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.

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

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.

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.

We don't have to be blood to be family.

Sometimes you can be inserted into another person's life just by witnessing something you were never really supposed to be a part of.

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

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.

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.

We all go a little mad sometimes.

Because isn't that how forever happens- instantly?

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.

It suddenly dawns on me that there is a big difference between feeling tired and being weak.

It's still there- my own heart, cobbled together and a little worse for wear- but it's definitely not all beat out.

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.

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.

If I could describe myself, I'd say that I am a poetic gerd. (A geek and nerd combo) I love Shakespeare and romance, but sci-fi and action have a big slice of my heart. When I meet a man who can quote some Hitchcock out of thin air, do a perfect ''Timey Whimey'' impression, play me some classic rock when I'm sad and can give a 'Gone with the Wind' kiss, I will have my soul mate.

Ninety percent of the trouble in this world comes from guys who think they have something to prove.

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.

Libraries are like houses of worship: Whether or not you use them yourself, it's important to know that they are there. In many ways they define a society and the values of that society. Librarians to me are the keepers of the flame of knowledge. When I was growing up, the librarian in my local library looked like a meek little old lady, but after you spent some time with her, you realized she was Athena with a sword, a wise and wonderful repository of wisdom.

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

To reproach Hitchcock for specializing in suspense is to accuse him of being the least boring of filmmakers; it is also tantamount to blaming a lover who instead of concentrating on his own pleasure insists on sharing it with his partner.

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.

Žižek seems to have got Hitchcock out of his system, if not out of his unconscious—one never does that.

Even after your heart breaks into a million pieces and your baby is gone, I am here to tell you- all around you the world will still go on spinning.

Catholics are pretty good at keeping Jesus nailed to that cross, rather than focusing more on that happy bit where he rose from the dead and freed us from sin and evil.

The camera should never anticipate what’s about to follow.

People are only taken seriously as they take themselves.

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

And if I go, while you're still here… Know that I live on, Vibrating to a different measure Behind a thin veil you cannot see through. You will not see me, So you must have faith. I wait for the time when we can soar together again, Both aware of each other. Until then, live your life to the fullest And when you need me, Just whisper my name in your heart, …I will be there

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.

Suspense is simply the dramatization of a film’s narrative, or if you will, the most intense presentation possible of dramatic situations.

The art of creating suspense is also the art of involving the audience, so that the viewer is actually a participant in the film.

Did I stop believing in everything all at once, or was it so gradual I just didn't notice?

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?

We hide behind our assumptions and preconceptions as if they were fortresses - shutting people out. I love to witness the fall of a preconception; the way it renders you naked

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

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

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.

it's much more interesting to try and understand what binds two people together. why we stay with each other is much more of a mystery than why we don't.

The truth is that there is no terror untempered by some great moral idea.

My anxious gaze swept the theater. "Don’t worry. I told them it was Sunday,” Ayden said as we sat down. “And they believed you?” “Of course.” He passed me the popcorn and took off his jacket. “I’m the master of deception.” “Uh-huh. So, when did you become a Hitchcock fan?” “After I saw Psycho,” answered a voice clearly not Ayden’s. We turned to stare at Blake. And Jayden. And Tristan. And Logan. All sitting behind us. I smirked at a sheepish Ayden. “Oh yeah, master of deception.

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?

1790: Mayer Amschel Rothschild states, “Let me issue and control a nation’s money and I care not who writes the laws.

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

I hope she’s never smiled at anyone like that before.

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.

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.

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

Satan, the master deceiver, works best when he is underestimated, ignored, or denied.

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.

I'll never understand how certain things that happen to us can climb under our skin and make us someone new. Big things can do it — like Sam going missing. Small things can do it, too, like having a stranger fall to pieces in front of you. I'm beginning to think that everything changes us to some extent.

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.

Why is it that we all say we hate our hypocritical politicians being controlled by special interests groups, and every election...we vote them in again.

Every sorrow is different, but you get through 'em the same way. Plenty of rest, good food, and keeping your family and friends close by." She paused a minute. "A lot of prayer doesn't hurt either.

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?

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.

That’s because the theme of the innocent man being accused, I feel, provides the audience with a greater sense of danger. It’s easier for them to identify with him than with a guilty man on the run. I always take the audience into account.

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.

Dad?" But he's still looking out the window, not at me. I walk over and lean my head against his shoulder. His green raincoat is wet and smooth and stinky, like an orca's nose. He smells of salt and wind and more love for me that I probably deserve. He pats my hair and, as if he's talking to the ocean, says, "You should have just asked.

Horror is a woman’s genre, and it has been all the way back to the oldest horror novel still widely read today: Frankenstein by Mary Shelley, daughter of pioneering feminist author Mary Wollstonecraft. Ann Radcliffe’s gothic novels (The Mysteries of Udolpho, The Italian) made her the highest-paid writer of the late eighteenth century. In the nineteenth century, Mary Elizabeth Braddon and Charlotte Riddell were book-writing machines, turning out sensation novels and ghost stories by the pound. Edith Wharton wrote ghost stories before becoming a novelist of manners, and Vernon Lee (real name Violet Paget) wrote elegant tales of the uncanny that rival anything by Henry James. Three of Daphne du Maurier’s stories became Hitchcock films (Jamaica Inn, Rebecca, The Birds), and Shirley Jackson’s singular horror novel The Haunting of Hill House made her one of the highest-regarded American writers of the twentieth century.

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.

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!

Barbara and I had arrived early, so I got to admire everyone’s entrance. We were seated at tables around a dance floor that had been set up on the lawn behind the house. Barbara and I shared a table with Deborah Kerr and her husband. Deborah, a lovely English redhead, had been brought to Hollywood to play opposite Clark Gable in The Hucksters. Louis B. Mayer needed a cool, refined beauty to replace the enormously popular redhead, Greer Garson, who had married a wealthy oil magnate and retired from the screen in the mid-fifties. Deborah, like her predecessor, had an ultra-ladylike air about her that was misleading. In fact, she was quick, sharp, and very funny. She and Barbara got along like old school chums. Jimmy Stewart was also there with his wife. It was the first time I’d seen him since we’d worked for Hitchcock. It was a treat talking to him, and I felt closer to him than I ever did on the set of Rope. He was so genuinely happy for my success in Strangers on a Train that I was quite moved. Clark Gable arrived late, and it was a star entrance to remember. He stopped for a moment at the top of the steps that led down to the garden. He was alone, tanned, and wearing a white suit. He radiated charisma. He really was the King. The party was elegant. Hot Polynesian hors d’oeuvres were passed around during drinks. Dinner was very French, with consommé madrilène as a first course followed by cold poached salmon and asparagus hollandaise. During dessert, a lemon soufflé, and coffee, the cocktail pianist by the pool, who had been playing through dinner, was discreetly augmented by a rhythm section, and they became a small combo for dancing. The dance floor was set up on the lawn near an open bar, and the whole garden glowed with colored paper lanterns. Later in the evening, I managed a subdued jitterbug with Deborah Kerr, who was much livelier than her cool on-screen image. She had not yet done From Here to Eternity, in which she and Burt Lancaster steamed up the screen with their love scene in the surf. I was, of course, extremely impressed to be there with Hollywood royalty that evening, but as far as parties go, I realized that I had a lot more fun at Gene Kelly’s open houses.