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-> Always make the audience suffer as much as possible.
-->-- His general rule for suspense filmmaking
-->-- His general rule for suspense filmmaking
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Changed line(s) 33 (click to see context) from:
''and [[Film/{{Notorious}} why exactly did the American government]]''\\
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''and [[Film/{{Notorious}} [[Film/{{Notorious|1946}} why exactly did the American government]]''\\
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''a [[Film/{{Notorious}} bunch of keys]]"''
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''a [[Film/{{Notorious}} [[Film/{{Notorious|1946}} bunch of keys]]"''
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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.
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Changed line(s) 20 (click to see context) from:
-> ''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.''
to:
-> ''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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->I’m not interested in content. It’s the same as a painter not worrying about the apples he’s painting – whether they’re sweet or sour. It’s his style, his manner of painting them – that’s 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}}''
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Changed line(s) 28 (click to see context) from:
''a hairbrush''\\
to:
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Changed line(s) 7 (click to see context) from:
-> '''Hitchcock''': "Oh, I’m very glad when they do, but it’s not like taking page one of a script and then saying, 'I will now start a work of art.' It’s ridiculous—-you can’t do it."
to:
-> '''Hitchcock''': '''Alfred Hitchcock''': "Oh, I’m very glad when they do, but it’s not like taking page one of a script and then saying, 'I will now start a work of art.' It’s ridiculous—-you can’t do it."
Changed line(s) 11 (click to see context) from:
-> '''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 don’t know what they mean when they talk about 'Hollywood' pictures. I say, 'Where are they conceived?' Look at this room—you can’t 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? We’re inside on a stage, the big doors are closed, and we’re down in a coal mine: we don’t know what the weather is like outside. Again, we don’t know where we are -- only within our film, within the thing we’re making. That’s why it’s such nonsense to talk about locale. 'Hollywood.' That doesn’t mean anything to me. If you ask, 'Why do you like working in Hollywood?' I would say, because I can get home at six o’clock 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 don’t know what they mean when they talk about 'Hollywood' pictures. I say, 'Where are they conceived?' Look at this room—you can’t 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? We’re inside on a stage, the big doors are closed, and we’re down in a coal mine: we don’t know what the weather is like outside. Again, we don’t know where we are -- only within our film, within the thing we’re making. That’s why it’s such nonsense to talk about locale. 'Hollywood.' That doesn’t mean anything to me. If you ask, 'Why do you like working in Hollywood?' I would say, because I can get home at six o’clock 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 don’t know what they mean when they talk about 'Hollywood' pictures. I say, 'Where are they conceived?' Look at this room—you can’t 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? We’re inside on a stage, the big doors are closed, and we’re down in a coal mine: we don’t know what the weather is like outside. Again, we don’t know where we are -- only within our film, within the thing we’re making. That’s why it’s such nonsense to talk about locale. 'Hollywood.' That doesn’t mean anything to me. If you ask, 'Why do you like working in Hollywood?' I would say, because I can get home at six o’clock for dinner."
-->-- ''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 don’t know what they mean when they talk about 'Hollywood' pictures. I say, 'Where are they conceived?' Look at this room—you can’t 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? We’re inside on a stage, the big doors are closed, and we’re down in a coal mine: we don’t know what the weather is like outside. Again, we don’t know where we are -- only within our film, within the thing we’re making. That’s why it’s such nonsense to talk about locale. 'Hollywood.' That doesn’t mean anything to me. If you ask, 'Why do you like working in Hollywood?' I would say, because I can get home at six o’clock for dinner."
-->-- ''Who the Devil Made It''
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! By Hitchcock
->If I made Cinderella, the audience would immediately be looking for a body in the coach.
->It’s only a movie, after all, and we’re 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 art—as many people have called your films.
-> '''Hitchcock''': "Oh, I’m very glad when they do, but it’s not like taking page one of a script and then saying, 'I will now start a work of art.' It’s ridiculous—-you can’t do it."
! About Hitchcock
->If I made Cinderella, the audience would immediately be looking for a body in the coach.
->It’s only a movie, after all, and we’re 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 art—as many people have called your films.
-> '''Hitchcock''': "Oh, I’m very glad when they do, but it’s not like taking page one of a script and then saying, 'I will now start a work of art.' It’s ridiculous—-you can’t do it."
! About Hitchcock
Changed line(s) 19,28 (click to see context) from:
-->-- '''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
->It’s only a movie, after all, and we’re 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 art—as many people have called your films.
--> '''Hitchcock''': "Oh, I’m very glad when they do, but it’s not like taking page one of a script and then saying, 'I will now start a work of art.' It’s ridiculous—-you can’t do it."
->If I made Cinderella, the audience would immediately be looking for a body in the coach.
-->-- Himself
->It’s only a movie, after all, and we’re 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 art—as many people have called your films.
--> '''Hitchcock''': "Oh, I’m very glad when they do, but it’s not like taking page one of a script and then saying, 'I will now start a work of art.' It’s ridiculous—-you can’t do it."
to:
-->-- '''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
->It’s only a movie, after all, and we’re 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 art—as many people have called your films.
--> '''Hitchcock''': "Oh, I’m very glad when they do, but it’s not like taking page one of a script and then saying, 'I will now start a work of art.' It’s ridiculous—-you can’t do it."4a
->If I made Cinderella, the audience would immediately be looking for a body in the coach.
-->-- Himself
->It’s only a movie, after all, and we’re 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 art—as many people have called your films.
--> '''Hitchcock''': "Oh, I’m very glad when they do, but it’s not like taking page one of a script and then saying, 'I will now start a work of art.' It’s ridiculous—-you can’t do it."
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Changed line(s) 25 (click to see context) from:
-->-- Ditto
to:
-->-- DittoDitto
-> '''Creator/PeterBogdanovich''': I just wondered if at any point in your career you ever thought of what you were doing as works of art—as many people have called your films.
--> '''Hitchcock''': "Oh, I’m very glad when they do, but it’s not like taking page one of a script and then saying, 'I will now start a work of art.' It’s ridiculous—-you can’t do it."
-> '''Creator/PeterBogdanovich''': I just wondered if at any point in your career you ever thought of what you were doing as works of art—as many people have called your films.
--> '''Hitchcock''': "Oh, I’m very glad when they do, but it’s not like taking page one of a script and then saying, 'I will now start a work of art.' It’s ridiculous—-you can’t do it."
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Changed line(s) 22 (click to see context) from:
-->-- Himself
to:
-->-- HimselfHimself
->It’s only a movie, after all, and we’re all grossly overpaid.
-->-- Ditto
->It’s only a movie, after all, and we’re all grossly overpaid.
-->-- Ditto
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Changed line(s) 19 (click to see context) from:
-->-- '''Creator/JeanLucGodard''' ''Histoire(s) du Cinéma'', Episode 4a
to:
-->-- '''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
->If I made Cinderella, the audience would immediately be looking for a body in the coach.
-->-- Himself
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Changed line(s) 11 (click to see context) from:
''[[[[Film/NorthByNorthwest in the desert]]''\\
to:
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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
''[[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