PG: What was it like for you seeing the restored version of Touch of Evil?
JL: I got so emotional I cried. It was just wonderful to see it the way Orson had wanted it. Back then. in the '50s, Universal - and I guess the studios in general - liked everything wrapped up in a neat little package, and this was not a pretty, packaged picture. Touch of Evil had to be jarring. You needed to be attacked; you needed to have raw edges. That's the way it was meant to be. And, of course, that isn't the way they understood a picture should be.
PG: Is it true you hadn't seen the Touch of Evil script when you agreed to do the movie?
JL: All I know is I got home from dinner one night and there was a telegram that said DEAR JANET: I'M JUST DELIGHTED YOU'RE GOING TO BE IN MY PICTURE. I CAN'T WAIT TO WORK WITH YOU. LOVE, ORSON. I didn't know what the hell he was talking about. I called my agent immediately and he said, "Oh, he wasn't supposed to approach you. They're still working out the deal and I haven't seen the script," I said, "Script schmipt, deal schmeal, I want to work with Orson."
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