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Hitchcock was never a good actor's director. Just look at Topaz, or Tippie Hedren in Marnie. But when he cast correctly, he got by very well like in Frenzy. Hitch was very good at the visual aspects of cinema, at that he was superb.

Alfred Hitchcock's largest payday came from the film Psycho. He deferred his salary in exchange for 60% of the movie's profits. This resulted in an estimated $15 million payday, which adjusted for inflation is around $120 million today.

Imitation flatters but is still only copies of an original. I am a fan of Hitchcock from his earliest films. There is one shot in Psycho that is pure Hitchcock. Arbogast, played perfectly by Balsam, is showing Norman the registry book. The camera is below and pointing up at Norman's throat as he's chewing his candy corn. No one but Hitchcock would choose that shot. Extraordinary!

Great interview! ! !

Excellent observations

This was good ! 👍

This principle of his to simplify everything and keepe the audience informed so they would emote backfired in Vertigo, imo. Ha ing Judy write that confession letter may have kept the audience informed, but it underminded suspense, was anticlimactic and prevented a natural, suspenseful denouement.

Fantastic production value, Jeffrey. Engaging, educational and hypnotic.

Why are his films so significant? How about: he was the greatest director who ever lived. The “development” of cinema after Hitch disproves the theory of evolution.

Excellent video! My favorite class in all of college was a course on Hitchcock I took when I was in graduate school. I had been a film major as an undergraduate and studied photography in graduate school, minoring in film theory. I’ve never enjoyed homework and research as much as I did in that class! I spent countless hours in the professor’s office discussing all sorts of aspects of Hitchcock’s films. My main project for the semester was looking at Hitchcock’s coded references to homosexuality - since he couldn’t just say that a character was gay, he had to give clues in other ways. I went through more than half his films looking for coded references to homosexuality, finding them in quite a few films. This was in the 1980s when there hadn’t been much published on the topic. I should have expanded that research into a book of my own…

Amazing

Tarantino should be called tarantula, spewing venom.

Really excellent work. Thank you. Very inspiring.

Excellent video essay

Great video 👍👍

Yes to brag, but my introduction to Hitchcock was watching his show on Nick at Nite

Really enjoyed this documentary. 👍

The feet reveal where we are going, while the hands reveal what we are doing

One of the great "loosh" generators, was old Hitch.

The world needs a modern day Hitchcock, Hollywood is dead.

Excellent! I did two video essays in 1992 by editing from my VHS collection suspenseful scenes from the opening of RICH 'N STRANGE to FAMILY PLOT but ending on the last scene of PSYCHO for overall effect. It took me hours do it perfectly with a VCR! Some students studied my essay when they did cinema studies. I have understood Hitchcock since discovering him in the early 80's. Love your shot frequency, that was something I really really noticed when I saw his movies! Now I have them on blu ray and 4k! Wish I had done my own show on Hitch. 😁

Feet = safety, dramatic introduction to a character, personality differences, lack of safety, sense of place Hands = anxiety and shock, interact with objects, objects are evidence of a crime, uneasiness Eyes = shows thought process, the mind at work, show what they are looking at

Watch the listening Proximity to the actors faces Close up - nervousness or suspicion Behind shot - denial Side - guilt Wide shot - emotional distance High - objective or supernatural The closer to the face equal more emotion. Tracking away means its beyond our control Tracking from wide to close u can find a hidden secret Cutting from wide to close = shock Following an actor emphasizes emotion Moving the camera to the next shot instead of cutting holds onto tension Long stationary camera shot allows opposing forces to converge within the screen space line in Marnie with the office cleaner. Fast cutting is impressionistic can stretch out a fast event or evoke things not seen on the screen for the audiences imagination

03:30 camera techniques

Classic

I wonder if Mr. Larson will see this..?

I think of Alfred Hitchcock as a behavioral psychologist using film to get specific reactions out of the audience. Other directors, even great ones, concentrated on what was _in the frame._ Alfred Hitchcock never for a moment lost focus on the _effect_ of what was in that frame on the audience. Analyzing his visual language and suspense-crafting techniques is fascinating and valuable but sometimes I think a problem is it’s, well, _analytical._ What makes Hitchcock great is not just the visual language or his suspense-crafting technique but that all of that occurs in basically _every_ frame of his films, creating a unified synthesis. No shot is a throwaway, no angle is just a random placement of the camera. _Every_ moment is thought-out, conscious, deliberate-again, with reference to the _effect_ on the audience. There’s almost a paradox in that, while Hitchcock had the audience on the edge of their seats for most of a film, that same audience could feel secure in surrendering to his control, knowing, perhaps unconsciously, that he knew exactly what he was doing to give them a thrilling ride.

Crack , Greetings from Peru.

Oh just wondering if you'll still make Hitch20 Episodes 11-20?

Impressive !

Nice

I love Hitchcock! Thank you for this three-part study of his techniques.

Very fascinating stuff!

Excelente! , obviamente tengo tu libro, al fin alguien que me ayuda a entender las técnicas de Hitchcock, tengo todas sus películas, pero era muy difícil para mí entender como lo hacia, gracias!

The Deja vu reaction effect.

Wonderful

Awesome this needs to be a class!!

I own and love your book. Keep the videos coming please

Interesting ideas on Hitchcock and sound. He eventually had an entire separate SOUND script for his movies. I once got a look at the sound script for The Birds and it is jaw dropping and precise and full of genius. He puts EMOTION into doors opening, feet scraping, the sounds of the mother cooking in the kitchen in Shadow of a Doubt etc. etc. As you mentioned, the 'incidental music' of the carousel was personally chosen with great care by Hitchcock. It was a song of his childhood and undoubtedly the words "...his brain was so loaded it nearly exploded, the poor girl shook with alarm..." take on scary meaning. Love the visuals and diagrams you use to clarify your points. As you noticed, I can't shut up about Hitch.

Very enjoyable and sharp cinematic studty. Director Robert Stevens was one of Hitch's favorite TV directors and the admiration was returned. Your talk about Hitch's emphasis on food reminds me: the wonderful episode The Babysitter with its emphases on food, milk shakes, sweets and its final murder of Thelma Ritter reading a trashy romance novel with a plate of gnawed chicken on the end table next to her.... pure Hitchcock. Stevens had a marvelous talent for the 26 minute format, but never had much more career afterwards. J. Lee Thompson's Cape Fear was so Hitchcock infused it is also worth a study for what works and what doesn't As for modern attempts at the 'Hitchcockian' they have ranged from the abysmal to the tolerable.

Great, succinct advice. I am buying the book. Thanks for your CZcams Channel as well. Keep it up!

Love John Williams. Pity my library doesn't stock the DVD 'Dial M for Murder' I've heard it's really good. I have the box set of Alfred Hitchcock Presents and The Alfred Hitchcock hour. Williams is in several episodes and I don't know if he's meant to but he's comedic. He's also in an episode of The Twilight Zone

Never was he so PERFECT as in the film "Dial M for Murder'. He played the same inspector role i100's of times in the very successful stage play. Every low key expression, every look in the movie Williams is honed to perfection. His plot to bury his wife in the basement plays deliciously off of his low key gentility.

The young critics and film makers of France had been starved of English and American films for the whole war so when Young and Innocent was shown post war at the Cinemathique in Paris, it was utterly new to all of them. This incredible shot got a STANDING OVATION from the film club members and helped create the French adoration for Hitch.

Hitch was an admirer of Clouzot's French thrillers Les Diaboliques and Le Corbeau. The second film in particular with its malevolent poison pen writer, is clearly evoked here.

Just an aside. The images of the paralyzed Joseph Cotton were supposedly NOT stills but filmed. I wonder if this can be verified. Janet Leigh had to do her 'dead shot' on live film for Psycho so its seems to be his predilection.

THE ravishing scene in Revenge is the killing. We see the killer. We see the killer and the man in the mirror and finally we see the actual murder as shadows on a wall in a mirror. HOW EFFING COOL IS THAT. It is a vertiginous descent into unreality and at the end as Carl backs out we seem in the mirror and then himself as he emerges out of his moment of madness.

So glad you picked up on the delicious fun Hitch had with this. He probably spent a day picking out that particular lighter with the unforgettable shape. Mrs. Blanchard is played by the great Meg Mundy who was a spectacular beauty in her youth as well as an accomplished actress (you might remember her as Mary Tyler Moore's uptight mother in Ordinary People).

I am a full-blown Hitchcock lover. I am deeply in love with his British films as the foundation of his cinema achievements. His American films are great because of his British movie-making skill. Hitchcock's experience in movie-making with the German and British studio systems enriched his filmic achievements. When we say we love Hitchcock's movies, we are paying tribute to his international experience with film-making in his early days.

Imma come back and rewatch this many times.