Only by the millions, not just two, as I've just shown. But after all, the greatest example of that which has been traditional, I think, in movies is the experience of a person on a roller coaster. I: Was the area — the bay and the road around it ... to that house ... H: Exactly the same — that house was a derelict farm. And it ought not to be. This 1964, interview of Alfred Hitchcock was part of the CBC television series Telescope with host-director Fletcher Markle. Well, you take, for example, the work that I gave to Tippi Hedren in The Birds, you see. I: In regard to the use of talent: Do you have any special attitude towards talent? I: They were involved in her subjective relationship with him. Children. Or the truck does come to a stop by his frantic waving and out goes the whole lot. Does he feel comfortable here? Hitchcock feels that the director of photography is a key artist-technician who should be brought onto the picture long before actual filming begins so that he can make a much more valuable contribution to the film’s conception during pre-planning phases. So that's production design, exemplified in terms of its function. This is the same thing. The pattern of The Birds was deliberately to go slow. You see I use it a lot. You are selecting talent so that they will work with one of your basic stylistic manners, that is the subjective treatment. And from that point on you have a man trying to find cover. Now, in the sequence, when they finally come upon the man at the farm — that is the man that the birds have killed. Well of course, this is such a cliché thing, you see, that one has to fight shy of it and run as far away from it as one possibly can because it's all predictable. As much as I can. I: Are most actresses and actors aware of how much control a camera has over their total effect? The reason it was wrong is because these cuts belonged to a furtive individual of a menacing nature. Klik om de gratis Highly Informative Interview with Alfred Hitchcock video te kijken. They were on the screen for a fraction of a second. A book you pick up and put down again. They are wrong. (pp. It does two functions: It sets up the man being placed in position, and it sets up the nature of the surroundings so that the mind of the audience says, "Well. I do it as a kindness toward them. I: Now there have been a great many things said about symbolism within your films. You know. Is the theater. I don't believe in that, you know. Maybe! I may ask tliem. I build her up as she goes along. H: Yes. They thought the story was about a girl who stole $40,000. Nothing, of course, nothing like it at all!" I understand you spent a couple of weeks with him. Subjective treatment is the close-up of the person and what they see. The whizzing truck and the cloud of dust. H: Oh sure. Well, it's just like designing composition in a painting. Because there you had montage in the bathtub killing where the whole thing is purely an illusion. Well, let's have it with nothing so that the audience will have no conception as to how this man is going to be bumped off or shot. But that's nothing to do with the technique, that was only a means of achieving that covering up, you see. H: Yes, picked out certain things, you know. By the changing of one piece of film only, you change the whole idea. Now in movies, or in films if we want to call them by a more dignified name, or motion pictures to go a little farther: the cliché of the man being put on the spot is usually a place of assignation and it takes the form of a figure under a street lamp at the corner of the street with the rain-washed cobbles shining in the night ... maybe a cut to a blind being pulled aside, and a face looking out. So now we start a train of thought in the audience. Let's assume it's a woman holding a baby in her arms. I: The way that you move the camera could completely destroy ... H: They're not conscious even of the size of the image ... H: No. H: Subjective treatment. I say "Too much, too much." You see, the objective is the stage. H: Within its area. What does it do? Nothing. Now let's go back to talk further in terms of style, in the use of film and the juxtaposition of pieces of film. In actual practice — this has nothing to do with the final result — but in the course of handling a nude girl, I actually used a nude girl. It’s taken from a well-known… The visual image registering thought, mind ... whatever you like to call it. H: I don't interest myself in that. They end up in a corner. No, he's not. New York: Simon & Schuster. Not necessarily that it conveys a political ... H:No. Stephen Whitty, film critic, writer and author of “The Alfred Hitchcock Encyclopedia,” will discuss the iconic work of Hitchcock at each of these screenings. I: Do you have any attitude toward the more beautiful woman in a situation like that? I: To go back a bit, content to you then is not necessarily a message, but a story line. I: Did you see Jules and Jim? They always have a man who's supposed not to like the movies — But they had the ridiculous effrontery to say a picture like North by Northwest was unconsciously funny. In late August 1962, Francois Truffaut carried out a week of all day interviews with Alfred Hitchcock covering his life and work in cinema. Oh, yes. Now he's a dirty old man. Now, what's gonna be strange about the airplane, and you soon know. You don't feel then that the director, as such, is responsible for content, as you would select any different ... H: Well look, I make a film — Dial M for Murder — and what have I really had to do with that? What do you call opening it up? I: I think you took advantage of a natural human trait though, that when, say uranium, or the Bund movement in the '30s, or the plague in the medieval times starts to descend upon a given group of people, they don't want to believe it. Now what I'd like to talk to you about is film style. We register his observations on his face. So that he was a small figure. There is no cover until he gets into the cornfield. I don't care what the film is about. But having her do it in slow motion, and turning the camera in slow motion, when it went through at the normal speed the arm came up quickly. I: Yes. I only had the shutter blow open and the young man try to close the shutter, to tell the audience what it was really like outside. H: Well — Oh yes, I wouldn't tolerate for a minute anything like that. Now, the car. I knew I couldn't. Directed by Arthur Forrest. Just discussing the technical process there, what did the camera do to give us the ... H: It jumped in — it was a staccato movement, you see. Then when the cutter put the shots together for me, I realized they couldn't be used. I believe we still have in our hands the most powerful instrument, cinema, that's been known. H: Well, or they're helpless with it. And I threw the whole thing out. Is this a more believable thing for people, or less believable —. No, no, no, that comes under the heading of the theater. How are we on time? I: But you would still treat it cinematically? The register of expression. It is no effort for me. In other words, Cary Grant standing in that wasteland in a business suit was more important than in a tweed jacket and slacks. And the figure of the woman came out, very small, dashed at him with a knife. In The Birds you get a sequence, the main sequence ... of course, you get the girl in the attic, there is a clear montage. I've found some important quotes which will aid my partial argument that Hitchcock purposively intended to align the viewer with Bates' voyeurism. We can have the pieces of film that are put together to create an idea, or the pieces of film that are put together to create an emotion. Hedren was doing purely cinematic acting of very fine shadings all of the time. Well, let me give you an example. Interviewer: Cinema is distributed nationally in the United States, a magazine for what we think of as the "intelligent motion picturegoer." But there are many kinds of montage. H: Actors are cattle. The taxi stops at the front door of the apartment house. H: Ah! I said, sure if you want to have a go, lay it out in a series of sketches. This is the second phase of the design. So now you've got the third phase. I: Much as we are discussing here, so that they know what it is that ... H: They know what part of the film this little piece is going to be. In a book length interview conducted by New Wave critic and director Francois Truffaut, Hitchcock's entire career is discussed and analyzed. This could be extended to movie-makers, and it is tempting to dig for a troubled past in the artist, particularly an artist who likes to put an audience at unease, like Alfred Hitchcock. I: That's her viewpoint. De beste selectie gerelateerde video's vind je hier. Somebody is going to come along and bump him off In the gangster films they went by a black limousine that went da da da da da da with a gun and the guy fell down. What did you discuss? That's what the pattern of the film was. H: Yes. I think content belongs to the original story of the writer, whoever wrote the book, that you are adapting. That's all I'm doing. What is art? I'll tell you why. I: Selection primarily of the framing of the shot. I: Twenty-six hours! The theater? But he said he had a reason for it. I: Well, they seem to have a great respect for you. Can you tell us something about ‘The Birds’? H: Oh yes, of course, the whole thing was based on the geography. H: Well, it's hard to say. H: As an entertainer. I discuss the tiling in the dressing room. Sorry everyone it took me so long to release this! I: This has been highly criticized by some critics. I need that face to register an expression, but I only want the one. H: That is true. She didn't say a word until she spoke. You start with your allegro, your andante, and you build up. Now the art of the talking picture, I think, belongs to the theater. They do not dominate, in any way, your film. I: But it was still — to me, interesting. And yet this is pure cinema. We've got no dialogue here really. He was following a novel. She wasn't allowed to do anything beyond what I gave her. And I let it go right by, you see. Now would this be termed cross cutting? They are. They are currently playing over 100 shows per year and still releasing new music. I gave the mother and child a dotty movement. Now, that's where the idea came from. They'll say "Well, only Hitchcock could have thought a thing like that out." Cut back to him. And there they are, on the stage again. H: I'm having a fight with them all of the time. Then BOOM! "Ah, he's going to be shot at from a car." I: That is the thing that counts. Russell Hitchcock is one of the two members of the band “Air Supply”, along with Graham Russell. I don't know of any other medium. That old roller coaster angle has been shot ever since silent films — way, way, back. They will yell LOOK OUT! This tidbit of gonzo philosophy is typical of the spur-of-the-moment witticism that informs Hitchcock’s music as well as his conversation. Maybe it's a conceit on my part. You see a costume picture or a picture laid in a period and it happens to be, we'll say medieval Germany or Tudor England, they go to the ruins that exist today. “The meaning of the universe is an apple,” Robyn Hitchcock profoundly pronounces. I: Film by film? Do you do the drawings yourself? You know, for example, I think it was the New Yorker once — they don't review pictures. Did you like that? I'll tell you another interesting thing in the manner of style or the use of cuts ... creative imagery ... and what you convey to an audience by the cuts. So here we come again, now this brings you into the manner of style. Oriana Fallaci interviewed Alfred Hitchcock in 1963 when his movie The Birds screened in Cannes. What do you like to do? H: Well, let me say this as a maker of films. It's like telling a fairy story. If I ran into censorship anywhere — you, like so, you can tape it out you see. Psycho is probably one of the most cinematic pictures I've ever made. Design each film in advance completely? You know. We aren't with them, we aren't getting any viewpoint you see. William Cameron Menzies. I enjoy the fact that we can cause, internationally, audiences to emote. Now the local bus comes and just as it pulls up — and this is a matter of timing — just before it gets to the stop, the man says to Grant, "That's funny." Ernie Lehman and I sat in the room. You see there is so much theater that's crept into films, that, you know, films are reviewed on die basis of their content and not on their style. She had nothing to unlearn. Leave the close-ups in — the look and the smile. They're all right, I get along all right with them. You know, she never acted before. I: Now is this a philosophical viewpoint? But the detective was an innocent party, therefore you wanted an innocent shot. That's the prime cliché of all clichés. So, I gave them a little sample: White shadows go for his hand ... bloody it up. H: Then I come down the corridor in silhouette. The Birds expresses nature and what it can do, and the dangers of nature, because there is no doubt if the birds did decide, you know, with the millions that there are, to go for everybody's eyes, then we'd have H. G. Wells' Kingdom of the Blind on our hands. If the voice is too high, when you want it to go high, there is nowhere to go. For example, there was a lot of it, more of it in Psycho than many pictures I've ever made. Or, Hitchcock is doing a parody of himself Of course, I'm doing it with the tongue in cheek. This blog is now part of The Hitchcock Zone. But you couldn't get the emphasis of that size unless you had prepared for it by going high. And the audience paid their money and they went into a long car, like a pullman car, with rows of seats and a screen at the end. H: But die point is, that's where the critics were wrong, you see, because the effect on an audience isn't there unless I've made them wait deliberately and gone slow. Now a production designer is a man usually who designs angles and sometimes production ideas. I: Unlearned. I say O.K., all right. It's second nature. I: Can we get an example, say from The Birds, of this type of thing? One of the people working on the picture asked me could they lay out die sequence of the detective going up the stairs. I: And you are attempting though to shock more with the camera — with the use of the camera, rather than with the use of the person's face registering ... H: Well, that belongs, quite obviously, when the girl has birds flung at her, you know. Is this going to be the man? Jane Stanton Hitchcock‘s novel Bluff was the Winner of the 2019 Dashiell Hammett Prize for Literary Excellence in Crime Writing.. He said, well I don't know whether I would. The band has been around since 1975 and show no signs of slowing down. They really did. I: That's an interesting statement. Theatrical acting? You cannot put it together indiscriminately. New interview with film scholar William Rothman on Hitchcock’s visual signatures New video essay by art historian Steven Jacobs about Hitchcock’s use of architecture Excerpts from audio interviews with Hitchcock by filmmakers François Truffaut (1962) and Peter Bogdanovich (1963 and 1972) So I'm illustrating all of these to show what style is, and how you use it and for what purpose. H: That's axiomatic, you see. Really! That is the production designer. You tell it in hushed tones: "Ssh! I more or less tell them what points they're making, storywise or cinematically. Now let me tie this together. I: Would this be speeding up action or slowing it down ... H: No ... no ... No, this is the action told in terms of pieces of film. The whole thing was wrong. What do you do? And the knife went out, and we're still very high, and as the knife started to come down, I cut to a big head of the man. I can't see anything. Interviews with Alfred Hitchcock, including television, radio and newspaper interviews (including articles which have interesting quotes from Hitchcock). Bob Montgomery did one called Lady in the Lake. They must make their point. In other words, expression. And sometimes, I feel sure that the pictures that were made in Rome, of the period — the "Ben Hur" period. And she backs up against die sofa, and starts to climb the wall, rolls around the lamp. I: Now I've read several criticisms of Miss Hedren's lack of mobility in the face. As opposed to theatrical learning? I read on carefully, checking the index to see where his film Psycho appeared in the text. So this is what I mean by pure cinema. The only reason they look new is because they aren't existing any more and had to be built anew. H: Montage, you can call it that. You don't know where to go. But I wouldn't be surprised if those cities did exist they wouldn't go to the Forum and fix it up a bit. I've got a four o'clock game of chess! He's a nice gentleman. I: We presume so ... Our premise is that there are intelligent motion picturegoers who look to directors as the creators of motion pictures. They just do their stuff and go home at 6 o'clock. Every piece of film that you put in the picture should have a purpose. Or balance of colors. as it comes out with the big head expressing his shock. I: Well, that would then be one major aspect of your style. Transcripts are available for some of the interviews. H: Yes, and I believe that one should at all cost try and use that face in the visual, as much as possible. Bekijk de Highly Informative Interview with Alfred Hitchcock video! No knife ever touched any woman's body in that scene. One interview discussed Tippi Hedren as symbolical of ... H: Well, she represents complacency — Smug complacency, and too many people are complacent today. Because they think so much of the director with oriental eyes! H: Well, art director is not a correct term. Visually. It never gets to Japan. We talk about all sorts of things ranging from his career to his favorite cuss word. Interview With Pyeatt Hitchcock by Patrick Prendergast published on 2019-03-20T01:40:12Z. The art direction is set designing. With drawings, and ... H: Yes, Psycho, yes, to some extent with drawings, but you see Psycho was designed, first of all to lead an audience completely up the garden path. Hitchcock/Truffaut. An Interview with Robyn Hitchcock. H: This is truer timing. But a static figure — in one position, in one room, for the whole picture. Cinematic nonsense if you like. His surprise was expressed by the size of the image. People forget this. Don't forget even a symphony breaks itself into movements, but a motion picture doesn't. I saw Jules and Jim. Anyway this is the cliché atmosphere in which you put a man who has been deliberately placed in danger. Now, you do in the design a very important thing. Professor William Hitchcock talked about his book, [The Age of Eisenhower: America and the World in the 1950s]. Take out only the middle piece of film, the viewpoint. He observes. I controlled every movement on that face. Can't find cover. Ever. Dick Cavett spends 90 minutes with legendary film director Alfred Hitchcock in a 1972 interview. So long as that audience goes through that emotion! I mean a shot, a separate piece of film. H: Yes, they have. I: You didn't do this completely though. I don't care. If you play around with it. But you see you take a film like North by Northwest. With Dick Cavett, Alfred Hitchcock, Martin Balsam, Fred Foy. Any individual piece is nothing. June 14, 2016. H: Going out behind the door. You stated recently that the two things common to all your films are style and suspense, whereas otherwise they are all quite different. I: This is a visual thing again. Construction to me, it's like music. Now this is a point I'm interested in. Learn how the sector has evolved over the last 4 years, with drones becoming a key tool for inspections and how data collection and management becomes more important for efficient decision making. This was purposely done, because as the film then proceeded, I reduced the violence while I was transferring it to the mind of the audience. I presume your films are all pre-designed by an art director. Is it detail? The nearest form to it is the short story. The following 55 pages are in this category, out of 55 total. Now to give you an example, where I do a lot of my own production design (in fact, I do most of it today) ... would be a sequence like the airplane chasing Cary Grant in North by Northwest. One was a benevolent gentleman, his character changed even with that. Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube. As a matter of fact, I ran into it once with an actor when I wanted him to look up. They don't review them, they make jokes about pictures anyway. Put a nude girl in the middle instead of the baby. I: I know about that. If I'd been doing Psycho seriously, then it would have been a case history told in a documentary manner. Now the audience knew that there was a menace around. H: Yes, well, you get a different thing in The Birds. But as for the story itself, I don't care whether it's good or bad, you know. I: Is this what is referred to historically as montage? You smoke him out with the very instrument that you're using, a crop duster. This is a strange place to put a man." H: Well, I did it for several reasons. It certainly wouldn't have been told in terms of mystery and oooooh, look out audience, here comes the bogey man! It was conducted during or immediately after the filming of Marnie and also contains interesting stories and comments from Alfred Hitchcock and his associates Norman Lloyd, Joan Harrison and Bernard Herrmann. I put first and foremost cinematic style before content. Yasssss! There is nothing accidental, there should never be anything accidental about these things. He smiles. We are audience looking at the people on the stage. Close-up. It's a different idea. I said it's nonsense. You'd much better have a close-up and then what they see. Now this is, in a way, nothing to do with art direction. In today's podcast I am joined with famous rapper, Pyeatt Hitchcock. I: You get that reaction but it's a sequence more than letting her just carry it ... H: Oh, no. Because when I drove die truck in, I had made it go much slower and no dust — we watered it down. When you take a stage play, I said? And then I made the truck carry on for her. But she was taking all that in. On Oct. 29, 2017, The Film Institute at Montclair screened the first of a four-part colloquium series of Alfred Hitchcock’s films. Transcripts are available for some of the interviews. Let's give an example of how this can vary, this technique, with whatever he is looking at: Mr. Stewart looks out. I: But the success or the failure on the screen is going to be dependent upon you — not upon the writer. And you've got to have a sense of humor to do this. Move with them — do anything you like — make them go through any experience — anything. Now we go down and we go close on him, and this is where design comes in. And the timing was worked out that way. That house was a derelict farm, we built it up again. I watered all the road down when the truck went in. This is like telling a story to a little boy. This interview of Hitchcock was part of the CBC television series Telescope with host-director Fletcher Markle. You might just as well do a close-up of who it is. H: Oh, you're right, then I must stop! H: Well, I believe this. He went through every film I'd ever made. I: The entire situation determined it more than an individual cut or ... H: Oh, well a cut is nothing. Now a jalopy comes from another direction, stops across the roadway, deposits a man, the jalopy turns and goes back. That's kind of sissy, you know. You are constantly trying to destroy the audience's confidence in what they think is going to happen. It was a wrong use of the montage. H: Yes, that was a technical thing. Well these images are angles chosen to express the fear of the unknown. I could have done all kinds of things with it. And of course that built up to the sequence where the birds gather ... and you had the audience completely off balance by that time. 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