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History Quotes / AlfredHitchcock

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-> ''"A master of shock and suspense, of cold horror and slyly incongruous wit, he uses the camera the way a painter uses his brush, stylizing his story and giving it values which the scenarists could hardly have suspected."''
-->--'''''The New York Times''''', praising Hitchcock in its review of ''Film/{{The 39 Steps|1935}}'' in 1935.


-> ''After all it stands to reason that if one were seriously doing the ''Film/Psycho'' story, it would be a case history. You would never present it in the forms of mystery of the juxtaposition of characters, as they were placed in the film. They were all designed in a certain way to create this audience emotion. Probably the real Psycho story wouldn't have been emotional at all; it would've been terribly clinical.''

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-> ''After all it stands to reason that if one were seriously doing the ''Film/Psycho'' ''Film/{{Psycho}}'' story, it would be a case history. You would never present it in the forms of mystery of the juxtaposition of characters, as they were placed in the film. They were all designed in a certain way to create this audience emotion. Probably the real Psycho story wouldn't have been emotional at all; it would've been terribly clinical.''

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->Iím not interested in content. Itís the same as a painter not worrying about the apples heís painting Ė whether theyíre sweet or sour. Itís his style, his manner of painting them Ė thatís where the emotion comes from.
-->--''Terror in the Aisles''

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-> ''After all it stands to reason that if one were seriously doing the ''Film/Psycho'' story, it would be a case history. You would never present it in the forms of mystery of the juxtaposition of characters, as they were placed in the film. They were all designed in a certain way to create this audience emotion. Probably the real Psycho story wouldn't have been emotional at all; it would've been terribly clinical.''
-->-- qtd. in ''Hitchcock and the Making of Film/{{Marnie}}''


''a hairbrush''\\

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''a hairbrush''\\''[[Film/TheWrongMan a hairbrush]]''\\


-> '''Hitchcock''': "Oh, Iím very glad when they do, but itís not like taking page one of a script and then saying, 'I will now start a work of art.' Itís ridiculousó-you canít do it."

to:

-> '''Hitchcock''': '''Alfred Hitchcock''': "Oh, Iím very glad when they do, but itís not like taking page one of a script and then saying, 'I will now start a work of art.' Itís ridiculousó-you canít do it."



-> '''Creator/AlfredHitchcock''': "Worldwide, yes. Because when we make films for the U.S., we are automatically making them for all the world -- because America is full of foreigners...I donít know what they mean when they talk about 'Hollywood' pictures. I say, 'Where are they conceived?' Look at this roomóyou canít see out the windows. We might just as well be in a hotel room in UsefulNotes/{{London}}, or anywhere you like. So here is where we get it down on paper. Now where do we go? We go on location, perhaps; and then where do we work? Weíre inside on a stage, the big doors are closed, and weíre down in a coal mine: we donít know what the weather is like outside. Again, we donít know where we are -- only within our film, within the thing weíre making. Thatís why itís such nonsense to talk about locale. 'Hollywood.' That doesnít mean anything to me. If you ask, 'Why do you like working in Hollywood?' I would say, because I can get home at six oíclock for dinner."

to:

-> '''Creator/AlfredHitchcock''': '''Alfred Hitchcock''': "Worldwide, yes. Because when we make films for the U.S., we are automatically making them for all the world -- because America is full of foreigners...I donít know what they mean when they talk about 'Hollywood' pictures. I say, 'Where are they conceived?' Look at this roomóyou canít see out the windows. We might just as well be in a hotel room in UsefulNotes/{{London}}, or anywhere you like. So here is where we get it down on paper. Now where do we go? We go on location, perhaps; and then where do we work? Weíre inside on a stage, the big doors are closed, and weíre down in a coal mine: we donít know what the weather is like outside. Again, we donít know where we are -- only within our film, within the thing weíre making. Thatís why itís such nonsense to talk about locale. 'Hollywood.' That doesnít mean anything to me. If you ask, 'Why do you like working in Hollywood?' I would say, because I can get home at six oíclock for dinner."



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-->-- ''Who the Devil Made It''

-> '''Creator/PeterBogdanovich''': ''Do you feel that American films remain the most vital?''
-> '''Creator/AlfredHitchcock''': "Worldwide, yes. Because when we make films for the U.S., we are automatically making them for all the world -- because America is full of foreigners...I donít know what they mean when they talk about 'Hollywood' pictures. I say, 'Where are they conceived?' Look at this roomóyou canít see out the windows. We might just as well be in a hotel room in UsefulNotes/{{London}}, or anywhere you like. So here is where we get it down on paper. Now where do we go? We go on location, perhaps; and then where do we work? Weíre inside on a stage, the big doors are closed, and weíre down in a coal mine: we donít know what the weather is like outside. Again, we donít know where we are -- only within our film, within the thing weíre making. Thatís why itís such nonsense to talk about locale. 'Hollywood.' That doesnít mean anything to me. If you ask, 'Why do you like working in Hollywood?' I would say, because I can get home at six oíclock for dinner."
-->-- ''Who the Devil Made It''


! By Hitchcock
->If I made Cinderella, the audience would immediately be looking for a body in the coach.

->Itís only a movie, after all, and weíre all grossly overpaid.

-> '''Creator/PeterBogdanovich''': I just wondered if at any point in your career you ever thought of what you were doing as works of artóas many people have called your films.
-> '''Hitchcock''': "Oh, Iím very glad when they do, but itís not like taking page one of a script and then saying, 'I will now start a work of art.' Itís ridiculousó-you canít do it."

! About Hitchcock



-->-- '''Creator/JeanLucGodard''' ''Histoire(s) du Cinéma'', Episode 4a

->If I made Cinderella, the audience would immediately be looking for a body in the coach.
-->-- Himself

->Itís only a movie, after all, and weíre all grossly overpaid.
-->-- Ditto

-> '''Creator/PeterBogdanovich''': I just wondered if at any point in your career you ever thought of what you were doing as works of artóas many people have called your films.
--> '''Hitchcock''': "Oh, Iím very glad when they do, but itís not like taking page one of a script and then saying, 'I will now start a work of art.' Itís ridiculousó-you canít do it."

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-->-- '''Creator/JeanLucGodard''' ''Histoire(s) du Cinéma'', Episode 4a

->If I made Cinderella, the audience would immediately be looking for a body in the coach.
-->-- Himself

->Itís only a movie, after all, and weíre all grossly overpaid.
-->-- Ditto

-> '''Creator/PeterBogdanovich''': I just wondered if at any point in your career you ever thought of what you were doing as works of artóas many people have called your films.
--> '''Hitchcock''': "Oh, Iím very glad when they do, but itís not like taking page one of a script and then saying, 'I will now start a work of art.' Itís ridiculousó-you canít do it."
4a


-->-- Ditto

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-->-- DittoDitto

-> '''Creator/PeterBogdanovich''': I just wondered if at any point in your career you ever thought of what you were doing as works of artóas many people have called your films.
--> '''Hitchcock''': "Oh, Iím very glad when they do, but itís not like taking page one of a script and then saying, 'I will now start a work of art.' Itís ridiculousó-you canít do it."


-->-- Himself

to:

-->-- HimselfHimself

->Itís only a movie, after all, and weíre all grossly overpaid.
-->-- Ditto


-->-- '''Creator/JeanLucGodard''' ''Histoire(s) du Cinéma'', Episode 4a

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-->-- '''Creator/JeanLucGodard''' ''Histoire(s) du Cinéma'', Episode 4a4a

->If I made Cinderella, the audience would immediately be looking for a body in the coach.
-->-- Himself


''[[[[Film/NorthByNorthwest in the desert]]''\\

to:

''[[[[Film/NorthByNorthwest ''[[Film/NorthByNorthwest in the desert]]''\\

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-> ''"We have forgotten for what reason''\\
''[[Film/IConfess Montgomery Clift kept an eternal silence]]''\\
''[[Film/{{Psycho}} and Janet Leigh stopped at the Bates Motel]]''\\
''and [[Film/ShadowOfADoubt why Theresa Wright is still devoted to Uncle Charlie]]''\\
''we have forgotten that Creator/HenryFonda [[Film/TheWrongMan is not completely guilty]]''\\
''and [[Film/{{Notorious}} why exactly did the American government]]''\\
''employ Creator/IngridBergman.''\\
''...but we remember''\\
''[[Film/{{Marnie}} a handbag]]''\\
''but we remember a bus''\\
''[[[[Film/NorthByNorthwest in the desert]]''\\
''but, we remember [[Film/{{Suspicion}} a glass of milk]]''\\
''a [[Film/ForeignCorrespondent windmill's blades]]''\\
''a hairbrush''\\
''but we remember [[Film/TheLodger a row of bottles]]''\\
''a [[Film/StrangersOnATrain pair of glasses]]''
-> ''a [[Film/TheManWhoKnewTooMuch musical score]]''\\
''a [[Film/{{Notorious}} bunch of keys]]"''
-->-- '''Creator/JeanLucGodard''' ''Histoire(s) du Cinéma'', Episode 4a

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