Hitchcock Quotes

I'm a huge fan of Akira Kurosawa, a big Hitchcock fan.

Well, for someone who looks like me you wonder where Alfred Hitchcock is.

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

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.

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.

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 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 love Hitchcock movies. I took a Hitchcock class in college, so I saw all his movies. I wrote papers on his movies.

I'm attracted to things that scare me, like 'Psycho,' my favorite Hitchcock movie.

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

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.

I'd never imagined myself writing at all until I was almost 30. And horror films weren't to my taste, at least the super popular (slasher-y) ones of the day back then. The first novel I ever loved as a kid was Frankenstein, and I was always a crazy Hitchcock and Polanski fan... but I never saw myself - a square spazzy girl from the suburbs - writing anything that would horrify anyone. Or so I thought.

With the poetry of plain speaking, Shannon Hitchcock recreates the daily drama of a vanished world.

Some trials look as much like the trial of an ordinary criminal case as a Hitchcock film looks like a home movie.

American Morons is the work of an original. Like Hitchcock or Ramsey Campbell, the style is precise, alert, and well-mannered, inviting us to enter Hirshberg's private world so that he may lock the door behind us. If there is anyone in contemporary fiction worth watching, it is Glen Hirshberg.

When you take on Hitchcock you know it's gonna provoke some sort of controversy, because there were so many people talking about the book [Stephen Rebello's Alfred Hitchcock and the Making of Psycho] and wanting it to be the film about the making of this movie [Psycho]. But that's been done. That's been done in the book, and Stephen Rebello himself was like, "I want a movie which is an entertainment for the audience." So we made the conscious decision.

I'm also inspired by anything that I consider great. It makes me want to raise my game too - Hitchcock movies, Hopper paintings, Springsteen concerts.

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.

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.

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.

[Alfred] Hitchcock was very interested in the image on the screen.As is any good cinema director. That is the language they speak. It is not literature, it is images on screen.

I loved cinema from a very young age. I was also obsessed with Hitchcock and actresses like Kim Novak in Vertigo. They all played heroines and were strong, powerful women, yet they were very feminine.

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.

Mr. Hitchcock taught me everything about cinema. It was thanks to him that I understood that murder scenes should be shot like love scenes and love scenes like murder scenes.

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.

Mr. Hitchcock did not say actors are cattle. He said they should be treated like cattle.

Hitchcock said he viewed actors as cattle.. but some were free range.

Really, the novelist has the best casting since he doesn't have to cope with the actors and all the rest. -Alfred Hitchcock

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.

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

Too many people believe in that [Alfred] Hitchcock thing that he only shot exactly the shots he needed for the dialogue he needed and I think that's bullshit, even if that was true for that singular filmmaker.

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.

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, 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.

The act of seeing any film generally is you knowing more than the characters, even if its the classic Hitchcock shot of two people talking and a bomb being under the table. Part of the pleasure of it is seeing where people go wrong, and the irony of situations.

I've always wanted to do blow with Genghis Khan, 'bet that guy knows how to party. I also think a bottle of wine with Hitchcock would've been cool. Also doing shots with the baby Jesus, bet that guy knows how to party.

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.

I studied Hitchcock and Josef von Sternberg under Richard Dillard at Hollins, and that year under his tutelage just completely rewired my brain. Both directors combine moral seriousness with great artistry and, certainly in Hitchcock's case, an enormous respect for plot, for its power to enthrall and delight.

Directors who have inspired me include Billy Wilder, Federico Fellini, lngmar Bergman, John Ford, Orson Welles, Werner Herzog, Stanley Kubrick, Alfred Hitchcock, Francis Ford Coppola and Ernst Lubitsch. In art school, I studied painters like Edward Hopper, who used urban motifs, Franz Kafka is my favorite novelist. My approach to film stems from my art background, as I go beyond the story to the sub-conscious mood created by sound and images.

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.

I make my living doing freelance directing for North American television shot in Toronto, series like Alfred Hitchcock Presents, Twilight Zone, and so forth.

I've never understood the cult of Hitchcock. Particularly the late American movies... Egotism and laziness. And they're all lit like television shows.

Hitchcock denigrated American films, saying they were all 'pictures of people talking' - as, indeed, most of them are.

Martin Scorcese is probably America's greatest living director, and while he is not a titan like John Ford or Alfred Hitchcock or Federico Fellini, he is certainly consistently more interesting than Steven Spielberg, Brian de Palma, Francis Ford Coppola or Woody Allen. Even a failure like Gangs of New York or a curiosity like The Aviator is more interesting and ambitious than Munich, The Black Dahlia or Scoop.

I think of great masters, like [Alfred] Hitchcock, for example, who works absolutely within this sensational realm. You feel like you can always tell what temperature a room is in a Hitchcock film because the people feel alive, they don't feel like they're just being filmed on a stage.

I think it was Alfred Hitchcock who said 90 percent of successful moviemaking is in the casting. The same is true in life. Who you are exposed to, who you choose to surround yourself with, is a unique variable in all of our experiences and it is hugely important in making us who we are. Seek out interesting characters, tough adversaries and strong mentors and your life can be rich, textured, highly entertaining and successful, like a Best Picture winner. Surround yourself with dullards, people of vanilla safety and unextraordinary ease, and you may find your life going straight to DVD.

[Bong Joon-ho'] is quite different but technically, he is as clever as [Alfred] Hitchcock. That's saying something. In humanitarian terms, I think he is much cleverer. He is one of the best directors I've worked with. I absolutely adore working with him.

Hitchcock's got a very interesting voice; it's a very controlled, measured rhythm that's quite slow and, in that sense, also felt quite controlling in its pace. He retained something from his childhood, that London sound, as well as adopting some of the L.A. sounds... All of this helps you create the character.

As a kid I watched the Academy Awards on television and always wanted one - or several - like one of my favorite directions, John Ford. He won six. On the other hand, Orson Welles, who's on the top of my list, didn't win any. Alfred Hitchcock didn't win any. Howard Hawks didn't win any.

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.