.

1308
01:08:37,155 --> 01:08:39,991
No, Fyedka. That would be
the worst thing. I'm sure of it.

1309
01:08:40,074 --> 01:08:40,992
But let me try!

1310
01:08:41,075 --> 01:08:43,077
No. I'll talk to him.

1311
01:08:44,203 --> 01:08:45,038
I promise.

1312
01:08:45,455 --> 01:08:48,374
[Harnick] Chava, in one of
the Sholem Aleichem Tevye stories,

1313
01:08:48,458 --> 01:08:49,959
she marries a Russian.

1314
01:08:50,335 --> 01:08:52,128
She marries outside of the faith.

1315
01:08:52,754 --> 01:08:53,671
Good afternoon, sir.

1316
01:08:55,965 --> 01:08:56,924
Good afternoon.

1317
01:08:58,259 --> 01:09:00,303
[Harnick]
And in the original Tevye stories

1318
01:09:00,386 --> 01:09:02,180
and in our show, Fiddler on the Roof,

1319
01:09:02,263 --> 01:09:05,350
at that time,
Tevye had to declare her dead.

1320
01:09:05,808 --> 01:09:10,229
That was what it meant
to be a truly, deeply orthodox Jew.

1321
01:09:10,563 --> 01:09:12,190
If the daughter married out of the faith

1322
01:09:13,191 --> 01:09:14,359
you declared her dead.

1323
01:09:14,984 --> 01:09:18,696
[Topol]
I can tell you that this is the point

1324
01:09:18,780 --> 01:09:21,991
that I cherish in the second act.

1325
01:09:22,909 --> 01:09:24,118
I'll tell you more than that,

1326
01:09:24,535 --> 01:09:29,957
I deliberately kill the jokes there.

1327
01:09:30,041 --> 01:09:31,918
Fyedka is not a creature, Papa.

1328
01:09:32,418 --> 01:09:33,544
Fyedka is a man.

1329
01:09:33,628 --> 01:09:35,213
Who says he isn't?

1330
01:09:36,798 --> 01:09:40,635
It's just that he is
a different kind of man.

1331
01:09:41,469 --> 01:09:43,262
As the Good Book says,

1332
01:09:43,846 --> 01:09:46,766
"Each shall seek his own kind."”

1333
01:09:46,849 --> 01:09:49,268
When he says, "A bird may love a fish,

1334
01:09:49,977 --> 01:09:51,646
but where would they build
a home together?"

1335
01:09:54,107 --> 01:09:55,942
That's a very good joke.

1336
01:09:56,401 --> 01:10:00,738
But I stretch it in a way

1337
01:10:03,074 --> 01:10:05,535
that they'll get the humor,
but won't laugh.

1338
01:10:08,871 --> 01:10:10,540
The world is changing, Papa.

1339
01:10:10,623 --> 01:10:11,541
No, Chaveleh.

1340
01:10:13,376 --> 01:10:14,210
No.

1341
01:10:15,169 --> 01:10:16,838
Some things do not change for us.

1342
01:10:18,089 --> 01:10:19,632
Because I don't want them to laugh there,

1343
01:10:19,716 --> 01:10:22,927
I want them to be with Tevye

1344
01:10:23,010 --> 01:10:27,390
who in a few minutes will say,
"Chava is dead to us.”

1345
01:10:29,225 --> 01:10:31,352
I want them to cry together with me.

1346
01:10:41,195 --> 01:10:42,029
Chava.

1347
01:10:44,824 --> 01:10:47,076
[Harnick] In one of the
Sholem Aleichem Tevye stories,

1348
01:10:47,160 --> 01:10:49,579
when Tevye and the other
children who are still with them,

1349
01:10:49,662 --> 01:10:51,456
when they have to leave Anatevka,

1350
01:10:51,956 --> 01:10:53,124
Chava comes back.

1351
01:10:53,750 --> 01:10:55,877
She has left her husband.

1352
01:10:55,960 --> 01:10:57,795
The relationship has not worked out.

1353
01:10:58,171 --> 01:11:00,548
And I was so glad
we didn't know about that

1354
01:11:00,882 --> 01:11:02,550
because originally,

1355
01:11:02,633 --> 01:11:05,928
Joe Stein had to figure out
how to end the Chava story.

1356
01:11:10,808 --> 01:11:14,771
What Joe did,
he had Chava marry Fyedka.

1357
01:11:15,480 --> 01:11:16,314
Papa?

1358
01:11:20,234 --> 01:11:21,611
We came to say goodbye.

1359
01:11:22,820 --> 01:11:24,739
And they come to say goodbye

1360
01:11:25,156 --> 01:11:26,574
to Tevye and Golde and the family

1361
01:11:26,657 --> 01:11:28,367
when they're leaving for America.

1362
01:11:29,035 --> 01:11:31,370
Tevye, who has declared her dead,

1363
01:11:31,454 --> 01:11:33,748
just goes on with his
packing and ignores her,

1364
01:11:33,831 --> 01:11:35,583
and ignores her and ignores her.

1365
01:11:38,961 --> 01:11:39,879
Goodbye, Papa.

1366
01:11:43,341 --> 01:11:44,300
Mama?

1367
01:11:44,383 --> 01:11:46,886
And then finally,
just before they leave,

1368
01:11:46,969 --> 01:11:50,014
he can't stand it anymore,
and he turns to them and he says:

1369
01:11:50,640 --> 01:11:51,724
And God be with you.

1370
01:11:52,600 --> 01:11:54,185
And it's so moving.

1371
01:11:54,268 --> 01:11:55,269
She's his child.

1372
01:11:57,063 --> 01:11:58,523
And God be with you.

1373
01:11:59,106 --> 01:12:01,192
We will write to you
in America, if you like.

1374
01:12:01,609 --> 01:12:04,654
We will be staying with Uncle Avram!

1375
01:12:04,737 --> 01:12:05,613
Yes, Mama.

1376
01:12:09,617 --> 01:12:12,245
And no matter what's happened,
she remains his child.

1377
01:12:12,328 --> 01:12:14,789
And he loves her
and he has to connect with her.

1378
01:12:14,872 --> 01:12:17,416
So that's the last thing he says to her.

1379
01:12:18,000 --> 01:12:18,835
And then they leave.

1380
01:12:18,918 --> 01:12:20,044
[Raim] That's Joe Stein?

1381
01:12:20,127 --> 01:12:21,420
And that's Joe Stein.

1382
01:12:22,338 --> 01:12:24,006
Joe invented that ending.

1383
01:12:28,010 --> 01:12:29,512
We need the first light snow,

1384
01:12:31,347 --> 01:12:32,932
which I'm hoping we'll get, you know

1385
01:12:33,015 --> 01:12:35,351
just a very light November snow.

1386
01:12:36,602 --> 01:12:40,022
I found that if we used
marble dust very lightly,

1387
01:12:40,439 --> 01:12:43,192
didn't try to make it look like
there was a heavy snow...

1388
01:12:43,901 --> 01:12:46,445
I think it's fairly successful in the film

1389
01:12:46,529 --> 01:12:50,199
because we only shot on
days where the sky was darker

1390
01:12:50,283 --> 01:12:51,659
than the snow itself.

1391
01:12:52,159 --> 01:12:54,245
Which really gives you
an indication of winter.

1392
01:12:57,874 --> 01:13:00,877
They insisted I shoot
the Hodel farewell scene

1393
01:13:00,960 --> 01:13:03,170
when she goes to Siberia
and Tevye takes the railway.

1394
01:13:03,254 --> 01:13:04,505
And they insisted I shoot that

1395
01:13:05,214 --> 01:13:06,799
regardless of the weather in Yugoslavia.

1396
01:13:06,883 --> 01:13:08,926
But I refused and came back to London.

1397
01:13:10,928 --> 01:13:12,513
[Narrator] According to Oswald Morris,

1398
01:13:12,597 --> 01:13:15,641
the wedding celebration
precipitated a crisis.

1399
01:13:16,559 --> 01:13:18,728
The cinematographer
writes in his memoir:

1400
01:13:19,103 --> 01:13:23,482
"The shindig called for men to prance
around with bottles on their heads."

1401
01:13:24,317 --> 01:13:26,694
"By now the nights were getting colder.”

1402
01:13:32,617 --> 01:13:37,788
["Wedding Celebration
And The Bottle Dance“ plays]

1403
01:13:40,791 --> 01:13:42,293
"The dancers approached Norman,

1404
01:13:42,877 --> 01:13:47,173
who decided that the set should
be rebuilt at Pinewood Studios,

1405
01:13:47,256 --> 01:13:48,633
where they would feel safe

1406
01:13:48,716 --> 01:13:51,177
and so perform
much more spectacularly.”

1407
01:13:51,260 --> 01:13:56,849
["Wedding Celebration
And The Bottle Dance“ plays]

1408
01:13:57,433 --> 01:13:59,226
"We spent over two months at Pinewood

1409
01:13:59,310 --> 01:14:02,647
completing the wedding
and bottle dance sequences,

1410
01:14:02,730 --> 01:14:04,148
the famous dream scene,

1411
01:14:04,231 --> 01:14:05,900
and the confrontation in the bar."”

1412
01:14:08,235 --> 01:14:10,821
"When our small nucleus
returned to Yugoslavia

1413
01:14:10,905 --> 01:14:13,366
in mid-February for the farewell scene,

1414
01:14:13,699 --> 01:14:14,784
what did we find?"

1415
01:14:15,660 --> 01:14:19,622
"Bright, crisp sunshine,
and not a speck of snow!"”

1416
01:14:20,915 --> 01:14:23,167
"We completed the opening
and closing long shots

1417
01:14:23,250 --> 01:14:25,878
at first light, before the sun had risen

1418
01:14:26,212 --> 01:14:27,463
and after it had set.”

1419
01:14:28,214 --> 01:14:29,966
"I used graduated filters

1420
01:14:30,049 --> 01:14:32,843
to give the sky an eerie effect.”

1421
01:14:34,178 --> 01:14:35,972
"I felt I had imbued the scene

1422
01:14:36,055 --> 01:14:38,975
with the right sombre, isolated quality."”

1423
01:14:39,934 --> 01:14:43,145
"Though I readily admit
that having real snow

1424
01:14:43,229 --> 01:14:44,563
would have made it perfect.”

1425
01:14:46,023 --> 01:14:47,566
[Marsh] Probably before Perchik,

1426
01:14:47,650 --> 01:14:51,445
it never had dawned on Hodel
that she would leave home.

1427
01:14:51,862 --> 01:14:54,407
It's a very difficult decision,

1428
01:14:54,782 --> 01:14:58,077
but... that's where her heart is.

1429
01:14:58,786 --> 01:14:59,870
And she has to go.

1430
01:15:01,122 --> 01:15:02,748
Will I even remember the words?

1431
01:15:03,124 --> 01:15:04,375
[laughs]

1432
01:15:04,959 --> 01:15:08,504
♪ How can I hope
to make you understand ♪

1433
01:15:08,921 --> 01:15:12,842
♪ Why I do what !I do? &

1434
01:15:13,175 --> 01:15:16,721
♪ Once I was happily content to be I

1435
01:15:17,096 --> 01:15:18,305
♪ As I was ♪

1436
01:15:18,389 --> 01:15:19,557
I'm going to start crying.

1437
01:15:20,016 --> 01:15:21,308
♪ Where I was ♪

1438
01:15:23,394 --> 01:15:27,648
♪ Close to the people
who are close to me ♪

1439
01:15:28,107 --> 01:15:32,611
<i>♪ Here in the home |I love</i>

1440
01:15:33,237 --> 01:15:38,200
♪ Oh, what a melancholy
choice this is I

1441
01:15:38,993 --> 01:15:43,789
♪ Wanting home, wanting him ♪

1442
01:15:43,873 --> 01:15:45,958
The last day of filming was

1443
01:15:46,042 --> 01:15:47,626
"Far from the Home I Love".

1444
01:15:48,919 --> 01:15:49,962
Papa!

1445
01:15:51,964 --> 01:15:54,633
God alone knows when
we shall see each other again.

1446
01:15:57,136 --> 01:16:01,474
Then... we will leave it in his hands.

1447
01:16:04,977 --> 01:16:08,355
[Marsh] And the last shot
for me is climbing on the train

1448
01:16:08,439 --> 01:16:09,815
and waving goodbye to papa.

1449
01:16:11,108 --> 01:16:12,693
And then that was it.

1450
01:16:15,112 --> 01:16:16,363
It didn't feel real.

1451
01:16:16,864 --> 01:16:19,325
It didn't feel real,
didn't want it to be.

1452
01:16:20,576 --> 01:16:23,454
It was the most important thing
I've ever worked on.

1453
01:16:23,829 --> 01:16:27,291
And I don't think anything
ever matched it again.

1454
01:16:27,374 --> 01:16:29,085
I don't think anything ever could.

1455
01:16:29,794 --> 01:16:32,838
I mean, what a gift
I was given, what a gift.

1456
01:16:33,923 --> 01:16:36,008
[Harris] This film, for 30 years,

1457
01:16:36,092 --> 01:16:37,635
was a credit on my resume,

1458
01:16:38,010 --> 01:16:39,428
and that was a very good credit.

1459
01:16:39,804 --> 01:16:43,682
One day, I was taking a course

1460
01:16:44,767 --> 01:16:48,229
and it was a seminar,
and I stood up and I said

1461
01:16:48,312 --> 01:16:50,356
"Look, some of you may remember me

1462
01:16:50,815 --> 01:16:53,150
from the film I did
when I was very young,

1463
01:16:53,234 --> 01:16:54,985
Fiddler on the Roof,
and I played Tzeitel."

1464
01:16:55,528 --> 01:16:57,738
I thought a bomb went off,
because I went

1465
01:16:57,822 --> 01:16:59,365
"What's happening?"

1466
01:16:59,448 --> 01:17:03,369
Because there was
this huge uproar of applause.

1467
01:17:03,452 --> 01:17:05,579
Wow! And I go, "What is that?"

1468
01:17:06,330 --> 01:17:09,250
And suddenly, it was a legend

1469
01:17:09,333 --> 01:17:12,086
and suddenly I was a celebrity.

1470
01:17:12,419 --> 01:17:13,754
And I went, "Wow!"

1471
01:17:14,088 --> 01:17:16,340
[Small] What Fiddler on the Roof
means for me today

1472
01:17:16,423 --> 01:17:18,801
is the joy that I have
when people tell me

1473
01:17:18,884 --> 01:17:21,303
"I saw the movie with my grandmother!"

1474
01:17:21,387 --> 01:17:23,597
"I played the part in high school.”

1475
01:17:23,931 --> 01:17:25,141
All of that.

1476
01:17:25,224 --> 01:17:27,184
[Turan]
The film is almost of a piece.

1477
01:17:27,268 --> 01:17:28,519
It's almost like Brigadoon.

1478
01:17:28,853 --> 01:17:30,771
It exists in and of itself.

1479
01:17:31,397 --> 01:17:32,982
These actors came together,

1480
01:17:33,065 --> 01:17:34,859
and it wasn't
a launching pad for anyone.

1481
01:17:34,942 --> 01:17:37,236
You know, it just
existed in and of itself.

1482
01:17:37,319 --> 01:17:38,654
They created this world

1483
01:17:39,029 --> 01:17:40,656
and then like Brigadoon,
they just went away.

1484
01:17:43,492 --> 01:17:46,078
One of the last things
you see in the film

1485
01:17:46,162 --> 01:17:48,539
is it says, "Made in Yugoslavia.”

1486
01:17:49,165 --> 01:17:51,125
This is another place
that is no more.

1487
01:17:51,917 --> 01:17:53,669
It is no more, you know.

1488
01:17:55,045 --> 01:17:56,005
Country is gone.

1489
01:17:56,088 --> 01:17:59,091
And it's just something very
poignant about this kind of loss.

1490
01:17:59,175 --> 01:18:01,010
They didn't know that
when they made the film.

1491
01:18:01,093 --> 01:18:02,845
They thought Yugoslavia was like Spain.

1492
01:18:02,928 --> 01:18:04,096
It would be there forever.

1493
01:18:04,555 --> 01:18:07,183
But now people say
"The former Yugoslavia."

1494
01:18:08,309 --> 01:18:10,227
I mean, I guess that's one
of the things that Fiddler is about.

1495
01:18:10,311 --> 01:18:11,395
Nothing is permanent.

1496
01:18:11,770 --> 01:18:13,314
They think they're
going to be there forever.

1497
01:18:13,397 --> 01:18:15,274
They've always been there,
and then one day

1498
01:18:15,357 --> 01:18:17,484
the authorities shows up
and they say, "You're leaving.”

1499
01:18:18,194 --> 01:18:20,613
And the same thing
happened with Yugoslavia,

1500
01:18:20,696 --> 01:18:22,823
I think those people
thought that country would last.

1501
01:18:23,532 --> 01:18:26,035
And for variety of reasons it did not.

1502
01:18:27,328 --> 01:18:29,246
[Topol] I saw it in Yugoslavia.

1503
01:18:29,330 --> 01:18:32,458
I saw it in Turkey.
I saw it in Tokyo.

1504
01:18:33,083 --> 01:18:36,295
And it doesn't matter whether
they are Jewish or not Jewish.

1505
01:18:36,378 --> 01:18:39,965
I mean over
one billion people saw the film.

1506
01:18:40,341 --> 01:18:42,218
So they couldn't all be Jewish.

1507
01:18:43,093 --> 01:18:45,179
And the issues

1508
01:18:45,596 --> 01:18:48,724
that Sholem Aleichem has brought in

1509
01:18:49,808 --> 01:18:52,937
and deals with are universal issues.

1510
01:18:53,896 --> 01:18:56,398
[Jewison] I'll never forget
when United Artists called me,

1511
01:18:56,482 --> 01:18:59,610
and they said,
"We just opened in Japan

1512
01:18:59,693 --> 01:19:03,322
and the Japanese love this film!"

1513
01:19:03,405 --> 01:19:05,324
And I said, "They love it

1514
01:19:05,407 --> 01:19:08,369
because it's the
breaking down of tradition.”

1515
01:19:09,245 --> 01:19:11,455
"And they know
all about that in Japan.”

1516
01:19:12,122 --> 01:19:13,249
"And I'm telling you,

1517
01:19:14,625 --> 01:19:17,419
Sholem Aleichem
is going to speak to the Japanese

1518
01:19:18,128 --> 01:19:19,380
through Fiddler."

1519
01:19:20,089 --> 01:19:22,341
And they're going to understand

1520
01:19:22,967 --> 01:19:27,888
so much about not only
about Jewish culture

1521
01:19:28,430 --> 01:19:29,807
and Jewish life,

1522
01:19:30,516 --> 01:19:32,893
but also about the problems

1523
01:19:35,312 --> 01:19:38,691
that have created
Israel in the first place."

1524
01:19:40,651 --> 01:19:43,112
I'll never forget,
when the film opened,

1525
01:19:43,195 --> 01:19:46,073
we had our first screening in Israel

1526
01:19:46,532 --> 01:19:47,533
for Golda Meir.

1527
01:19:48,242 --> 01:19:51,453
And Golda, the first half of the film,

1528
01:19:51,870 --> 01:19:53,289
she sat with Topol.

1529
01:19:53,789 --> 01:19:55,833
And then, for the second half,

1530
01:19:55,916 --> 01:19:57,710
I sat beside Golda Meir.

1531
01:19:58,502 --> 01:19:59,837
And I was waiting,

1532
01:20:00,170 --> 01:20:03,465
looking at her,
out of the corner of my eye.

1533
01:20:03,966 --> 01:20:06,051
Does she like this?

1534
01:20:07,469 --> 01:20:11,974
And I was waiting to see
what her reaction would be.

1535
01:20:12,516 --> 01:20:15,227
And then when they sang "Anatevka"

1536
01:20:15,853 --> 01:20:17,896
and everybody had to leave,

1537
01:20:19,440 --> 01:20:21,900
I was watching her and I saw...

1538
01:20:23,444 --> 01:20:26,739
she didn't want me
to see that she was crying...

1539
01:20:27,072 --> 01:20:28,824
But she went, "Ah," like that.

1540
01:20:31,744 --> 01:20:34,705
I thought, "Oh I think she likes it."

1541
01:20:34,788 --> 01:20:37,833
And then she just put her hand out

1542
01:20:37,916 --> 01:20:39,418
and squeezed my arm.

1543
01:20:40,836 --> 01:20:42,046
And I thought...

1544
01:20:43,547 --> 01:20:44,631
Powerful.

1545
01:20:45,466 --> 01:20:47,551
And that was like a blessing.

1546
01:20:48,093 --> 01:20:50,012
And it meant a great deal to me.

1547
01:20:51,930 --> 01:20:56,060
In a way, I found myself
in making the film.

1548
01:21:00,898 --> 01:21:03,609
I met Ben-Gurion in Israel,

1549
01:21:03,984 --> 01:21:06,737
because I was making
Jesus Christ Superstar.

1550
01:21:06,820 --> 01:21:08,655
And I found that he was living

1551
01:21:08,739 --> 01:21:10,532
on the edge of the Dead Sea,

1552
01:21:11,116 --> 01:21:12,743
close to where I was shooting.

1553
01:21:13,243 --> 01:21:14,536
And I jumped in the jeep,

1554
01:21:14,620 --> 01:21:17,039
and we drove down
to this tiny village.

1555
01:21:17,456 --> 01:21:19,124
Drove up and I went in

1556
01:21:19,208 --> 01:21:23,087
and a housekeeper came in
with a little silver teapot,

1557
01:21:23,879 --> 01:21:27,174
poured me a cup of tea,
with a little piece of sugar beside it.

1558
01:21:30,010 --> 01:21:31,762
And then in came Ben-Gurion

1559
01:21:32,554 --> 01:21:34,932
with the white hair
all pulled out, you know.

1560
01:21:35,933 --> 01:21:39,728
And he says, "Norman Jewison."

1561
01:21:40,938 --> 01:21:43,649
"Norman Jewison."

1562
01:21:45,317 --> 01:21:47,736
"What kind of a Jew are you?"

1563
01:21:49,988 --> 01:21:51,407
I looked at him and I said,

1564
01:21:51,907 --> 01:21:53,033
"What is a Jew,

1565
01:21:54,410 --> 01:21:55,577
President Ben-Gurion?"

1566
01:21:59,456 --> 01:22:00,499
He looked at me,

1567
01:22:02,167 --> 01:22:03,710
got very quizzical.

1568
01:22:04,920 --> 01:22:08,132
"Anybody who is crazy enough

1569
01:22:08,215 --> 01:22:11,051
to want to be Jewish is Jewish!"

1570
01:22:11,135 --> 01:22:12,719
[laughs]

1571
01:22:14,721 --> 01:22:16,473
So I just thought,

1572
01:22:17,182 --> 01:22:20,394
"Thank God, I got it from Ben-Gurion."

1573
01:22:21,019 --> 01:22:24,231
"If I'm crazy enough
to want to be Jewish, I'm Jewish."

1574
01:22:24,314 --> 01:22:25,274
"He told me that."”

1575
01:22:25,357 --> 01:22:26,483
"I accept that."

1576
01:22:28,193 --> 01:22:31,238
When I got married to Lynne

1577
01:22:31,738 --> 01:22:34,408
here in Malibu where we have a house,

1578
01:22:34,491 --> 01:22:36,827
I asked the local Rabbi,

1579
01:22:37,911 --> 01:22:40,581
which was a woman,
if she would marry us.

1580
01:22:41,165 --> 01:22:44,126
And she said,
"Well, I can marry anybody."

1581
01:22:44,209 --> 01:22:47,504
And I said, "We would like
to get married under the chuppah.”

1582
01:22:47,880 --> 01:22:50,007
So we got a chuppah,

1583
01:22:50,674 --> 01:22:54,970
put it up, and we invited

1584
01:22:57,014 --> 01:23:00,809
some very close friends
of ours to be the chuppah holders.

1585
01:23:01,393 --> 01:23:02,644
[laughs]

1586
01:23:02,728 --> 01:23:04,229
And we had...

1587
01:23:05,314 --> 01:23:09,693
a true Jewish wedding.

1588
01:23:16,116 --> 01:23:18,577
[Williams] I remember it
as a great personal experience

1589
01:23:18,660 --> 01:23:19,786
working with Norman.

1590
01:23:20,120 --> 01:23:21,371
It was a life experience.

1591
01:23:21,455 --> 01:23:25,501
I haven't worked with him since,
sadly, but he's a pal for life.

1592
01:23:26,210 --> 01:23:28,170
He said to me on the phone last night,

1593
01:23:28,921 --> 01:23:32,132
he said, "John, I'm older than you are.”

1594
01:23:32,716 --> 01:23:36,094
And I said to him,
"Norman, you will never be older than I..."

1595
01:23:36,178 --> 01:23:38,096
"You'll always be younger than I am."

1596
01:23:38,680 --> 01:23:42,684
And he's younger
than all of us, I think.

1597
01:23:43,185 --> 01:23:45,646
He's a very, very
special, treasured man.

1598
01:23:46,730 --> 01:23:49,274
What is it about
the fiddler and the fiddle

1599
01:23:49,358 --> 01:23:50,776
that we can't let go of?

1600
01:23:51,360 --> 01:23:52,486
<i>I'm a musician.</i>

1601
01:23:52,945 --> 01:23:54,446
We love the violin.

1602
01:23:54,863 --> 01:23:57,032
It's our inspiration as musicians.

1603
01:23:57,115 --> 01:24:01,578
It's the closest thing
to a human voice that there is.

1604
01:24:02,412 --> 01:24:03,330
That's a fiddle.

1605
01:24:04,206 --> 01:24:05,624
That's why we need fiddlers.

1606
01:24:08,293 --> 01:24:10,087
[Jewison]
When they're leaving in great despair

1607
01:24:10,170 --> 01:24:11,505
again it happens.

1608
01:24:12,339 --> 01:24:14,883
[Jewison hums]

1609
01:24:14,967 --> 01:24:17,219
And he turns and he looks
and there's the fiddler,

1610
01:24:17,719 --> 01:24:18,679
standing all alone.

1611
01:24:18,762 --> 01:24:20,222
He says, "You're going to forget me?"”

1612
01:24:20,764 --> 01:24:22,391
"Are you going to leave me behind?"

1613
01:24:22,474 --> 01:24:24,393
"Are you going to leave
your spirit behind?"”

1614
01:24:25,519 --> 01:24:29,273
So essentially the fiddler
is the spirit of the Jewish people.

1615
01:24:29,356 --> 01:24:31,775
Whatever that is,
whatever that means.

1616
01:24:32,568 --> 01:24:33,652
It's magic.

1617
01:24:55,716 --> 01:24:56,633
[loud applause]

1618
01:24:56,717 --> 01:24:57,718
Ladies and gentlemen

1619
01:24:57,801 --> 01:25:00,053
the The Irving G.
Thalberg Award recipient

1620
01:25:00,137 --> 01:25:02,097
Mr. Norman Jewison!

1621
01:25:02,180 --> 01:25:06,852
["If I Were A Rich Man" playing]

1622
01:25:06,935 --> 01:25:09,104
[loud applause]

1623
01:25:09,187 --> 01:25:13,817
["If I Were A Rich Man" playing]

1624
01:25:22,409 --> 01:25:24,578
[Jewison sings]
♪ If was a wealthy man, ♪

1625
01:25:24,661 --> 01:25:25,579
♪ Oy! ♪

1626
01:25:25,662 --> 01:25:26,496
Oy!

1627
01:25:27,831 --> 01:25:29,333
Not bad for a Goy!

1628
01:25:29,416 --> 01:25:31,168
[audience laughs]