Quotes of All Topics . Occasions . Authors
I was in college in the sixties when movies really got good. I'm a fan of Bergman and Hitchcock and Polanski and Antonioni. Those are my gods.
He was such a fabulous drama coach. What better person to have than Alfred Hitchcock? His work as a director was impeccable. I learned so much.
They know you're not Alfred Hitchcock, but you need to be enough Alfred Hitchcock for them not to be bothered by it. That's a reassuring thing.
I love Hitchcock's films because even though you knew who did it right at the beginning, he still kept the audience engaged till the last frame.
Hitchcock makes it very clear to us. There's an objective and a subjective camera, like there's a third- and a first-person narrator in literature.
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.
It's one of those jobs where you go, 'Oh no, I've got to play Alfred Hitchcock. I have to play him even though I know what this is going to involve.'
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 use every single thing that Alfred Hitchcock taught me in my acting career... I am very grateful for the education he gave me in making motion pictures.
I think it will be, as always, interesting to compare different portrayals of Hitchcock. I'm very honored that I'm playing the same part as Anthony Hopkins.
I think there is a feeling of old Hitchcock in there. There are parts that are tributes to some of the old great horror movies and the old great filmmakers.
I like films that just put you in someone's world. It can be very subversive. Hitchcock would put you in the mind of a psychopath, and you'd care about them.
A few years ago, there were requests to me, Can we make this? I said that I have no rights. Contact the Hitchcock estate, which won't release it for a remake.
Among the best of Hitchcock's own psychological thrillers is 'Spellbound,' whose story unusually wrapped the subject of psychoanalysis around a murder mystery.
I liked that sort of thing, those one-off stories like 'Tales of the Unexpected,' 'Hammer House of Horror,' 'The Twilight Zone' and 'Alfred Hitchcock Presents.'
With Hitchcock I had little relationship. I was called to replace Bernard Herrmann, his favorite composer, in Torn Curtain, after the bitter fight between them.
For every answer, I like to bring up a question. Maybe I'm related to Alfred Hitchcock or maybe I got to know him too well, but I think life should be that way.
I was in New York. Hitchcock was in California. He rang me to make a report on his progress and said, I'm having trouble. I've just sacked my second screenwriter.
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.
When I was younger, all my friends were older - John Ford, Howard Hawks, Alfred Hitchcock, Orson Welles, Jimmy Stewart and Cary Grant. I loved talking to those people.
Every different director has another language - for instance, Hitchcock does not like any bright color ever, unless the story says 'there goes the girl in a red dress.'
A lot of films made me love the movies, everything from Hitchcock to Godard. But the ones that really grabbed me were Costa-Gavras's films like 'Z' and 'State of Siege.'
Somebody - and I'm going to guess it was Hitchcock - once said that everyone has their reasons. If you remember that, as a writer, you'll write better than average villains.
Even Hitchcock liked to think of himself as a puppeteer who was manipulating the strings of his audience and making them jump. He liked to think he had that kind of control.
'North by Northwest' took two and a half to three months to film. When I look back, I realise I wasn't intimidated by Hitchcock and Cary Grant. They were so accepting of me.
The thing I loved about Alfred Hitchcock is that he left a lot of open ends there, a lot of clues that didn't really add up the way you think they would, and sometimes, not at all.
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.
Right now my career is totally schizophrenic, because when an American production like Hitchcock Presents asks to see my work I would never dream of showing them my independent films.
The skyline in Alfred Hitchcock's 'Rope' is made up: no, you don't get the Waldorf and the Chrysler and the Empire State buildings and a dozen other magnificent structures in one window.
I knew I wanted to become an actor when I was 7 years old. My dad was working with Alfred Hitchcock, my mom was working with Martin Scorsese - and it was the great summer of my childhood.
I also think the relationship I have with my audience is a lot more complex than what Hitchcock seemed to want his to be - although I think he had more going on under the surface as well.
I had to be extremely strong to fight off Mr Hitchcock. He was so insistent and obsessive, but I was an extremely strong young woman, and there was no way he was going to get the better of me.
I'm a filmmaker, and I was most influenced by Hitchcock's films. How he could plant such deep enriched characters and then make us care both about the antagonist and protagonist was masterful.
To me, still my favorite 3D film is 'Dial M for Murder.' I thought that was great. Hitchcock used it, could put you in the room, which I thought was fantastic, but I'm still not a devotee of 3D.
Saturday mornings, or at night when I'm trying to go to bed, I'll watch Hitchcock mysteries and stuff. I know that's pretty boring, but it feels comfortable. It's called 'Alfred Hitchcock Presents.'
When television began, it modeled itself after radio. Many early television programs were radio programs first. 'My Favorite Wife,' 'The Jack Benny Show,' 'Burns and Allen,' 'Alfred Hitchcock Presents.'
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.
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.
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.
I love Fincher, as he has a great atmosphere and intensity. Also, I grew up watching Hitchcock movies, and there was something elegant in the way he plays with you and plays with the character and tricks you.
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.
In Hitchcock's eyes the movement was dramatic, not the acting. When he wanted the audience to be moved, he moved the camera. He was a subtle human being, and he was also the best director I have ever worked with.
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.
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.
The thing about Hitchcock which is quite extraordinary for a director of that time, he had a very strong sense of his own image and publicizing himself. Just a very strong sense of himself as the character of Hitchcock.
In my mid-20s, I was directing episodes of 'Alfred Hitchcock' and 'Peter Gunn.' I was pretty much on course and - as I sometimes joke - was prepared to devote my life to become the second best film director in my family.
The great thing for me is how Hitchcock uses guilt so well. He implicates the spectator in the character's field, and you really feel it, and there's incredible relief when it comes out right - if it does come out right.
I've heard that Alfred Hitchcock said that by the time he was ready to shoot a film, he didn't even want to do it any more because he'd already had all of the fun of working it out. It's the same thing with these Frank comics.
People don't call them horror movies, but Hitchcock, for me, is my favorite storyteller. He was really exploring dark themes, and I don't know what category you put his movies in. Thriller? Horror? Some of them go in either one.
The prosthetics were interesting because the artist was so good that they could just put a Hitchcock mask on me, but you don't want to do that. You're an actor playing Hitchcock, so it's about how much of that you're going to do.