Hitchcock Quotations

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.

That's a little homage in a way to that and also to create that sort of creepy atmosphere that Hitchcock did. Vertigo was one of his great movies that was shot right here in The City and it's about a woman and the psychological twists and so forth.

Hitchcock loves to be misunderstood, because he has based his whole life around misunderstandings.

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 think 'North by Northwest' and 'Rope' and Rear Window' and 'Psycho' are on my list of favorite all time movies. I just think his kind of command as a director was almost unparalleled, and I feel like in certain ways the sort of character-based thriller owes more to Hitchcock than anyone.

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.

Four hours of prosthetics every morning, the jowls and the nose, and it was very hot so they're having to attend to it all day, and you're still petrified of so many things, such as, can I speak properly? Hitchcock never quite lost those East End vowels, even though he had the softened California consonants.

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.'

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.

Hitchcock had to fight to the death to make his movies.

I didn't hang around films. I don't know if I'd ever seen Hitchcock's The Lady Vanishes.

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.

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.

Well, maybe it has to do with the fact that I was a complete Hitchcock fanatic from age 9.

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.'

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.'

I make cameos in all my movies for no particular reason other than a joke. It's just a Hitchcock thing.

Of all ways to do a remake, ... I think Gus chose the most incredible way, because what he's saying is 'I honor you.' This is like more praise to Hitchcock than anybody who would take another film, and remake it, and try to make it different. Gus is saying, 'Not only am I not going to make it different, I'm going to honor you every step of the way.'

I was in that shower for seven days-70 set-ups. At least Hitchcock made sure that the water was warm.

I, you know, am all over the place -- every category of pictures I have made, good, bad or indifferent. I could not make, like Hitchcock did, one Hitchcock picture after another. . . . I wanted to do a Hitchcock picture, so I did "Witness for the Prosecution," then I was bored with it, so I moved on.

Guys like Spielberg and Zemeckis and really anybody who is a storyteller-filmmaker today has studied Hitchcock and the way he visually tells a story. He was the master of suspense, certainly, but visually you would get a lot of information from what he would do with the camera and what he would allow you to see as the story was unfolding.

He left it to me to create the character. Sometimes he would have a comment, and it was always right on the mark. Hitchcock worked the same way.

I fell in love with Errol Flynn and Tyrone Power and Basil Rathbone and Hitchcock and Orson Welles and John Huston.

But that kind of went along with the imagery, for me, of the bird, the flightiness, the lightness, the light-footedness. So we literally timed out that scene in one shot to be the same exact timing as what Hitchcock and Janet Leigh had originally done, down to where she puts the money.

Look at almost any Hitchcock film and there is generally some rear projection, even in later films like Vertigo and Rear Window. He just preferred it to location work.

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.

I think Hitchcock had a thing about hills: think of the house on the hill in 'Psycho.' Then, in 'Vertigo,' Scottie is forever traversing the city, going downhill all the time as he goes deeper and deeper into himself. It's as if Hitchcock is using San Francisco as a psychological map.

I think it's going to be a circus for them. I know Ken Hitchcock was sitting in his office for the last year and a half trying to come up with a system to defend against the no red line (two-line pass). So look for him to come up with something. I know in Minnesota, Jacques is trying to do the same thing. It's interesting to see what's going to work. We're going to have to work in a lot of systems to try to counteract no red line.

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.

Watching Hitchcock and Lean, the movies they made seem to belong to a culture and a form of expression way beyond my experience and potential.

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.

We wanted not only to remind everybody, ... but tell this story from the inside. We are people in a Hitchcock movie without a happy ending. For us, this is what it's like to be on the inside, to try to survive through this horrible loss.

We are very saddened by the passing of Mr. Billy. A true gentleman, he was a very compassionate and giving person who meant a great deal to this university. He had a great love for Auburn and Auburn people and will truly be missed. Our thoughts and prayers go out to the Hitchcock family.

He's the equal of Hitchcock in building mood and suspense, a little less obvious than Hitchcock, a little more subtle, a little more intellectual. It was perfect.

The future of Hitchcock is preserving the brand and expanding national distribution for the wholesale division to other retailers nationwide.

For me it's more about trying not to sing like someone, like Robyn Hitchcock , or affect my voice in any way that might make people think of other bands. Thom and I have similar musician heroes that we were trying not to sound like.

It's a parable, it's a fable. It's almost like an intellectual Twilight Zone , ... In a way it's like a Hitchcock picture and Tim Roth is the Jimmy Stewart, the guy who gets caught up in something fascinating and big.

We tried to keep in the spirit of the Hitchcock films, ... We've done everything in black and white the outfits, makeup, sets to get the feel of being in an old movie.

He believed in me a long time ago. I had five good years with Ken Hitchcock in Dallas. And the terms of the deal mattered, too. I have a family and I didn't want to be moving around every two years.

Because I was studying these kinds of movies so carefully, I realized how obvious their basic structure is, so I decided to reverse it. When you're playing with very known patterns of narrative events, you just have to twist one little thing, and it suddenly becomes very original. It's kind of like what Alfred Hitchcock did in Psycho . There's a sadistic pleasure to watching an audience realize you've broken the rules and anything goes.

I would have loved to have been in a Hitchcock movie.

Hitchcock's murder set-pieces are so potent, they can galvanize (and frighten) even a viewer who's seen them before!

Hitchcock had a very strange mind.

Any great movie in the old days has a red herring. Hitchcock was so good at that.

I could never be like Hitchcock and do only one kind of movie. Anything that's good is worthwhile.