Alfred Hitchcock Quotes

Puns are the highest form of literature.

Ideas come from everything

There is no terror in the bang, only in the anticipation of it.

Give them pleasure. The same pleasure they have when they wake up from a nightmare.

Fear isn't so difficult to understand. After all, weren't we all frightened as children? Nothing has changed since Little Red Riding Hood faced the big bad wolf. What frightens us today is exactly the same sort of thing that frightened us yesterday. It's just a different wolf. This fright complex is rooted in every individual.

What is drama but life with the dull bits cut out.

The length of a film should be directly related to the endurance of the human bladder.

If I won't be myself, who will?

Suspicion," he said. "Directed by Alfred Hitchcock. He's a genius." "Starring Cary Grant." When Lucas gave me a look, I added, "You have your priorities, I have mine.

Always make the audience suffer as much as possible.

I'm a writer and, therefore, automatically a suspicious character.

I have a perfect cure for a sore throat: cut it.

Revenge is sweet and not fattening.

I can't read fiction without visualizing every scene. The result is it becomes a series of pictures rather than a book.

Seeing a murder on television... can help work off one's antagonisms. And if you haven't any antagonisms, the commercials will give you some.

The paperback is very interesting but I find it will never replace the hardcover book -- it makes a very poor doorstop.

I’ve never been very keen on women who hang their sex round their neck like baubles. I think it should be discovered. It’s more interesting to discover the sex in a woman than it is to have it thrown at you, like a Marilyn Monroe or those types. To me they are rather vulgar and obvious.

Blondes make the best victims. They're like virgin snow that shows up the bloody footprints.

A glimpse into the world proves that horror is nothing other than reality.

I have a feeling that inside you somewhere,there's somebody nobody knows about

In feature films the director is God; in documentary films God is the director.

I'm a typed director. If I made Cinderella, the audience would immediately be looking for a body in the coach.

T.V. has brought murder back into the home where it belongs.

I'm sure anyone who likes a good crime, provided it is not the victim.

Life is such unutterable hell, solely because it is sometimes beautiful. If we could only be miserable all the time, if there could be no such things as love or beauty or faith or hope, if I could be absolutely certain that my love would never be returned: how much more simple life would be. One could plod through the Siberian salt mines of existence without being bothered about happiness.

There is nothing so good as a burial at sea. It is simple, tidy, and not very incriminating.

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

I’m full of fears and I do my best to avoid difficulties and any kind of complications. I like everything around me to be clear as crystal and completely calm.

There is nothing to winning, really. That is, if you happen to be blessed with a keen eye, an agile mind, and no scruples whatsoever.

There is a distinct difference between "suspense" and "surprise," and yet many pictures continually confuse the two. I'll explain what I mean. We are now having a very innocent little chat. Let's suppose that there is a bomb underneath this table between us. Nothing happens, and then all of a sudden, "Boom!" There is an explosion. The public is surprised, but prior to this surprise, it has seen an absolutely ordinary scene, of no special consequence. Now, let us take a suspense situation. The bomb is underneath the table and the public knows it, probably because they have seen the anarchist place it there. The public is aware the bomb is going to explode at one o'clock and there is a clock in the decor. The public can see that it is a quarter to one. In these conditions, the same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: "You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!" In the first case we have given the public fifteen seconds of surprise at the moment of the explosion. In the second we have provided them with fifteen minutes of suspense. The conclusion is that whenever possible the public must be informed. Except when the surprise is a twist, that is, when the unexpected ending is, in itself, the highlight of the story.

It seems to me that television is exactly like a gun. Your enjoyment of it is determined by which end of it you're on.

The picture's over. Now I have to go and put it on film.

We seem to have a compulsion these days to bury time capsules in order to give those people living in the next century or so some idea of what we are like. I have prepared one of my own. I have placed some rather large samples of dynamite, gunpowder, and nitroglycerin. My time capsule is set to go off in the year 3000. It will show them what we are really like.

In many of the films now being made, there is very little cinema: they are mostly what I call 'photographs of people talking.' When we tell a story in cinema we should resort to dialogue only when it's impossible to do otherwise. I always try to tell a story in the cinematic way, through a succession of shots and bits of film in between.

If you can't do it naturally, then fake it.

Suspense is like a woman. The more left to the imagination, the more the excitement. ... The conventional big-bosomed blonde is not mysterious. And what could be more obvious than the old black velvet and pearls type? The perfect ‘woman of mystery’ is one who is blonde, subtle and Nordic. ... Although I do not profess to be an authority on women, I fear that the perfect title [for a movie], like the perfect woman is difficult to find.

I understand that the inventor of the bagpipes was inspired when he saw a man carrying an indignant, astatic pig under his arm. Unfortunately, the man-made sound never equaled the purity of sound achieved by the pig.

I never said actors are cattle; what I said was all actors should be treated like cattle.

It was thanks to Alfred Hitchcock that I understood that murder scenes should be shot like love scenes and love scenes like murder scenes.

You think she's pretty, you ought to see my slingshot!

I’m frightened of eggs, worse than frightened, they revolt me. That white round thing without any holes … have you ever seen anything more revolting than an egg yolk breaking and spilling its yellow liquid? Blood is jolly, red. But egg yolk is yellow, revolting. I’ve never tasted it.

Dialogue should simply be a sound among other sounds, just something that comes out of the mouths of people whose eyes tell the story in visual terms.

Life is difficult enough without undue association with people.

Atticus, I think we're being stalked by the ghost of Alfred Hitchcock. First it was a Vulture adn now two giant ravens are coming our way." Oberon

A clear horizon — nothing to worry about on your plate, only things that are creative and not destructive… I can’t bear quarreling, I can’t bear feelings between people — I think hatred is wasted energy, and it’s all non-productive. I’m very sensitive — a sharp word, said by a person, say, who has a temper, if they’re close to me, hurts me for days. I know we’re only human, we do go in for these various emotions, call them negative emotions, but when all these are removed and you can look forward and the road is clear ahead, and now you’re going to create something — I think that’s as happy as I’ll ever want to be.

The more successful the villain, the more successful the picture.

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.

Disembodied spirits,” said his partner, “are not known to use telephones. Neither are spooks, phantoms, or werewolves.” “That was in the old days. Why shouldn’t they change with the times and be modern, too?

Film your murders like love scenes, and film your love scenes like murders

Some films are slices of life, mine are slices of cake

Love those wrongdoers, they need it more than you.

All babies look like Alfred Hitchcock. Or Winston Churchill.

Vale más partir del cliché que llegar a él.

The only way to get rid of my fears is to make films about them.

I have never known birds of different species to flock together. The very concept is unimaginable. Why, if that happened, we wouldn't stand a chance! How could we possibly hope to fight them?

Twenty to life, she got, with time off for good behavior. You come around next spring. I'll introduce you.

Estoy seguro que a cualquiera le gusta un buen crimen, siempre que no sea la víctima

Gee, I'm sorry I didn't hear you in all this rain. Go ahead in, please." Anthony Perkin's Norman Bates Talking To Janet Leigh's Marion Crane.

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.

Bill Gates is said to be Aspergian. Musician Glenn Gould is said to have been Aspergian, along with scientist Albert Einstein, actor Dan Aykroyd, writer Isaac Asimov, and movie director Alfred Hitchcock. As adults, none of those people would be described as disabled, but they were certainly eccentric and different.

In North By Northwest during the scene on Mount Rushmore, I wanted Cary Grant to hide in Lincoln's nostril and then have a fit of sneezing. The Parks Commission...was rather upset at this thought. I argued until one of their number asked me how I would like it if they had Lincoln play the scene in Cary Grant's nose. I saw their point at once.

Drama is real life – with the dull parts left out.” Alfred Hitchcock

You see, next to fear, flatulence is the most fundamental aspect of the human condition. (Alfred Hitchcock)

I think it was Alfred Hitchcock who said that 90% of successful movie making 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 experience, and it is hugely important in making us who we are.

Content, I am not interested in that at all. I don't give a damn what the film is about. I am more interested in how to handle the material so as to create an emotion in the audience. I find too many people are interested in the content. If you were painting a still life of some apples on a plate, it's like you'd be worrying whether the apples were sweet or sour. Who cares?

Weren't you ever booed at by your mother?!

I have a feeling that inside you somewhere, there's somebody nobody knows about.

My favorite quote...from Alfred Hitchcock, of all people... "A great story is life with the dull parts taken out.

Alfred Hitchcock defined a good story as “life with the dull parts taken out.

I’m very much of the same opinion. Alfred Hitchcock said that a surprise is all very well, but it is a momentary pleasure; whereas suspense can go on indefinitely.

With horror stories in general, I try and take Truffaut and Alfred Hitchcock's advice and convey to the audience: Everyone has something to feel guilty about.

June 2011 article in the Financial Times titled “Alfred Hitchcock’s ‘The Bankers’ ” noted, “The characteristics that make for good traders and investment bankers are pretty much the same as those that define psychopaths.”107

There are two kinds of directors; those who have the public in mind when they conceive and make their films and those who don't consider the public at all. For the former, cinema is an art of spectacle; for the latter, it is an individual adventure. There is nothing intrinsically better about one or the other; it's simply a matter of different approaches. For Hitchcock as for Renoir, as for that matter almost all American directors, a film has not succeeded unless it is a success, that is, unless it touches the public that one has had in mind right from the moment of choosing the subject matter to the end of production. While Bresson, Tati, Rossellini, Ray make films their own way and then invite the public to join the "game," Renoir, Clouzot, Hitchcock and Hawks make movies for the public, and ask themselves all the questions they think will interest their audience. Alfred Hitchcock, who is a remarkably intelligent man, formed the habit early--right from the start of his career in England--of predicting each aspect of his films. All his life he has worked to make his own tastes coincide with the public', emphasizing humor in his English period and suspense in his American period. This dosage of humor and suspense has made Hitchcock one of the most commercial directors in the world (his films regularly bring in four times what they cost). It is the strict demands he makes on himself and on his art that have made him a great director.

Nowadays, the work of Alfred Hitchcock is admired all over the world. Young people who are just discovering his art through the current rerelease of Rear Window and Vertigo, or through North by Northwest, may assume his prestige has always been recognized, but this is far from being the case. In the fifties and sixties, Hitchcock was at the height of his creativity and popularity. He was, of course, famous due to the publicity masterminded by producer David O. Selznick during the six or seven years of their collaboration on such films as Rebecca, Notorious, Spellbound, and The Paradine Case. His fame had spread further throughout the world via the television series Alfred Hitchcock Presents in the mid-fifties. But American and European critics made him pay for his commercial success by reviewing his work with condescension, and by belittling each new film. (...) In examining his films, it was obvious that he had given more thought to the potential of his art than any of his colleagues. It occurred to me that if he would, for the first time, agree to respond seriously to a systematic questionnaire, the resulting document might modify the American critics’ approach to Hitchcock. That is what this book is all about.

Once the screenplay is finished, I'd just as soon not make the film at all ... I have a strongly visual mind. I visualise a picture right down to the final cuts. I write all this out in the greatest detail in the script, and then I don't look at the script while I'm shooting. I know it off by heart, just as an orchestra conductor needs not look at the score ... When you finish the script, the film is perfect. But in shooting it you lose perhaps 40 percent of your original conception

The roots of the slasher movie stretch back to Alfred Hitchcock’s Psycho (1960), based on Robert Bloch’s book of the same name. While Bloch stated many times that his book was based on the real-life crimes of Ed Gein, far more clippings were found in his files regarding Wisconsin’s infamous children’s entertainer and serial poisoner, Floyd Scriltch. When Hitchcock purchased the rights to Bloch’s book, he also optioned the life rights from the sole survivor of Scriltch’s infamous “Easter Bunny Massacre,” Amanda Cohen. Cohen was instrumental in the detection and capture of Scriltch and paid a heavy price for her bravery. This book is dedicated to her memory.

Alfred Hitchcock said movies are “life with the dull bits cut out.”5 Car chases and first kisses, interesting plot lines and good conversations. We don’t want to watch our lead character going on a walk, stuck in traffic, or brushing his teeth—at least not for long, and not without a good soundtrack. We tend to want a Christian life with the dull bits cut out. Yet God made us to spend our days in rest, work, and play, taking care of our bodies, our families, our neighborhoods, our homes. What if all these boring parts matter to God? What if days passed in ways that feel small and insignificant to us are weighty with meaning and part of the abundant life that God has for us?

Alfred Hitchcock'un bir zamanlar İsviçre'de araba sürerken aniden camdan dışarıyı işaret ediğ "Bu hayatımda gördüğüm en korkunç sahne" dediği söylenir. Gösterdiği şey, küçük bir çocukla sohbet eden ve elini çocuğun omzuna koymuş olan bir papazdı. Hitchcock arabanın camından dışarı kafasını çıkararak bağırdı: "Kaç küçük çocuk! Hayatını kurtarmak için kaç!

Meu amor pelo cinema é mais importante do que qualquer moral

Σ' ένα διήγημα , η αγωνία είναι το χαρακτηριστικό εκείνο που σας προκαλεί την επιθυμία να συνεχίζετε να διαβάζετε για μάθετε τι θα συμβεί μετά.

I don't want to appear disloyal to television, but I think reading will be good for you.

وقتی که فیلمنامه نوشته شد، کار کسالت بار فیلمبرداری آغاز میشود.

Mi amor por el cine es más grande que mi moral".

The only way for me to get rid of my fears is to make films about them.

I'm frightened of my own movies.

Una storia è come la vita senza le parti noiose.

Brandon, until this very moment, the world and the people in it have always been dark and incomprehensible to me, and I've tried to clear my way with logic and superior intellect, and you've thrown by own words right back in my face; you've given my words a meaning that I never dreamed of, and you tried to twist them into a cold logical excuse for your ugly murder! Tonight you've made me ashamed of every concept I've ever had, of superior or inferior beings, but I thank you for that shame, because now I know that we're each of us a separate human being, Brandon, with the right to live and work and think as individuals, but with an obligation to the society that we live in. By what right do you dare say that there's a superior few to which you belong? By what right did you dare decide that that boy in there [he's referencing the dead body of "David," lying in a trunk in the middle of the room] was inferior and therefore could be killed? Did you think you were God Brandon? Is that what you thought when you choked the life out of him? Is that what you thought when you served food from his grave! I don't know what you thought or what you are, but I know what you've done—YOU'VE MURDERED! You've strangled the life of a fellow human being who could live and love as you never could... and never will again!

they focus on the experience of isolation: of people alone or in awkward, uncommunicative couples. It’s the same limited and voyeuristic view that Alfred Hitchcock would later subject James Stewart to in the Hopperesque Rear Window, a film that is likewise about the dangerous visual intimacy of urban living, of being able to survey strangers inside what were once private chambers.

From his earliest years, Alfred Hitchcock was a loner and a watcher, an observer rather than a participant. "I don't remember ever having a playmate," he recalled as an adult. At family gatherings: "I would sit quietly in a corner, saying nothing. I looked and observed a great deal. I've always been that way and still am. I was anything but expansive. I was a loner—can't even remember having had a playmate. I played by myself, inventing my own games.

None of these drawings show crowds, of course, though the crowd is surely the signature sight of the city. Instead they focus on the experience of isolation: of people alone or in awkward, uncommunicative couples. It’s the same limited and voyeuristic view that Alfred Hitchcock would later subject James Stewart to in the Hopperesque Rear Window, a film that is likewise about the dangerous visual intimacy of urban living, of being able to survey strangers inside what were once private chambers.

I can’t forget what it’s done to you. I’ve been thinking of nothing else since it happened. It’s gone forever, that funny young, lost look I loved won’t ever come back. I killed that when I told you about Rebecca. It’s gone. In a few hours, you’ve grown so much older.

By and large, I feel that the more interesting work in the field of murder is done by amateurs. They are people who perform their work with dignity and good taste, leavened with a sense of the grotesque. There is polite and wholesome mayhem, practiced by civilized people, and I personally enjoy it.

Quello che non riesco a capire è che uno si impadronisca completamente di un'opera, un buon romanzo che l'autore ha impiegato tre o quattro anni per scrivere e che è tutta la sua vita. Prendono il libro, lo manipolano per bene, si circondano di artigiani e tecnici quotati e si ritrovano candidati all'Oscar, mentre l'autore si dissolve nello sfondo

Woolrich had a genius for creating types of story perfectly consonant with his world: the noir cop story, the clock race story, the waking nightmare, the oscillation thriller, the headlong through the night story, the annihilation story, the last hours story. These situations, and variations on them, and others like them, are paradigms of our position in the world as Woolrich sees it. His mastery of suspense, his genius (like that of his spiritual brother Alfred Hitchcock) for keeping us on the edge of our seats and gasping with fright, stems not only from the nightmarish situations he conjured up but from his prose, which is compulsively readable, cinematically vivid, high-strung almost to the point of hysteria, forcing us into the skins of the hunted and doomed where we live their agonies and die with them a thousand small deaths.

I have never been keen on women....` is from Sandra Shevey`s 1972 interview with Alfred Hitchcock. I resent you quoting it without permission and without attribution. You people think you can steal and not get prosecuted. Please attribute Sandra Shevey 1972 with Alfred Hitchcock..The Alfred Hitchcock Walk....

There is no terror in the bang, only in the anticipation of it.  ALFRED HITCHCOCK

Alfred Hitchcock suffered from anxiety attacks," Sarah told him, "and he said that the sources behind them were, in order, small children, policemen, high places, and that his next movie wouldn't be as good as the last one." "Small children can be terrifying.

Great horror stories of books and movies have seemingly come from some aspect of real-life events, and human behavior. This is evident as far back as Alfred Hitchcock’s movie, Psycho. The movie was based on a serial killer named, Ed Gein in Wisconsin.

I never make up anything. I get everything from my books. They're all true!" --Ann Newton/Shadow of a Doubt (1943)

Listen to Bob Dylan, Marvin Gaye, Whitney Houston. Watch movies by Alfred Hitchcock, Francis Ford Coppola. Read Ernest Hemingway, Harper Lee, Ralph Ellison. Go to the British Museum. Study Andy Warhol. Like