I think we've brought you here under false illusions. I was sitting there waiting, and then the producer of that film, Jack Skirball, came walking through this crowded room, spotted me, came over and said, "Is your name Cronyn?" I said, "Yes," and he said, "Oh, dear. I went out to California and I was shown into a big waiting room at Universal. I saw it in his office." And I really meant it. And when I finally saw the film, I said, "I've seen this film. And he told that story so beautifully that I was just absolutely mesmerised. He'd do anything he could as a storyteller to lure you into his story. He used anything on his desk as a prop, whether it was a glass or a pencil or a book, to make a sound, do sound effects. And he told the story like no one else has ever told a story. They said, "He wants to tell you the script." So I went and I sat down opposite him at a desk and he proceeded to tell the story. Then this script came, and, of course, everybody wants to do a Hitchcock film. Then I was married and very caught up in, you know, having my first home and all of that. I mean, each one lasted almost four months.
I did that and then "Pride of the Yankees", almost in a row. Then I came back to do "Mrs Miniver" because Billy Wilder had asked me, and by then, Mr Goldwyn had signed me. and I went back to New York to do a play. I'd come out to California to do "The Little Foxes".
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