Hitchcock Movie Quotes

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

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

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

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

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.

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.

I put it to the great man [Hitchcock], the key to fictitious terror is partition or containment: so long as the Bates Motel is sealed off from our world, we want to peer in, like at a scorpion enclosure. But a film that shows the world is a Bates Motel, well, that's... the stuff of Buchloe, dystopia, depression. We'll dip our toes in a predatory, amoral, godless unive3rse, but only our toes.

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.

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.

best Hitchcock films not made by Hitchcock. Here we go: Le Boucher, the early Claude Chabrol that Hitch, according to lore, wished he’d directed. Dark Passage, with Humphrey Bogart and Lauren Bacall—a San Francisco valentine, all velveteen with fog, and antecedent to any movie in which a character goes under the knife to disguise himself. Niagara, starring Marilyn Monroe; Charade, starring Audrey Hepburn; Sudden Fear!, starring Joan Crawford’s eyebrows. Wait Until Dark: Hepburn again, a blind woman stranded in her basement apartment. I’d go berserk in a basement apartment.

Double Indemnity, Gaslight, Saboteur, The Big Clock . . . We lived in monochrome those nights. For me, it was a chance to revisit old friends; for Ed, it was an opportunity to make new ones. And we’d make lists. The Thin Man franchise, ranked from best (the original) to worst (Song of the Thin Man). Top movies from the bumper crop of 1944. Joseph Cotten’s finest moments. I can do lists on my own, of course. For instance: best Hitchcock films not made by Hitchcock. Here we go: Le Boucher, the early Claude Chabrol that Hitch, according to lore, wished he’d directed. Dark Passage, with Humphrey Bogart and Lauren Bacall—a San Francisco valentine, all velveteen with fog, and antecedent to any movie in which a character goes under the knife to disguise himself. Niagara, starring Marilyn Monroe; Charade, starring Audrey Hepburn; Sudden Fear!, starring Joan Crawford’s eyebrows. Wait Until Dark: Hepburn again, a blind woman stranded in her basement apartment. I’d go berserk in a basement apartment.

I'm frightened of my own movies.

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.

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?

That's the great thing about movies, Hitch. The end is the end; everything is resolved one way or the other. You feel joyful or peaceful or relieved, or sometimes disturbed or depressed. But if it's a good ending, it satisfies you, even if it's sad. The war is over, the guy gets the girl, whatever. Real life is a whole lot messier. It doesn't end when things are at a good stopping point.

Most remember Hitchcock as a skilled storyteller, but what few know is that the director shot his movies using two separate scripts. The first, known as “the Blue Script,” was entirely functional. In it were all the tangible onscreen components, including dialogue, props, camera angles and set descriptions. The second script, which Hitchcock referred to as “the Green Script,” chronicled in fine detail the emotional arc, or “beats,” of the film he was shooting. Hitchcock relied on both scripts, but the Green Script reminded him how he wanted moviegoers to feel, and at what point,

When Musk took delivery of his F1, CNN was there to cover it. “Just three years ago I was showering at the Y and sleeping on the office floor,” he told the camera sheepishly, “and now obviously, I’ve got a million-dollar car… it’s just a moment in my life.” While other McLaren F1 owners around the world—the sultan of Brunei, Wyclef Jean, and Jay Leno, among others—could comfortably afford it, Musk’s purchase had put a sizable dent in his bank account. And unlike other owners, Musk drove the car to work—and declined to insure it. As Musk drove Thiel up Sand Hill Road in the F1, the car was the subject of their chat. “It was like this Hitchcock movie,” Thiel remembered, “where we’re talking about the car for fifteen minutes. We’re supposed to be preparing for the meeting—and we’re talking about the car.” During their ride, Thiel looked at Musk and reportedly asked, “So, what can this thing do?” “Watch this,” Musk replied, flooring the accelerator and simultaneously initiating a lane change on Sand Hill Road. In retrospect, Musk admitted that he was outmatched by the F1. “I didn’t really know how to drive the car,” he recalled. “There’s no stability systems. No traction control. And the car gets so much power that you can break the wheels free at even fifty miles an hour.” Thiel recalls the car in front of them coming fast into view—then Musk swerving to avoid it. The McLaren hit an embankment, was tossed into the air—“like a discus,” Musk remembered——then slammed violently into the ground. “The people that saw it happen thought we were going to die,” he recalled. Thiel had not worn a seat belt, but astonishingly, neither he nor Musk were hurt. Musk’s “work of art” had not fared as well, having now taken a distinctly cubist turn. Post-near-death experience, Thiel dusted himself off on the side of the road and hitchhiked to the Sequoia offices, where he was joined by Musk a short while later. X.com’s CEO, Bill Harris, was also waiting at the Sequoia office, and he recalled that both Thiel and Musk were late but offered no explanation for their delay. “They never told me,” Harris said. “We just had the meeting.” Reflecting on it, Musk found humor in the experience: “I think it’s safe to say Peter wouldn’t be driving with me again.” Thiel wrung some levity out of the moment, too. “I’d achieved lift-off with Elon,” he joked, “but not in a rocket.

That's the great thing about movies, Hitch. The end is the end; everything is resolved one way or the other. You feel joyful or peaceful or relieved, or sometimes disturbed or depressed. But if it's a good ending, if satisfies you, even if it's sad. The war is over, the guy gets the girl, whatever. Real life is a whole lot messier. It doesn't end when things are at a good stopping points" -Uncle Walt

Harvey didn’t set his phone to beep or buzz or vibrate like a normal person. Harvey’s phone screeched with a string piece from the Hitchcock movie Psycho, the scene with Janet Leigh in the shower, the knife rising and falling, the string section shrieking with short, staccato stabs, the lone violin slashing through the fermata with discordant glissandos, more violins joining the first, violas adding their teeth, mad strings schooling like orchestral sharks at a blood-drunk feast.

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.

Alfred Hitchcock said movies are “life with the dull bits cut out.

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.

Worldliness is often defined in terms of certain behaviors, such as gambling, going to certain movies, wearing certain kinds of clothes, and so on. But worldliness goes much deeper. It’s a mindset, or attitude. Of course, this attitude reveals itself in actions, but worldliness begins as an attitude. A concise definition of worldliness is a love for passing things.

Two caregivers accidentally meet and decide to trade their charges. It was like something from a Hitchcock movie.

At the time, she wasn’t much of a movie fan, despite always knowing how she got her name. That was Nana Norma’s doing. She had a thing for Hitchcock and instilled that love in Charlie’s mother.

In the spring of 1935, an editor at the New York publishing house Macmillan, while on a scouting trip through the South, was introduced to Mitchell and signed her to a deal for her untitled book. Upon its release in the summer of 1936, the New York Times Book Review declared it “one of the most remarkable first novels produced by an American writer.” Priced at $3, Gone with the Wind was a blockbuster. By the end of the summer, Macmillan had sold over 500,000 copies. A few days prior to the gushing review in the Times, an almost desperate telegram originated from New York reading, “I beg, urge, coax, and plead with you to read this at once. I know that after you read the book you will drop everything and buy it.” The sender, Kay Brown, in this missive to her boss, the movie producer David Selznick, asked to purchase the book’s movie rights before its release. But Selznick waited. On July 15, seeing its reception, Selznick bought the film rights to Gone with the Wind for $50,000. Within a year, sales of the book had exceeded one million copies. Almost immediately Selznick looked to assemble the pieces needed to turn the book into a movie. At the time, he was one of a handful of major independent producers (including Frank Capra, Alfred Hitchcock, and Walt Disney) who had access to the resources to make films. Few others could break into a system controlled by the major studios. After producing films as an employee of major studios, including Paramount and MGM, the thirty-seven-year-old Selznick had branched out to helm his own productions. He had been a highly paid salaried employee throughout the thirties. His career included producer credits on dozens of films, but nothing as big as what he had now taken on. As the producer, Selznick needed to figure out how to take a lengthy book and translate it onto the screen. To do this, Selznick International Pictures needed to hire writers and a director, cast the characters, get the sets and the costumes designed, set a budget, put together the financing by giving investors profit-participation interests, arrange the distribution plan for theaters, and oversee the marketing to bring audiences to see the film. Selznick’s bigger problem was the projected cost.

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

In Under Capricorn, Breen and the Code didn’t have much input on an already bad film, but the chief censor’s attempt to influence the private life of the movie’s star paradoxically helped to scuttle further federal regulation of the film industry.

If you feel like having a beer, watch a Martin Scorsese's film; If you want to be an innocent child again watch a Spielberg movie. If you feel like reading a suspense thriller, watch a Hitchcock's movie. And if you want some enlightenment, watch a Nolan's movie.

wants to be a zombie, but finds that she can’t get bit to save her life.” Madison thought about that for a minute. “You are a strange man. But I mean that in a good way.” She looked up, seeing the surprise that she had arranged for him walking down the aisle toward his booth. With a little prodding, Spenser and Target had agreed to be zombies hanging around ExBoy’s booth. Target in particular was quite eager. But best of all, Crystal had agreed to try to get Toonie out of the house by bringing her to the convention, and Madison could see now that they were doing more than just attending. They, too, were walking toward them, made up as zombies. Crystal, her beautiful complexion drained to a deathly pallor, was dressed like a cheerleader with her little pleated skirt and sleeveless shell top in bloody tatters, carrying what Madison had thought was a dirtied pom-pom but now realized was a head with long bloody hair. Spenser wore a nurse’s old fashioned white uniform, with a little white hat attached to her blonde hair pinned up like Tippy Hedren’s in an Alfred Hitchcock movie. Choosing to keep her face its prettiest, she sported a bloody gouge on her left forearm. Instead of sensible nurse’s shoes, she wore high heels. The blood on her uniform

The first American serial killer of the twentieth century was a strangler—Earle Leonard Nelson, aka the “Gorilla Murderer,” a Bible-quoting psycho who traveled from coast to coast, choking women to death before raping their corpses (Alfred Hitchcock also made a movie loosely inspired by this notorious case: his 1943 masterpiece, Shadow of a Doubt).

Bodega Bay was the same harbor where Alfred Hitchcock had filmed his 1963 horror classic, The Birds, the movie that made the world think twice about backyard feeders. Hitchcock knew the worst shocks came from the mundane, and few creatures were as widespread, and as taken for granted, as birds. So the great director had western gulls dive-bombing children at an outdoor birthday party, raspberry-dipped house finches pouring into a living room through the fireplace, and American crows slashing at Tippi Hed-ren while she cowered in a bedroom. Suffice to say, The Birds was not a popular movie with birders on board this tour boat. After lifetimes of weekends in the field, they knew birds didn’t attack humans. The only way Hitchcock had got ravens to chase actors was to sprinkle their hair with seed. Crows lurked on the gutters of the old schoolhouse because he affixed magnets to their feet. Children fleeing swarms of blackbirds in the movie were actually running on a studio treadmill with birds tied to their necks. It all seemed silly to Levantin. The only menacing thing birds ever did to him was poop on his patio.

But film sometimes flinches at the expertise of actresses, and the sympathetic viewer may come to realize that there was a mute honesty in Novak: she did not conceal the fact that she had been drawn into a world capable of exploiting her. Filming seemed an ordeal for her; it was as if the camera hurt her. But while many hostile to the movies rose in defense of the devastation of Marilyn Monroe—whether or not she was a sentient victim—Novak was stoical, obdurate, or sullen. She allowed very few barriers between that raw self and the audience and now looks dignified, reflective, and responsive to feeling where Monroe appears haphazard and oblivious. Novak is the epitome of every small-town waitress or beauty contest winner who thought of being in the movies. Despite a thorough attempt by Columbia to glamorize her, she never lost the desperate attentiveness of someone out of her depth but refusing to give in. Her performances improve with time so that ordinary films come to center on her; even Vertigo, Hitchcock’s masterpiece, owes some of its power to Novak’s harrowing suspension between tranquility and anxiety.

When Jesus died for his people, he knew me by name in the particularity of this day. Christ didn’t redeem my life theoretically or abstractly—the life I dreamed of living or the life I think I ideally should be living. He knew I’d be in today as it is, in my home where it stands, in my relationships with their specific beauty and brokenness, in my particular sins and struggles. God is forming us into a new people. And the place of that formation is in the small moments of today. In The Divine Conspiracy, Dallas Willard reminds us that where “transformation is actually carried out is in our real life, where we dwell with God and our neighbors. . . . First, we must accept the circumstances we constantly find ourselves in as the place of God’s kingdom and blessing. God has yet to bless anyone except where they actually are.”4 The new life into which we are baptized is lived out in days, hours, and minutes. God is forming us into a new people. And the place of that formation is in the small moments of today. 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?

There’s a famous Alfred Hitchcock movie called The Birds. It sounds like a documentary, but trust me, it’s not. In the movie all the birds in this small California town go all avian apocalypse and start attacking people—plucking out eyes, blowing up gas stations, pecking everyone to death—just about the same time that this one woman shows up. Whether or not she’s the reason the birds attack isn’t entirely clear. It could just be a fluke. Or maybe there is something about this lady that makes the birds batty. I watched the movie with Bench, who conked out about halfway through after muttering for an hour straight that any movie without at least one CGI character was bound to be boring. I watched to the end, though. I wanted to see if the woman was going to make it out of the town alive or if the birds would get her.