Hitchcock Quotes
The best sayings about Hitchcock that you can share on Instagram, Pinterest, Facebook and other social networks!
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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.
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Hitchcock used to believe that if there were three or four memorable scenes in a film that would be enough to drive it, but I don't know if that's true or not.
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I'm a frustrated actor. My ... goal is to beat Alfred Hitchcock in the number of cameos. I'm going to try to break his record.
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Any music star would be singing about his lost love. A movie would be about a relatable incident; it wasn't an untouchable magic dragon box. It was something that people could relate to, and when I vanished a girl, it would be a story about a girl that left me, or a cutting into pieces would be a date with a magician. I wouldn't just vanish a girl in a shower, I would do the shower scene from Psycho [1960] with a [Alfred] Hitchcock cameo.
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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.
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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.
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I said, "I don't think I can give you that kind of emotion." And he [Hitchcock] sat there and said, "Ingrid, fake it!" Well, that was the best advice I've had in my whole life, because in all the years to come there were many directors who gave me what I thought were quite impossible instructions and many difficult things to do, and just when I was on the verge of starting to argue with them, I heard his voice coming to me through the air saying, "Ingrid, fake it!" It saved a lot of unpleasant situations and waste of time.
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Particularly [Alfred] Hitchcock, who takes his time with everything he says. There's a controlling way in how he speaks because he takes his time to finish all his sentences.
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In the vast majority of movies, everything is done for the audience. We are cued to laugh or cry, be frightened or relieved; Hitchcock called the movies a machine for causing emotions in the audience. Bresson (and Ozu) take a different approach. They regard, and ask us to regard along with them, and to arrive at conclusions about their characters that are our own. This is the cinema of empathy.
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Even in Australia I'd say 80 percent of our television was American. I grew up watching Alfred Hitchcock Presents and The Twilight Zone. I used to sit with my mum when I was just nine years old, trying to guess what the twist would be. I love that kind of thing.
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William Castle and Alfred Hitchcock were the first director-personalities. Before then, nobody in America knew what a director was.
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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.
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It was the most amazing opportunity to work on a period movie and transform Anthony Hopkins into Hitchcock.
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I kind of look at my modeling career and the Alfred Hitchcock years as stepping stones to what I'm doing now.
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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.
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There is something particularly unique about the films of Hong Sang-soo...it's got to do with his masterful sense of storytelling... as the critic Manny Farber once said of Hitchcock's ROPE Hong Sang-soo's pictures unpeel like an orange.
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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.
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I love Hitchcock movies. I took a Hitchcock class in college, so I saw all his movies. I wrote papers on his movies.
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I've never understood the cult of Hitchcock. Particularly the late American movies... Egotism and laziness. And they're all lit like television shows.
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Of course, when you're doing something that's unexpected, people are going to have a very specific point of view about it, but I think it's all good to have a healthy debate about who Hitchcock was and what that means to people. He means a lot of different things to a lot of different people because the films are so great. If the movies were not great, no one would be bothering to show any interest.
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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.
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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.
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[On Alfred Hitchcock:] Hitch is a gentleman farmer who raises goose flesh.
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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.
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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.
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Hitchcock had to fight to the death to make his movies.
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Hitchcock's murder set-pieces are so potent, they can galvanize (and frighten) even a viewer who's seen them before!
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I had to change the shape of my own voice. It was quite hard to pull off and so once I had it, I stayed in Hitchcock's voice all day on set.
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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.
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In Hitchcocks 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.
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