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Hitchcock Quotes

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Hitchcock Quotes

“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'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.”

“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.”

“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.”

“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.”

“Of course, when you're doing something that's unexpected, people are going to have a very specific point of view about it, but I think it's all good to have a healthy debate about who Hitchcock was and what that means to people. He means a lot of different things to a lot of different people because the films are so great. If the movies were not great, no one would be bothering to show any interest.”

“The fact that you couldn't see Alfred Hitchcock's first film The Mountain Eagle, or that you couldn't see so many of F.W. Murnau's masterpieces, or that you couldn't see so many of Oscar Micheaux's really intriguing race melodramas, made with fierce independent spirit against all odds in '20s and '30s America. That stuff haunted me. They really did bring to life a sense of 20th Century history: cultural history, pop history, gender politics and race politics, socio economic history, all that stuff. It was bracing and instructive.”

“Film works when a director and a star have a connection. You know, when there's something telekinetic between them, there's a partnership, it's like alter egos. It's like James Stewart and Alfred Hitchcock, or Fellini and Mastroianni. I'm not comparing, I'm just saying, if you can come into a relationship where the director and star have such a bond, it's so much easier to make a movie.”

“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 said, "I don't think I can give you that kind of emotion." And he [Hitchcock] sat there and said, "Ingrid, fake it!" Well, that was the best advice I've had in my whole life, because in all the years to come there were many directors who gave me what I thought were quite impossible instructions and many difficult things to do, and just when I was on the verge of starting to argue with them, I heard his voice coming to me through the air saying, "Ingrid, fake it!" It saved a lot of unpleasant situations and waste of time.”

“[When accepting the American Film Institute Life Achievement award] I beg permission to mention by name only four people who have given me the most affection, appreciation, and encouragement, and constant collaboration. The first of the four is a film editor, the second is a scriptwriter, the third is the mother of my daughter Pat (Patricia Hitchcock), and the fourth is as fine a cook as ever performed miracles in a domestic kitchen. And their names are Alma Reville.”

“Raksin worked for Alfred Hitchcock, about whom one of the most famous Raksin anecdotes was spoken. The legendary director declared he wanted no music at all for the oceanic Lifeboat, because he felt audiences would wonder where the music was coming from in the middle of the sea. Raksin said, Ask Hitch where the cameras are coming from.”