191 “Films,” he said, “are made before they are shot”: David Lewin, “Alfred Hitchcock,” CinemaTV Today, August 19, 1972, 4.
191 assistant production manager . . . hoof: Hugh Brown notes, June 7, 1955, Paramount Production Records, MHL.
192 “Hitchcock is a . . . over”: Robert Benchley to Gertrude Benchley, March 25, 1940, Robert Benchley Collection, HGARC.
192 “tracings of each . . . storyboard”: Krohn, Hitchcock at Work, 13.
192 Krohn posits that . . . methodology: Ibid. See also “Campaign ideas for ‘SABOTEUR’ ” notes (undated) in AHC MHL.
192 “a Pattern Designer”: Duncan Underhill, “Hitchcock Is Like a Pattern Designer,” New York World-Telegram, April 6, 1940, AHC MHL.
192 Many years later . . . wrapped: Robert Boyle, OHP.
192 “Every wall was . . . script”: Granger, Include Me Out, 67.
193 “But he never . . . dialogue”: Krohn, Hitchcock at Work, 12.
193 “He hardly ever . . . mind”: Jack Cardiff, Magic Hour (London: Faber & Faber, 1996), 107.
193 “He had his . . . reel”: Ibid.
194 “They were expecting . . . helpless”: AH, interview by Mike Scott, Cinema: Alfred Hitchcock, DVD extra on Hitchcock: The British Years, DVD, 2008.
194 “Not enough people . . . screen”: Anthony Macklin, “It’s the Manner of Telling: An Interview with Alfred Hitchcock,” Film Heritage 11 (1976): 18.
194 “because he knew . . . few”: Peter Bogdanovich in discussion with the author, September 11, 2018.
194 His appointment books . . . directors: AH appointment books, 1956–78, AHC MHL.
195 “These Italian directors . . . technique!”: Spoto, Dark Side of Genius, 495.
195 “I’m not self-indulgent . . . painter”: Charles Thomas Samuels, Encountering Directors (New York: G. P. Putnam’s Sons, 1972), 239.
195 “he has indicated . . . Hitchcock”: Ibid., 233.
195 “very good”: Ibid., 235.
196 “was actually an . . . manuscript”: Dolly Haas, SMU.
196 “could be titled . . . Shower”: Chris Hodenfield, “Alfred Hitchcock: Muuuurder by the Babbling Brook,” Rolling Stone, July 29, 1976, https://www.rollingstone.com/movies/movie-features/alfred-hitchcock-muuuurder-by-the-babbling-brook-59347/.
196 Parker says that . . . Sacrilege: Royal Academy of Arts, Transitional Object [PsychoBarn]: Cornelia Park (London: Royal Academy Publications, 2018), 44.
197 Hitchcock’s own inspiration . . . Hopper: Stephen Rebello, Alfred Hitchcock and the Making of Psycho, (New York: St. Martin’s Press, 1998), 68.
197 Parker watched Psycho . . . facade: Cornelia Parker in discussion with the author, April 2019.
197 It was Hitchcock’s . . . moviemaking: Robert Boyle, OHP.
197 “I avoid out-and-out . . . banal”: Truffaut, Hitchcock, 103.
197 “fairytales played against . . . environment”: Robert Boyle, OHP.
198 Doc Erickson, the . . . compass: Mac Johnson to Doc Erickson, October 5, 1953, Paramount Pictures Production Records, MHL.
198 Hitchcock insisted on . . . detail: Gordon Cole to Frank Caffey, July 11, 1953, Paramount Pictures Production Records, MHL.
198 The sounds of . . . film: Frank Caffey to Hiller Innes, November 11, 1953, Paramount Pictures Production Records, MHL.
198 “eliminate the blemishes . . . neck”: Herbert Coleman to Luigi Zaccardi, July 11, 1956, Paramount Pictures Production Records, MHL.
198 the director requested . . . operation: AH’s notes for dubbing on Frenzy, October 14, 1971, Peggy Robertson Papers, MHL.
199 “the hidden meanings and symbols”: Andrew Sarris, “The Movie Journal,” Village Voice, June 11, 1960, 8.
199 Before he published . . . about it: Barr, Vertigo, 22.
199 “sometimes a corpse is just a corpse”: Walker, Hitchcock’s Motifs, 131.
200 “semi-unconscious mode of viewing”: D. A. Miller, Hidden Hitchcock (Chicago and London: University of Chicago Press, 2017), 45.
200 “mistake, confusion, and . . . cinema”: Ibid., 17.
200 “the too-close viewer . . . there?”: Ibid., 107.
200 Among the hidden . . . anthologies: Ibid., 28, 35.
200 “amused him, and . . . way”: Peter Bogdanovich in discussion with the author, September 11, 2018.
200 In the early . . . a C: Patricia Hitchcock, interviewed by Anwar Brett, “Patricia Hitchcock and James C. Katz Interviews,” February 27, 1997, Anwar Brett tapes, Sound and Moving Images Archive, British Library.
201 In 2012, Vertigo . . . years: Peter Matthews, “Vertigo rises: the greatest film of all time?” Sight & Sound, September 2012, https://www.bfi.org.uk/news-opinion/sight-sound-magazine/polls-surveys/greatest-films-all-time/vertigo-hitchcock-new-number-one
201 “Our lives are lonely but not private”: Raymond Durgnat, The Strange Case of Alfred Hitchcock (London: Faber & Faber, 1974), 236.
9: THE ENTERTAINER
203 “that degrading side . . . actor”: AH, Markle, “A Talk with Hitchcock, Part Two.”
204 According to figures . . . 1960: Peter Lev, Transforming the Screen, 1950–1959 (Berkeley: University of California Press, 2003), 7.
204 “People swarmed out . . . Presley”: Leigh and Nickens, Psycho, 5.
205 “French, German, English, and American”: Barbara Goldsmith, “Bristol-Meyers’ Alfred Hitchcock: His ‘personality’ sells what he derides,” Printers’ Ink, July 18, 1958, 68, Barbara Goldsmith Papers, Manuscripts and Archives Division, The New York Public Library, Astor, Lenox, and Tilden Foundations.
205 Herbert Coleman and . . . diner: Coleman, The Man Who Knew Hitchcock, 360; Samuel Taylor, interviewed by Tim Kirby for Reputations, BBC, PMC WHS.
205 Mindful of not . . . pictures: Coleman, The Man Who Knew Hitchcock, 238.
205 “Hitchcock admits to . . . low-brow”: “Seen on the Screen,” Daily Herald, April 17, 1926, 9.
205 “last word in screen art”: “ ‘The Lodger,’ the Last Word in Screen Art,” Leeds Mercury, October 2, 1926, 6.
205 “only for entertainment”: Ely Herald, September 22, 1927, AHC MHL.
206 “make pictures for . . . screen: Montagu, “Working with Hitchcock,” 190.
206 “were in the . . . significance”: Balcon, Michael Balcon Presents, 27.
206 “You have to . . . audience”: Truffaut, Hitchcock, 283.
207 Ingrid Bergman explained . . . projected: Transcript of Donald Spoto’s interview with Ingrid Bergman, DSP UCLA.
207 For the magazine . . . muster: “Ingrid Bergman—as played by Alfred Hitchcock,” Pageant, March 1946, 38–41.
207 “British films before . . . laughing-stock”: Michael Redgrave, In My Mind’s Eye: An Autobiography (London: Weidenfeld & Nicolson, 1983), 9.
207 “You sell to . . . theatre”: Alan Strachan, Secret Dreams: The Biography of Michael Redgrave (London: Weidenfeld & Nicolson, 2004), 161.
208 “sick with nervousness . . . again”: Sheridan Morley, John Gielgud: The Authorized Biography (London: Simon & Schuster, 2010), 151.
208 “I would never . . . cattle”: AH, Cavett, The Dick Cavett Show.
208 Michael Redgrave was . . . did: Redgrave, In My Mind’s Eye, 125.
208 “cold and sometimes cruel”: Granger, Include Me Out, 109.
209 “something that I’ll . . . set”: Doris Day, SMU.
209 Roy Thinnes sent . . . after: Roy Thinnes to AH, May 25, 1976, AHC MHL. See also McGilligan, Darkness and Light, loc. 16537 of 20272, Kindle.
210 “I’d look over . . . cut it”: William Devane in discussion with the author, November 25, 2018.
210 “do what you . . . floor”: June Morfield, “The One Man Grace Kelly Couldn’t Say ‘No’ To,” TV Radio Mirror, July 1962, 90.
211 “Next to reality . . . dramatic”: “Alfred Hitchcock Reveals His Methods,” Midland Telegraph, July 14, 1936, 6.
211 “I always look . . . myself”: Alfred Hitchcock, “My Spies,” Film Weekly, M
ay 30, 1936, 27.
212 “a process by . . . hitherto”: Alfred Hitchcock, “The History of Pea Eating,” Henley Telegraph, December 1920, reprinted in McGilligan, Darkness and Light, loc. 963 of 20272, Kindle.
212 “slept with men . . . soldier”: “Blackmail Test Take,” BFI YouTube Channel, https://www.youtube.com/watch?v=7Z8mSwzSQQk
213 “From then on I was his pet”: Peggy Robertson, OHP.
213 “sex-starved gorillas”: Bernard Cribbins in discussion with the author, July 13, 2018.
213 The film publicist . . . floor: Herb Steinberg, Kirby.
213 “common sense and . . . dancing”: Clive James, “Exploring the Medium,” in Clive James on Television (London: Picador, 1991), 307.
215 “the brilliant realization . . . work”: Whitney Balliet, “Hitchcock on Hitchcock,” The New Yorker, August 8, 1959, https://www.newyorker.com/magazine/1959/08/15/hitchcock-on-hitchcock
215 “as a burlesque . . . guyed”: Ackland, The Celluloid Mistress, 36.
216 When Mel Brooks . . . Haut-Brion: AH to Mel Brooks, March 1, 1979, AHC MHL.
216 At a test . . . scene: “Audience Reactions at CAMELBACK THEATRE, SCOTTSDALE, ARIZONA,” June 10, 1966, AHC MHL.
216 “We don’t know . . . dissembler”: Claude Chabrol, “Story of an Interview,” in Gottlieb, ed., Alfred Hitchcock Interviews, 39 (trans. James M. Vest). Originally appeared as “Histoire d’une Interview,” Cahiers du Cinéma, no. 39 (October 1954): 39–44.
216 “anecdotes that apparently . . . ago”: Ibid., 40.
216 “none of this . . . ride”: Ibid., 39.
216 “You have to . . . met”: Fallaci, “Mr. Chastity,” in The Egotists, 256.
217 Actors were told . . . himself: These, and other similar remarks, have been recorded plentifully. See the Hitchcock biographies by Spoto, McGilligan, and Chandler. In discussion with the author, William Devane, Bernard Cribbins, and Barbara Leigh-Hunt also mentioned this quirk of Hitchcock’s.
217 “the testicle”: McGilligan, Darkness and Light, loc. 4288 of 20272, Kindle.
217 Georgine Darcy . . . break: Georgine Darcy, Kirby.
217 Grant filled pages . . . “Eddie Tor”: Batdorf, “Let’s Hear It for Hitchcock,” in Gottlieb, ed., Alfred Hitchcock Interviews, 82. See also “Hitchcock Comedy Crew,” Cary Grant Papers, MHL.
217 “seriousness is acceptable . . . outlawed”: Kate Fox, Watching the English: The Hidden Rules of English Behaviour (London: Hodder & Stoughton, 2004), 62.
217 “dignity sitting on a tintack”: George Orwell, “Funny But Not Vulgar,” in The Collected Essays, Journalism and Letters of George Orwell, Volume 3 (London: Penguin), 1970, 325.
218 he claimed that this . . . peg: Bob Thomas, “Alfred Hitchcock: The German Years,” Action (January-February 1973), 23–25, in Gottlieb, ed., Alfred Hitchcock Interviews, 159.
219 includes what Hitchcock . . . “Captain?”: Truffaut, Hitchcock, 227.
219 “skids to preposterous depths”: John McCarten, “The Current Cinema,” The New Yorker, October 29, 1955, 145.
219 “I must not . . . taste”: Thelma Ritter to Joseph Moran, August 1954, Thelma Ritter and Joseph Aloysius Moran Papers, MHL.
220 “everyone’s wicked uncle . . . century”: “Everyone’s Wicked Uncle,” BBC Radio 3, July 27, 1999.
221 “weals and bruises” . . . endured: Spoto, Spellbound by Beauty, loc. 882 of 4805, Kindle, quoting Donat in Kenneth Barrow, Mr Chips: The Life of Robert Donat (London: Methuen, 1985), 75–76.
221 “beastly to her”: Ibid., loc. 953 of 4805, Kindle.
221 “only a sadist . . . laughs”: Bennett, Hitchcock’s Partner in Suspense, 63.
221 overheard a colleague . . . boasting: Spoto, Dark Side of Genius, 110.
221 Shortly after Joan Harrison . . . all: Selznick International Pictures biographical materials on AH, AHC MHL
222 “My father belongs . . . game”: Marya Saunders, “My Dad, the Jokester,” Family Weekly, July 21, 1963, 8.
222 “He was a . . . humour”: Spoto, Dark Side of Genius, 132.
223 In his memoirs . . . “was bit”: Bennett, Hitchcock’s Partner in Suspense, 66.
223 “Would any of . . . wouldn’t”: Mrs Alfred Hitchcock as told to Martin Abramson, “My Husband Alfred Hitchcock Hates Suspense,” Coronet, August 1964, 17.
224 “I’m very sensitive . . . days”: AH, Markle, “A Talk with Hitchcock, Part Two.”
224 Yet the story . . . father: Donald Spoto’s notes on a Warner Bros. draft press release, November 30, 1950, DS UCLA.
225 “the moment any . . . joke”: AH, interview by George Angell, “Time of My Life,” BBC Home Service, August 28, 1968.
225 Patrick McGilligan discovered . . . enrolled: McGilligan, Darkness and Light, loc. 439 of 20272, Kindle.
10: THE PIONEER
226 “Hitchcock is the . . . drain”: Sarris, “The Movie Journal,” 8.
228 In 1953, his . . . 3D: Sidney Bernstein to AH, July 31, 1953, AHC MHL.
228 “mysterious importance”: Rebello, Making of Psycho, 149.
229 “will be met by force”: Ibid., 151.
229 “Your women are . . . men”: “Hitchcock: ‘Treat Your Wives Better,’ ” The Sun, May 16, 1960, AHC ML.
229 he also posed . . . newsworthy: “Case of the Missing Shoe,” Sydney Morning Herald, May 5, 1960, AHC MHL.
229 The Australian leg . . . silhouette: “Everything Went Black,” The Herald, May 14, 1960, AHC MHL.
230 “The star of . . . element”: Kapsis, Making of a Reputation, 83.
230 Hitchcock invited the . . . eye: Tony Lee Moral, The Making of Hitchcock’s The Birds (Harpenden, UK: Kamera Books, 2013), loc. 3141 of 3812, Kindle.
230 “The Birds is coming!”: Hunter, Me and Hitch, 77.
230 “The birds are coming”: Ibid.
232 “BEWARE GIRLS!” . . . “THE GRAND”: Kinematograph Weekly, March 31, 1927, AHC MHL.
232 “proved very successful . . . proposition”: “Impersonating ‘The Lodger,’ ” The Bioscope, March 17, 1927, 70.
232 “feature stories on . . . production)”: Leff, Hitchcock and Selznick, 168.
232 Ernest Lehman recollects . . . man: Ernest Lehman, interview by Julian Schlossberg, “[Interview],” Sound and Moving Images Archive, British Library.
233 On his television . . . slots: Folders regarding the advertising agency Young and Rubicam in the Thelma Ritter and Joseph Aloysius Moran Papers, MHL, indicate what a commercial asset Hitchcock’s “lead-ins” and “lead-outs” were thought to be.
233 One wrote about . . . shot: “Film-Making Problems,” Daily Mail, March 31, 1927, AHC MHL.
234 another described the . . . built: “Talk of the Trade,” The Bioscope, April 21, 1927, 20.
234 A month later . . . Club: “Talk of the Trade,” The Bioscope, May 26, 1927, 31.
234 the grandest entrance . . . theater: See various clippings in the Downhill scrapbook, AHC MHL.
234 The studio reminded . . . purposes: Studio Manager (unidentified) to Ivor Montagu, February 22, 1927, Ivor Montagu Collection, BFI.
234 “thoroughly disguised as . . . hat”: “All the Fun of the Fair—Free,” Evening Standard, June 15, 1927, AHC MHL.
235 In the summer . . . contract: H. G. Boxall to AH, June 6, 1935, Ivor Montagu Collection, BFI.
235 “I don’t wish . . . shit”: Thelma Schoonmaker, Peter Von Bagh, and Raymond Durgnat, “Midnight Sun Film Festival,” in David Lazar, ed., Michael Powell: Interviews (Jackson: University Press of Mississippi, 2003), 146.
235 “As far as . . . matter”: Bogdanovich, Who the Devil Made It, loc. 9117 of 15740, Kindle.
235 “the only thing . . . camera”: Laurents, Original Story By, 128.
236 “positively weird to . . . hands”: Jack Cardiff, “The Problem of Lighting and Photographing Under Capricorn,” American Cinematographer, October 1949, 382.
236 “the most exciting . . . directed”: Hitchcock, “My Most Exciting Picture,” 276.
/> 237 “there is a . . . background”: Harry Watt, “Re-Seeing Blackmail,” World Film News, April 1937, 15.
239 “His contrivances remain . . . now”: David Bordwell, Reinventing Hollywood: How 1940s Filmmakers Changed Movie Storytelling (Chicago and London: Chicago University Press, 2017), 442. Quote originally in Playboy, March 1967.
239 “sensation that everything . . . me”: Truffaut, Hitchcock, 246.
239 “So that’s the . . . dollars”: Ibid.
240 Hitchcock had originally . . . “feel lucky”: Robert Boyle, OHP.
241 “Please start sweating now”: Nugent, “Assignment in Hollywood,” 13.
241 “Hitch believed you . . . part”: Marc Eliot, James Stewart: A Biography (London: Aurum, 2006), 29.
241 “extremely possessive of . . . crew”: Leff, Hitchcock and Selznick, 190.
241 Hilton Green, an . . . work: Hilton Green, Kirby.
241 “This is the . . . much”: Robert Boyle, OHP.
241 “you had to . . . leave!”: Ibid.
242 “the most collaborative . . . I had”: Ibid.
242 The famous scene . . . inexorably: Moral, Making of Hitchcock’s The Birds, loc. 1525 of 3812, Kindle.
242 When he heard . . . electronically: Transcript of AH interview with Steve Rubin, December 1976, Cinefantastique magazine records, MHL.
243 “electronically the equivalent . . . experimentation”: Moral, Making of Hitchcock’s The Birds, loc. 2733 of 3812, Kindle. See also AH notes on sound for The Birds, October 23, 1962, AHC MHL.
243 Correspondence with Hitchcock’s . . . ideas: See the correspondence in The Birds folders, AHC MHL.
243 The machine that . . . time: Moral, Making of Hitchcock’s The Birds, loc. 2676 of 3812, Kindle.
243 “an eruption of film talent”: Pells, Modernist America, 238.
244 In promotional material . . . place: A Photographic Production Notebook on Alfred Hitchcock’s ROPE, Warner Bros., 1957, AHC MHL.
244 “the most revolutionary . . . seen”: Hitchcock, “My Most Exciting Picture,” 276.
245 “technical mixup, and . . . approve”: Samuels, Encountering Directors, 237.
245 “Hitchcock wouldn’t reshoot . . . not that”: Moral, Making of Marnie, 99. Quoting from Robert Boyle, American Film Institute seminar, 1977.
The Twelve Lives of Alfred Hitchcock Page 37
