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Regardless of the business aspect of things, is there a reason that there isn't a female Hitchcock or a female Scorsese or a female Spielberg? I don't know. I think it's a medium that really is built for the male gaze and for a male sensibility.
Bret Easton Ellis
Alfred Hitchcock once told me, when I was analyzing a lot of things about his pictures, 'Clint, you must remember, it's only a movie.'
It's Toby Jones playing Alfred Hitchcock, not Alfred Hitchcock. We all felt that his silhouette was crucial, so his nose and lips were crucial as well. We had to build it out a bit to get the silhouette. But, with my nose being so small within the proportion of my face, the first nose was too big. I felt like a nose on parade.
The rules of suspense are that you do know, and you just don't know when. In the Hitchcock rules of suspense, you are supposed to know that there is a bomb on the bus that might blow up, and then it becomes very tense - but if you don't know that there's a bomb and it just blows up, then it's just a surprise.
Gus Van Sant
Hitchcock was one of the few people in Hollywood who had a brand. Every movie he made was an Alfred Hitchcock movie, couldn't have been anyone else.
I suddenly realized how much I loved her when we attended Alfred Hitchcock's 75th birthday party last August. There was something magical about that night, and it made me see how much she really meant to me.
One key element to Hitchcock is the drooping jowl. That was crucial because his silhouette is crucial. There is something about his silhouette that became his brand.
I was under contract with Hitchcock before I even met him. They wouldn't tell me anything about the film, or who was working on it. They had all sorts of excuses as to why they couldn't tell me anything.
I've never understood the cult of Hitchcock. Particularly the late American movies... Egotism and laziness. And they're all lit like television shows.
I wouldn't use the word 'scared' for my role as Hitchcock, but it was my most insecure. Taking on such a formidable, giant personality such as Hitchcock; he was one of the great geniuses of world cinema. Sheer genius.
Hitchcock loves to be misunderstood, because he has based his whole life around misunderstandings.
I met with Hitchcock when I was a very, very young actress just starting out and he was making 'Frenzy' in London and I was sent along to meet with him. He was very, very unimpressed with me and I have to say, I was rather unimpressed with him - but only because I was an arrogant, ignorant young actress.
More than anything else, I'd like to be an old man with a good face, like Hitchcock or Picasso.
As a kid, I was a Hitchcock lover; I cared about the dark side of things.
One of my few childhood memories is as an eight-year-old, refused permission to watch the Hitchcock season on Irish television, sneakily viewing 'The Birds' though a crack in the living-room door. It transformed my hitherto perfectly enjoyable half-mile walk to school, down a country lane patrolled by watchful birds, into a terrifying ordeal.
I kind of look at my modeling career and the Hitchcock years as stepping stones to what I'm doing now.
I'm attracted to things that scare me, like 'Psycho,' my favorite Hitchcock movie.
I remembered watching the film from Alfred Hitchcock, 'Dial M for Murder,' and he shot almost all of that movie in one room. There was a genius in what Hitchcock did by manipulating things in that room so that you could see the distances between things like the tables and the vases because of how he used perspective.
I can remember soundtracks that you just can't separate from the film - It's just so intertwined, so important. Like the Hitchcock ones where they kind of inform each other and become this larger thing as a result.
As far as I know, Vera Miles had a terrible time with Hitchcock, and she wanted to get out of the contract. He didn't let her. She did 'Psycho,' and I believe, if you look at 'Psycho,' there isn't one close up of Vera, not one. After that, she would never even speak about him to anyone.
Working with Chaplin was very amusing and strange. His films are so funny, but working with him, I found him to be a very serious man. Whereas the films of Hitchcock are macabre, he could be a very funny man to work with, always telling jokes and holding court. Of course, when I worked with Charlie he was getting older.
I studied Hitchcock a little bit at University and knew the famous story about the Birds - that he'd tortured Tippi for a day using real birds. I had no idea that it was a five-day onslaught and that it was the tip of an iceberg that carried on through to another film.
I never thought I was doing the same thing as directors like John Carpenter, George Romero, and sometimes even Hitchcock, even though I've been sometimes compared to those other guys. We're after different game.
It's hard to imagine anyone interested in film not being a fan of Alfred Hitchcock because he's such a key influence on the entire history of cinema - it's hard to escape his shadow.
There's something in the rhythm and roll of it that is connected to the way Hitchcock thinks and moves. Then there is everything he ingested - the cigar smoking and drinking that's imprinted on his voice.
Martin Luther King, Jr.
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