“You know that scene in Rebecca when Joan Fontaine is exploring the room where everything is monogrammed “Rebecca,” and George Sanders just appears in the window? It’s a ground-floor room, and he’s sitting in the window. He just slides his leg over the sash and walks into the room. You’re like, That guy could’ve come in through the front door, but I know so much about him because he came in the window. We all love moments like that.”
Matthew Weiner, writer, director and producer, in The Paris Review
