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.
Orson Welles lists Citizen Kane as his best film, Alfred Hitchcock opts for Shadow of a Doubt, and Sir Carol Reed chose The Third Man - and I'm in all of them.
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 love Hitchcock movies. I took a Hitchcock class in college, so I saw all his movies. I wrote papers on his movies.
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'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.
Hitchcock said he viewed actors as cattle.. but some were free range.
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.
Really, the novelist has the best casting since he doesn't have to cope with the actors and all the rest. -Alfred Hitchcock
My thinking was that today's spectator is so well-versed in film language that all theories about suspense, as argued by Dreyer and Hitchcock, on what makes you scared in cinema, can be ditched. It's the spectator, finally, who's going to construct the menace and the fear.
Some trials look as much like the trial of an ordinary criminal case as a Hitchcock film looks like a home movie.
Vertigo is probably my favourite Hitchcock film and probably one of my favourite films of all time. It's a film that I'm obsessed with. I saw it on its first release in vista vision, projected in vista-vision, at the Capitol Theatre in New York. That moment when the nun comes up in the end... it's just an extraordinary shot.
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.
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.
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.
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.
There are two kinds of filmmaking: Hitchcock's (the film is complete in the director's mind) and Coppola's (which thrives on process). For Hitchcock, any variation from the complete internal idea is seen as a defect. The perfection already exists. Coppola's approach is to harvest the random elements that the process throws up, things that were not in his mind when he began.
You're young forever when you write. Alfred Hitchcock directed until the day he died. As long as you don't have any dementia or Alzheimer's, if you have your All-Bran every day and clear yourself out, I think your brains are gonna be all right.
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.
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.
I would have loved to have been in a Hitchcock movie.
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.
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.
You watch an old 'Jeopardy!' and the categories alone are very plain. 'Poetry,' or 'Movies,' or 'Physics.' If you watch it now, though, there'll be a theme board where the categories are all Hitchcock movies. Lots more jokes, lots more high-concept categories and questions.
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.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: