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Hitchcock: Why do these
Hitchcock films stand up well?
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They don't look old fashioned.
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00:01:45,564 --> 00:01:47,858
Well, I don't know the answer.
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00:01:59,287 --> 00:02:02,415
Hitchcock: That's true, yes.
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00:02:14,427 --> 00:02:16,554
Fincher: My dad
was a big movie buff,
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00:02:16,637 --> 00:02:20,057
and it was one of the books
that was in his library.
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00:02:24,270 --> 00:02:26,063
From the time I was
about seven years old,
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00:02:26,147 --> 00:02:27,815
he knew I wanted to make movies,
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00:02:27,898 --> 00:02:29,942
so he recommended it to me.
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00:02:31,277 --> 00:02:33,487
And I remember picking over it,
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00:02:33,571 --> 00:02:36,073
and I must've read it...
Sections of it.
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00:02:36,157 --> 00:02:40,536
Like, there's the Oskar homolka
sequence from sabotage.
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00:02:41,037 --> 00:02:44,749
Where it sort of lays out
all of the cutting pattern.
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00:02:49,378 --> 00:02:51,756
It's not even a book anymore,
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00:02:51,839 --> 00:02:54,383
it's like a stack of papers
because it was a...
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00:02:54,467 --> 00:02:57,553
You know, I had a
paperback and it's just...
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00:02:57,636 --> 00:02:59,889
You know, it's got
a rubber band around it.
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00:03:01,015 --> 00:03:03,893
Narrator:
In 1966, francois truffaut
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00:03:03,976 --> 00:03:07,355
published one of the few
indispensable books on movies.
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00:03:07,438 --> 00:03:12,360
A series of conversations with
Alfred Hitchcock about his career,
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00:03:12,443 --> 00:03:13,444
title by title.
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00:03:18,199 --> 00:03:22,411
It was a window into the world
of cinema that I hadn't had before,
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00:03:22,495 --> 00:03:27,708
because it was a director
simultaneously talking about his own work,
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00:03:27,792 --> 00:03:30,669
but doing so in a way that
was utterly unpretentious
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00:03:30,753 --> 00:03:32,338
and had no pomposity.
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00:03:38,719 --> 00:03:40,638
Paul schrader:
There was starting to be
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00:03:40,721 --> 00:03:45,601
these kind of erudite
conversations about the art form.
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00:03:45,976 --> 00:03:49,271
But truffaut was the
first one where you really
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00:03:50,940 --> 00:03:55,403
felt that, you know, they're
talking about the craft of it.
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00:03:57,822 --> 00:04:00,199
That was incredibly
fascinating to me
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00:04:00,282 --> 00:04:04,745
that these two people
from very different worlds
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00:04:04,829 --> 00:04:06,497
who were both
doing the same job,
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00:04:06,580 --> 00:04:08,833
how they would
talk about things.
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00:04:21,971 --> 00:04:25,641
I think it conclusively changed
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00:04:25,724 --> 00:04:27,852
people's opinions
about Hitchcock
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00:04:28,269 --> 00:04:31,856
and so Hitchcock began to
be taken much more seriously.
37
00:04:33,357 --> 00:04:36,193
Scorsese: At that time,
the general consensus
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00:04:36,277 --> 00:04:41,073
and climate was
a bullying, as usual,
39
00:04:42,074 --> 00:04:45,578
by the establishment as
to what serious cinema is.
40
00:04:47,413 --> 00:04:50,291
So it was really revolutionary.
41
00:04:50,374 --> 00:04:52,174
Based on what the
truffaut-Hitchcock book was,
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00:04:52,251 --> 00:04:55,880
we became radicalized
as moviemakers.
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00:04:57,047 --> 00:04:58,400
It was almost as if
somebody had taken
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00:04:58,424 --> 00:04:59,824
a weight off our
shoulders and said,
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00:04:59,884 --> 00:05:01,552
"yes, we can embrace
this, we could go."
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00:05:05,431 --> 00:05:08,476
Narrator: In 1962,
Hitchcock was 63 years old,
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00:05:10,186 --> 00:05:14,565
A household name in television,
and a virtual franchise unto himself.
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00:05:19,028 --> 00:05:22,990
He had already been known for
many years as the "master of suspense,"
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00:05:23,574 --> 00:05:27,286
and he had scared the wits out of
audiences all over the world with psycho,
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00:05:27,995 --> 00:05:31,457
and in the process, upended
our idea of what a movie was.
51
00:05:32,082 --> 00:05:37,588
And in this house, the most
dire, horrible event took place.
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00:05:39,173 --> 00:05:40,716
Let's go inside.
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00:05:41,050 --> 00:05:44,345
Narrator: He had just
completed his 40th feature, the birds.
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00:05:51,435 --> 00:05:55,773
Truffaut, half Hitchcock's age,
had made only three features,
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00:05:56,023 --> 00:06:00,361
but he was already an internationally
renowned and acclaimed filmmaker.
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00:06:12,456 --> 00:06:14,208
Truffaut wrote
Hitchcock a letter.
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00:06:14,458 --> 00:06:17,044
He proposed a series of
in-depth discussions
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00:06:17,127 --> 00:06:20,381
of Hitchcock's entire body
of work in movies.
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00:06:53,706 --> 00:06:56,125
For truffaut,
the book on Hitchcock
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00:06:56,208 --> 00:06:59,587
was every bit as important
as one of his own films,
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00:06:59,670 --> 00:07:03,215
and it required just as much
time and preparation.
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00:07:43,881 --> 00:07:48,093
The meeting was documented by the
great photographer Philippe halsman.
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00:07:51,639 --> 00:07:54,516
Hitchcock and truffaut.
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00:07:54,600 --> 00:07:57,811
They were from different
generations and different cultures,
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00:07:57,895 --> 00:08:00,939
and they had different approaches
to their work.
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00:08:01,023 --> 00:08:05,152
But both men lived for,
and through, the cinema.
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00:08:11,283 --> 00:08:14,078
Hitchcock: My mind
is strictly visual.
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00:08:16,830 --> 00:08:19,500
Hitchcock was born
with the movies.
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00:08:23,712 --> 00:08:27,091
Hitchcock: There's no such
thing as a face,
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00:08:27,174 --> 00:08:30,052
it's nonexistent until
the light hits it.
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00:08:33,389 --> 00:08:35,849
There was no such
thing as a line,
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00:08:35,933 --> 00:08:38,769
it's just light and shade.
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00:08:39,937 --> 00:08:44,191
The function of pure cinema,
as we well know,
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00:08:44,274 --> 00:08:47,861
is the placing of two or
three pieces of film together
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00:08:47,945 --> 00:08:49,822
to create a single idea.
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00:08:57,287 --> 00:08:59,581
Narrator: Hitchcock
was trained as an engineer,
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00:09:00,666 --> 00:09:02,501
then moved into advertising.
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00:09:03,419 --> 00:09:05,462
Hitchcock: Through that,
I went into the designing
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00:09:05,546 --> 00:09:06,922
of what were,
80
00:09:07,005 --> 00:09:11,218
in those days of silent
films, the art title.
81
00:09:12,636 --> 00:09:15,848
And then art direction, script
writing, and production duties.
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00:09:19,476 --> 00:09:22,479
Hitchcock: They said, "how
would you like to direct a picture?"
83
00:09:22,563 --> 00:09:25,357
And I said, "I've never
thought about it."
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00:09:25,441 --> 00:09:27,192
I was 23.
85
00:09:29,403 --> 00:09:31,697
My wife was to be my assistant.
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00:09:32,990 --> 00:09:35,242
We're not married yet,
87
00:09:35,325 --> 00:09:37,870
But we 're not
living in sin either.
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00:09:43,834 --> 00:09:46,086
Narrator: Hitchcock
had many close collaborators,
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00:09:46,170 --> 00:09:49,339
but none of them
was closer than Alma reville.
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00:09:50,716 --> 00:09:54,762
She was credited on some
films, uncredited on many others,
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00:09:54,845 --> 00:09:58,891
but Hitchcock consulted his
wife on every movie he ever made.
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00:10:03,145 --> 00:10:08,734
Hitchcock: The lodger was
the first time I'd exercised any style.
93
00:10:22,498 --> 00:10:24,374
Fincher: He is making
floors out of glass
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00:10:24,458 --> 00:10:28,796
so that he can show people walking
in circles in the apartment above.
95
00:10:28,879 --> 00:10:33,175
He's playing with
all those things
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00:10:33,258 --> 00:10:36,637
that make cinema fun
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00:10:37,346 --> 00:10:40,557
and magic, the tricks of it.
98
00:10:43,101 --> 00:10:45,479
He was also conceptual
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00:10:45,562 --> 00:10:47,402
with the way he approached
many of these films.
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00:10:48,482 --> 00:10:52,528
This movie, I have an idea for a
way that I've never worked before.
101
00:10:58,408 --> 00:11:01,870
This is somebody whose
mind is racing, filled with ideas
102
00:11:01,954 --> 00:11:04,623
and that's why, you know,
we refer to him all the time.
103
00:11:06,041 --> 00:11:09,461
Do you realize the squad Van
will be here any moment?
104
00:11:09,586 --> 00:11:11,466
No, really! Oh, my god,
I'm terribly frightened.
105
00:11:11,547 --> 00:11:14,007
Why? Have you been
a bad woman or something?
106
00:11:14,091 --> 00:11:15,801
Well, not just bad, but...
107
00:11:15,884 --> 00:11:17,177
But you've slept with men?
108
00:11:17,261 --> 00:11:18,428
Oh, no!
109
00:11:18,512 --> 00:11:19,763
Woman: Knife.
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00:11:19,847 --> 00:11:21,157
He directed
the first British talkie.
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00:11:21,181 --> 00:11:23,350
And if you use a penknife!
Or a pocketknife!
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00:11:23,433 --> 00:11:25,602
Man: Alice, cut us a bit
of bread, will you?
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00:11:25,686 --> 00:11:27,938
Woman: I mean, in Chelsea
you mustn't use a knife!
114
00:11:29,439 --> 00:11:32,109
And then, in 1934,
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00:11:32,276 --> 00:11:35,362
he made the first
100% Hitchcock picture.
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00:11:36,822 --> 00:11:38,341
Hitchcock: St. Moritz
was the beginning
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00:11:38,365 --> 00:11:40,367
of the man who knew too much.
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00:11:43,245 --> 00:11:45,581
It was the place
of our honeymoon.
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00:12:16,612 --> 00:12:18,989
Narrator: And of course,
Hollywood beckoned.
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00:12:22,326 --> 00:12:26,038
Hitchcock: I wasn't
attracted to Hollywood as a place.
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00:12:28,415 --> 00:12:29,917
Hitchcock: That had no interest,
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00:12:30,000 --> 00:12:33,795
what had interest for me
was getting inside that studio.
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00:12:54,358 --> 00:12:57,736
Hitchcock did some of his
best work in the '40s.
124
00:13:05,535 --> 00:13:07,704
But in the '50s, he soared.
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00:13:07,788 --> 00:13:10,707
I have a murder on my
conscience, but it's not my murder.
126
00:13:12,542 --> 00:13:14,419
Narrator: And curiosity
of James Stewart,
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00:13:14,503 --> 00:13:19,049
in this story of a romance shadowed
by the terror of a horrifying secret.
128
00:13:24,763 --> 00:13:28,266
Look, John, hold them.
129
00:13:28,725 --> 00:13:29,851
Diamonds.
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00:13:41,363 --> 00:13:43,216
Scorsese: There was a
spell that was cast with those films
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00:13:43,240 --> 00:13:44,825
in the '50s and the '60s.
132
00:13:46,827 --> 00:13:51,456
And it's a special
blessed time for me
133
00:13:51,540 --> 00:13:53,583
because I saw them
as they came out.
134
00:14:03,510 --> 00:14:05,670
Narrator: Truffaut began
as a critic in the early '50s.
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00:14:07,014 --> 00:14:10,600
He started at the great French
film magazine, cahiers du cinema.
136
00:14:11,059 --> 00:14:15,439
For the writers at cahiers, soon to become
the filmmakers of the nouvelle vague,
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00:14:15,897 --> 00:14:19,776
Hitchcock's greatness
as an artist was self-evident.
138
00:14:33,790 --> 00:14:35,375
Before they made
their own movies,
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00:14:35,459 --> 00:14:38,336
the cahiers critics erected
a new pantheon of cinema.
140
00:14:39,296 --> 00:14:41,339
The directors who were
the true artists,
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00:14:41,965 --> 00:14:45,802
the authors who wrote with
the camera, the auteurs.
142
00:15:47,197 --> 00:15:51,201
Being an individual artist
meant self-exposure,
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00:15:51,868 --> 00:15:54,287
pouring all of yourself into your movie,
144
00:15:54,996 --> 00:15:58,416
all of your fears
and obsessions and fetishes,
145
00:15:59,251 --> 00:16:01,002
just like Hitchcock did.
146
00:16:04,881 --> 00:16:06,925
Man: All together! Pull!
147
00:16:31,533 --> 00:16:35,245
Hitchcock often told the story of
being sent to the police station as a boy,
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00:16:35,328 --> 00:16:39,291
where he was locked up for a few
minutes as a symbolic punishment.
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00:16:40,208 --> 00:16:43,795
He said that it led to a
lifelong fear of the police.
150
00:16:50,844 --> 00:16:53,597
But truffaut
really was locked up.
151
00:16:54,347 --> 00:16:57,184
He was delivered to the police
by his own father,
152
00:16:58,435 --> 00:17:00,478
And then sent to
a juvenile detention center,
153
00:17:08,028 --> 00:17:11,948
An episode he put into his
autobiographical first feature.
154
00:17:28,840 --> 00:17:31,801
Truffaut had a fierce
attachment to freedom.
155
00:17:31,885 --> 00:17:33,595
It's there in all of his films.
156
00:17:34,012 --> 00:17:38,975
And it sent him in search of another
father, a father who would liberate him.
157
00:17:40,185 --> 00:17:42,896
He found the great
film critic andré bazin,
158
00:17:42,979 --> 00:17:47,484
who virtually adopted truffaut and
brought him to cahiers du cinema.
159
00:17:51,863 --> 00:17:53,531
He found Jean renoir,
160
00:17:54,115 --> 00:17:55,909
and Roberto rossellini.
161
00:17:59,746 --> 00:18:02,374
And he found Alfred Hitchcock.
162
00:18:02,457 --> 00:18:05,377
Hitchcock had freed truffaut as an artist,
163
00:18:05,460 --> 00:18:08,588
and truffaut wanted to reciprocate
by freeing Hitchcock
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00:18:08,672 --> 00:18:11,549
from his reputation as a light entertainer.
165
00:18:12,926 --> 00:18:16,179
And that's the basis on which
they started their conversation.
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00:18:21,726 --> 00:18:25,146
Hitchcock: Well, let me check
with him and see if he's running yet.
167
00:18:28,275 --> 00:18:29,567
Hitchcock: You started?
168
00:18:29,693 --> 00:18:30,694
You're up?
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00:18:32,112 --> 00:18:35,198
Hitchcock: All right, you're
running now, huh? Okay, fine.
170
00:18:35,824 --> 00:18:37,367
We are now on the air.
171
00:18:47,377 --> 00:18:48,962
Woman: Your type of picture?
172
00:18:52,132 --> 00:18:59,306
Woman: People get enjoyment
but pretend not to be fooled.
173
00:19:01,224 --> 00:19:02,767
Woman: They sulk,
they begrudge...
174
00:19:02,851 --> 00:19:04,686
They give their
pleasure grudgingly.
175
00:19:04,769 --> 00:19:06,021
Hitchcock: Yes. Well...
176
00:19:06,104 --> 00:19:08,708
Woman: When I say pleasure, I don't
mean amusement. I mean their enjoyment.
177
00:19:08,732 --> 00:19:10,859
Hitchcock: They are obviously...
178
00:19:10,942 --> 00:19:13,403
They're going to sit there
and say, "show me!"
179
00:19:17,532 --> 00:19:20,827
Hitchcock: They expect to
anticipate. "I know what's coming next."
180
00:19:20,910 --> 00:19:23,079
I have to say, "do you?"
181
00:19:38,261 --> 00:19:39,929
Hitchcock: Yes,
but you see, to me,
182
00:19:41,264 --> 00:19:45,143
Plausibility for
the sake of plausibility
183
00:19:45,226 --> 00:19:48,021
does not help, you know.
184
00:20:10,418 --> 00:20:15,131
Hitchcock: Lhave a favorite
little saying to myself, "logic is dull."
185
00:20:23,223 --> 00:20:25,892
Woman: Is it possible now
for us to define suspense?
186
00:20:25,975 --> 00:20:29,896
That is to say, are there
many forms of suspense?
187
00:20:31,606 --> 00:20:34,567
Woman: People believe,
uh, somewhat Nai'vely...
188
00:20:36,569 --> 00:20:40,115
That suspense is when
one is afraid. Which is wrong.
189
00:20:40,198 --> 00:20:44,244
Hitchcock: No, no.
In the film easy virtue...
190
00:20:45,829 --> 00:20:48,832
Hitchcock: A young man
was proposing to this woman.
191
00:20:50,291 --> 00:20:53,169
She wouldn't give an answer,
192
00:20:53,294 --> 00:20:57,841
she said, "I'll call you up
when I get back around 12:00."
193
00:21:03,888 --> 00:21:09,394
And all I showed was the operator
on this telephone switchboard.
194
00:21:13,690 --> 00:21:16,109
That girl is in suspense!
195
00:21:18,027 --> 00:21:21,865
And she was relieved at the end,
196
00:21:21,948 --> 00:21:23,867
so that the suspense was over.
197
00:21:24,951 --> 00:21:27,579
The woman said, "yes."
198
00:21:27,662 --> 00:21:30,832
The suspense doesn't
always have fear in it.
199
00:21:54,022 --> 00:21:55,315
Fincher: He talks about things,
200
00:21:55,398 --> 00:21:59,569
contextualizing what the
work of a director truly is
201
00:21:59,736 --> 00:22:03,406
at its most fundamental
and most simple.
202
00:22:07,285 --> 00:22:10,413
Hitchcock: Emotionally,
the size of the image...
203
00:22:10,497 --> 00:22:12,957
Is very important.
204
00:22:13,416 --> 00:22:15,627
You're dealing with space.
205
00:22:18,129 --> 00:22:21,257
You may need space
and use it dramatically.
206
00:22:25,595 --> 00:22:29,307
When the girl shrank
back on the sofa,
207
00:22:30,975 --> 00:22:35,021
I kept the camera back
and used the space
208
00:22:35,104 --> 00:22:40,860
to indicate the nothingness
from which she was shrinking.
209
00:22:47,659 --> 00:22:51,538
Fincher: If you have
some kind of understanding
210
00:22:51,621 --> 00:22:54,832
of color and design and light...
211
00:22:55,375 --> 00:22:58,002
Directing is
really three things.
212
00:22:58,795 --> 00:23:02,048
You're editing behavior
over time,
213
00:23:02,131 --> 00:23:06,052
and then controlling moments
that should be really fast
214
00:23:06,135 --> 00:23:08,221
and making them slow,
215
00:23:08,304 --> 00:23:11,349
and moments that should be
really slow and making them fast.
216
00:23:11,432 --> 00:23:13,643
Narrator: It is indeed
a solemn occasion.
217
00:23:13,726 --> 00:23:16,062
I switch you over
to our microphone...
218
00:23:20,316 --> 00:23:23,236
Hitchcock: Yes.
That's what film is for.
219
00:23:24,195 --> 00:23:27,991
To either contract time...
220
00:23:28,616 --> 00:23:31,369
Or extend it. Whatever you wish.
221
00:23:41,212 --> 00:23:43,131
Linklater: Hitchcock,
in a way, was the master,
222
00:23:43,214 --> 00:23:46,718
let's say sculptor
of moments in time
223
00:23:46,801 --> 00:23:48,886
to take you through a sequence
224
00:23:48,970 --> 00:23:51,431
or to direct your
perception in a way
225
00:23:51,514 --> 00:23:54,017
where he could elongate
time or telescope it.
226
00:23:55,768 --> 00:23:59,272
Hitchcock: Well, there are
moments when you have to stop time.
227
00:24:13,369 --> 00:24:16,748
Hitchcock: Describe to me
in detail what the action was.
228
00:24:22,045 --> 00:24:24,672
Hitchcock: Cutting to the
mother before the boy saw her?
229
00:24:27,050 --> 00:24:29,052
Woman: She was not
looking at the child yet.
230
00:24:33,014 --> 00:24:36,142
Woman: And then you show the
mother who saw them walking away.
231
00:24:38,353 --> 00:24:42,357
Hitchcock: I'm asking from a story
point of view, what was the intention?
232
00:24:50,573 --> 00:24:53,076
Hitchcock: I would have hoped
that there was nothing spoken.
233
00:25:39,497 --> 00:25:41,857
Anderson: The thing I think
about the most with Hitchcock is
234
00:25:42,041 --> 00:25:46,629
the visuals are so
graphic and precise.
235
00:25:47,463 --> 00:25:49,924
There is a lot
to learn from that.
236
00:25:53,636 --> 00:25:56,389
Bogdanovich: He said, "when
I'm on the set, I'm not on the set.
237
00:25:56,472 --> 00:25:58,599
"I'm watching it on the screen."
238
00:25:59,642 --> 00:26:01,227
That's the key to
Hitchcock, in a way.
239
00:26:01,310 --> 00:26:03,187
I mean, he sees the
picture in his head.
240
00:26:09,610 --> 00:26:12,238
I imagine he just sat alone
and these images came to him
241
00:26:12,321 --> 00:26:13,656
and hejust never questioned it.
242
00:26:28,004 --> 00:26:31,883
You don't feel like he's ever
not confident in every shot.
243
00:26:34,969 --> 00:26:37,013
That's one guy you
don't really question.
244
00:26:37,305 --> 00:26:39,849
It always works within
his world, kind of perfectly.
245
00:27:52,296 --> 00:27:54,257
Ithoughtyou didn't like to cook.
246
00:27:54,882 --> 00:27:56,551
No, I don't like to cook.
247
00:28:19,615 --> 00:28:21,367
I'd be delighted.
248
00:28:22,493 --> 00:28:24,704
Anderson: Even if they go
all the way across the room,
249
00:28:24,787 --> 00:28:26,706
he is going to move
with them in the kiss
250
00:28:26,789 --> 00:28:27,933
and the actors are going to say,
251
00:28:27,957 --> 00:28:29,667
"this is the most bizarre thing,
252
00:28:29,750 --> 00:28:31,377
"we are walking
while we are kissing."
253
00:28:32,628 --> 00:28:34,505
But he knows how it
fits in the frame
254
00:28:34,630 --> 00:28:37,049
and he knows that the
tension won't be broken
255
00:28:37,133 --> 00:28:40,177
and, um, the spell
won't be broken.
256
00:28:41,596 --> 00:28:43,596
This is a very strange love
affair.
257
00:28:47,393 --> 00:28:49,812
Maybe the fact that
you don't love me.
258
00:28:50,313 --> 00:28:51,314
Hello?
259
00:28:51,397 --> 00:28:55,568
Hitchcock: I was giving
the public the great privilege
260
00:28:55,651 --> 00:28:59,822
of embracing Cary Grant
and Ingrid bergman together.
261
00:29:01,616 --> 00:29:06,829
Hitchcock: It was a kind of
temporary ménage a trois.
262
00:29:08,456 --> 00:29:11,208
And the actors hated doing it.
263
00:29:11,334 --> 00:29:14,629
They felt dreadfully uncomfortable...
264
00:29:14,712 --> 00:29:18,299
In the manner in which
they had to cling to each other.
265
00:29:19,175 --> 00:29:21,594
And I said, "well,
I don't care how you feel,
266
00:29:21,677 --> 00:29:24,138
"I only know what it's gonna
look like on the screen."
267
00:29:29,310 --> 00:29:34,357
He obviously had contentious
relationships, in some cases, with actors.
268
00:29:34,440 --> 00:29:37,193
You know, he definitely
solicited movie stars.
269
00:29:37,443 --> 00:29:40,237
You know, there is no doubt
in reading the book
270
00:29:40,321 --> 00:29:43,282
that he is very
cognizant of the value
271
00:29:43,366 --> 00:29:45,785
of faces that
people want to see.
272
00:29:47,036 --> 00:29:51,165
And sometimes, the complications
that come with that baggage.
273
00:29:51,666 --> 00:29:55,670
Linklater: Montgomery clift is
transcendent in I confess. He's great.
274
00:29:56,045 --> 00:29:58,172
But I don't think
Hitchcock cared
275
00:29:58,255 --> 00:30:00,967
if they had a good time or
not or how they felt about him.
276
00:30:01,050 --> 00:30:05,221
Obviously, that wasn't
A huge concern of his.
277
00:30:06,013 --> 00:30:10,017
Hitchcock: Sometimes you
need a look to convey something...
278
00:30:11,560 --> 00:30:13,562
Or to look at
something and react.
279
00:30:15,690 --> 00:30:18,234
I had a conflict with clift.
280
00:30:20,695 --> 00:30:24,448
I said, "monty, I want
you to look up at the hotel."
281
00:30:26,242 --> 00:30:30,788
Uh, so he said to me, "I don't know
whether I would look up to the hotel."
282
00:30:32,415 --> 00:30:33,499
I said, "why not?"
283
00:30:33,582 --> 00:30:37,420
He said, "I may be occupied
by the people below."
284
00:30:39,380 --> 00:30:44,343
I said, "I want you to look
up to the hotel windows
285
00:30:44,427 --> 00:30:45,845
"and please do so."
286
00:30:46,178 --> 00:30:49,890
I was telling the audience
across the street is the hotel.
287
00:30:50,850 --> 00:30:53,602
So an actor is gonna try
and interfere with me,
288
00:30:53,686 --> 00:30:56,439
organizing my geography.
289
00:30:56,647 --> 00:30:59,066
That's why all
actors are cattle.
290
00:31:01,861 --> 00:31:05,614
Linklater: With Hitchcock you get a sense
of a kind of a self-contained psychology
291
00:31:05,698 --> 00:31:07,867
that we were gonna
explore his obsessions
292
00:31:07,950 --> 00:31:09,702
and what he was interested in.
293
00:31:09,785 --> 00:31:11,620
I think his collaboration there
294
00:31:11,704 --> 00:31:13,497
didn't go much
farther than that.
295
00:31:14,498 --> 00:31:18,794
Fincher: Acting, it's a
great part of movie making
296
00:31:19,670 --> 00:31:21,589
but it's not the only
part of movie making.
297
00:31:21,672 --> 00:31:25,468
And I think Hitchcock was
one of the first people to say
298
00:31:25,551 --> 00:31:28,471
there is a structure
to this language.
299
00:31:39,565 --> 00:31:44,236
He probably did more for the
psychological underpinnings
300
00:31:44,320 --> 00:31:45,404
of characterization
301
00:31:45,488 --> 00:31:47,948
in motion pictures than anyone.
302
00:31:54,121 --> 00:31:58,250
And on top of it, wouldn't
allow any of his actors
303
00:31:58,334 --> 00:32:01,879
to explore that kind
of behavior on set.
304
00:32:01,962 --> 00:32:06,217
It was the rigor of dramatizing
it in narrative terms,
305
00:32:06,300 --> 00:32:09,720
and then not allowing for it to,
like, spill over the edge of the bucket.
306
00:32:14,475 --> 00:32:15,535
Scorsese: Coming out
of world war ii,
307
00:32:15,559 --> 00:32:18,687
which is the worst
recorded war in history.
308
00:32:19,647 --> 00:32:22,608
Destruction of civilization,
309
00:32:22,691 --> 00:32:26,028
no peace or comfort
from religion.
310
00:32:27,363 --> 00:32:29,365
The paranoia, the anxiety.
311
00:32:31,450 --> 00:32:33,410
Who are we? What are we?
312
00:32:35,746 --> 00:32:39,291
Post-world war ii, there
was a rupture, a change.
313
00:32:39,375 --> 00:32:43,546
Um, particularly in the
nature of what a performance
314
00:32:43,629 --> 00:32:46,549
or a persona onscreen would be.
315
00:32:47,550 --> 00:32:50,469
And that is that the actor
is the main instrument really.
316
00:32:51,554 --> 00:32:56,016
And this is all expressed I think
in Brando, James Dean, and clift.
317
00:32:56,725 --> 00:32:59,770
Alfred Hitchcock was able to get
the soul of the actors on screen,
318
00:32:59,854 --> 00:33:03,232
whether it's Cary Grant, Eva Marie
Saint, grace Kelly, Jimmy Stewart.
319
00:33:04,608 --> 00:33:06,527
But it comes of
another tradition.
320
00:33:08,654 --> 00:33:14,076
Fincher: I'd love to
see de niro, Pacino, Dustin Hoffman.
321
00:33:14,743 --> 00:33:18,497
To see that school of actor,
322
00:33:18,581 --> 00:33:24,587
you know, try to flourish
under the iron umbrella of
323
00:33:25,129 --> 00:33:29,133
this is what this next three
and a half seconds is about.
324
00:33:33,804 --> 00:33:36,348
Hitchcock:
I would like to ask you.
325
00:33:36,432 --> 00:33:38,350
Do you feel
it's too much trouble
326
00:33:38,434 --> 00:33:42,605
having to direct actors
in their acting?
327
00:33:44,982 --> 00:33:47,568
Woman: What I'd like is
an intermediary formula.
328
00:33:49,111 --> 00:33:54,158
That is to say, to speak with
an actor the evening after dinner,
329
00:33:55,451 --> 00:33:58,787
and then create
the dialogue in the night
330
00:33:58,871 --> 00:34:00,748
with the words which
he himself has been using
331
00:34:00,831 --> 00:34:02,917
from his own vocabulary.
332
00:34:03,000 --> 00:34:06,170
Hitchcock: Yes. Will that
mean you have to write overnight?
333
00:34:25,022 --> 00:34:30,236
Woman: Alive perhaps, but which
are very dangerous for the curve...
334
00:34:30,319 --> 00:34:32,571
Hitchcock: For the shape,
the shape of the picture.
335
00:34:35,950 --> 00:34:41,580
Hitchcock: I often am troubled
as to whether! Cling to the,
336
00:34:41,664 --> 00:34:44,875
what I call the rising
curve-shape of a story
337
00:34:46,043 --> 00:34:48,837
And whether! Shouldn't
experiment more
338
00:34:48,921 --> 00:34:52,925
with a looser form of narrative.
339
00:34:54,510 --> 00:34:56,613
Sometimes it's very hard...
340
00:34:56,637 --> 00:35:01,433
Because if you work
for character direct,
341
00:35:01,517 --> 00:35:04,144
they'll take you along
where they want to go.
342
00:35:04,228 --> 00:35:07,273
And I'm like the old lady
with the boy scouts.
343
00:35:07,356 --> 00:35:08,649
I don't want to do go that way.
344
00:35:11,527 --> 00:35:14,697
And this has always
been a conflict with me.
345
00:35:21,537 --> 00:35:23,205
Fincher: It seems to me
he finds material
346
00:35:23,289 --> 00:35:24,873
that he can kind of, you know,
347
00:35:24,957 --> 00:35:26,500
it's an applied science.
348
00:35:26,583 --> 00:35:32,047
He can sort of apply the
Hitchcock thing to this story.
349
00:35:32,715 --> 00:35:36,510
By now I have my series
of linear plot devices
350
00:35:36,593 --> 00:35:38,304
leading to a fall
from a high place.
351
00:35:45,686 --> 00:35:47,521
Hitchcock:
Quite obviously, I'm, uh...
352
00:35:48,897 --> 00:35:52,818
I suppose like any artist
who paints or writes,
353
00:35:52,901 --> 00:35:56,280
I'm limited to a certain
field, you know.
354
00:36:33,359 --> 00:36:37,863
Hitchcock: I went high because
I didn't want to spend a lot of footage
355
00:36:37,946 --> 00:36:40,699
on people getting out hoses...
356
00:36:40,783 --> 00:36:42,409
And starting to put out a fire.
357
00:36:46,872 --> 00:36:48,916
If you play it a long way away,
358
00:36:48,999 --> 00:36:50,959
you aren't committed
to any detail.
359
00:36:52,044 --> 00:36:55,047
Itwasn'tjust, um,
simply to show the whole town
360
00:36:55,130 --> 00:36:56,632
and how the birds are coming in.
361
00:36:56,715 --> 00:37:01,387
It took on another kind of
apocalyptic, religious feel.
362
00:37:01,678 --> 00:37:03,305
It was omniscient.
363
00:37:04,473 --> 00:37:07,017
It's the cleansing of the earth.
364
00:37:07,434 --> 00:37:10,896
Whose point of view is it when
you cut to above everything?
365
00:37:10,979 --> 00:37:13,690
God's point of view? Are we
all being judged from above?
366
00:37:13,774 --> 00:37:15,442
You know, that kind
of suggests that.
367
00:37:21,949 --> 00:37:23,951
Where are those
papers now, exactly?
368
00:37:24,410 --> 00:37:25,970
Scorsese: For me that angle
is always something
369
00:37:25,994 --> 00:37:28,664
that has a kind of
religious element to it.
370
00:37:36,463 --> 00:37:38,340
Hitchcock: Go off the record.
371
00:37:41,009 --> 00:37:43,530
Scorsese: You know, you have
Martin balsam going up the stairs, right?
372
00:37:43,554 --> 00:37:45,347
And that's so deliberately slow,
373
00:37:45,431 --> 00:37:47,391
you just know he's gonna get it,
374
00:37:47,474 --> 00:37:49,893
but you don't expect
that high angle.
375
00:37:52,521 --> 00:37:56,358
There's something omniscient
about it that's kind of frightening.
376
00:38:06,326 --> 00:38:07,661
Hitchcock: Yes.
377
00:38:29,892 --> 00:38:33,061
Woman: Everyone always
has something to feel guilty about.
378
00:38:33,729 --> 00:38:35,623
Scorsese: They're asking,
"did you ever hear of topaz?"
379
00:38:35,647 --> 00:38:38,150
Colonel kusenov, does the word
"topaz" mean anything to you?
380
00:38:39,359 --> 00:38:41,320
Scorsese:
It cuts to the defector
381
00:38:41,403 --> 00:38:44,114
and the camera's sort of
up above him a little bit.
382
00:38:44,198 --> 00:38:46,241
And you see his eye shift.
383
00:38:46,575 --> 00:38:49,411
The eye is not covered. That
means the angle had to just be right.
384
00:38:51,371 --> 00:38:54,291
Now, you know he's lying,
it's that poem.
385
00:38:54,875 --> 00:38:58,462
You may leave the religion, but
the hound of heaven is always there.
386
00:39:01,423 --> 00:39:04,384
That infuses everything,
the whole thought process
387
00:39:04,468 --> 00:39:05,928
and the storytelling process.
388
00:39:07,471 --> 00:39:12,809
Man: And continually turn
our hearts from wickedness,
389
00:39:12,893 --> 00:39:17,898
and from worldly things
unto thee...
390
00:39:44,800 --> 00:39:46,635
Over the years,
I keep revisiting it
391
00:39:46,718 --> 00:39:48,637
by watching it, watching
it over and over again.
392
00:39:51,348 --> 00:39:54,226
This is the average man,
decent man I should say.
393
00:39:55,143 --> 00:39:57,563
Family, kids...
Uh, suddenly picked up.
394
00:39:57,896 --> 00:39:59,147
Your name Chris?
395
00:39:59,606 --> 00:40:00,732
You're calling me?
396
00:40:00,816 --> 00:40:02,943
Scorsese: And everything...
397
00:40:03,318 --> 00:40:04,319
Yes, it is.
398
00:40:04,695 --> 00:40:07,322
Everything
points to him doing it.
399
00:40:08,240 --> 00:40:09,283
And you know he didn't.
400
00:40:09,658 --> 00:40:15,956
One, two, three, four...
401
00:40:18,083 --> 00:40:19,126
Man: You're sure?
402
00:40:19,209 --> 00:40:20,252
Absolutely.
403
00:40:36,059 --> 00:40:37,499
Scorsese:
Those extraordinary inserts
404
00:40:37,561 --> 00:40:40,480
where Henry Fonda's
just sitting on the bunk,
405
00:40:41,023 --> 00:40:42,733
he looks at the cell around him.
406
00:40:42,816 --> 00:40:45,611
And it cuts to different
sections of the cell.
407
00:40:47,529 --> 00:40:49,698
What makes you feel oppressed?
408
00:40:49,781 --> 00:40:52,075
The lock on the door,
but from what angle?
409
00:40:53,076 --> 00:40:55,370
Is it really his point of view?
410
00:40:56,038 --> 00:40:57,638
All these things are
remarkable, I think.
411
00:41:06,548 --> 00:41:07,708
Hitchcock: Yes, that's right.
412
00:41:58,809 --> 00:42:00,268
Hitchcock: Not a lot, no.
413
00:42:03,772 --> 00:42:06,274
Woman: One senses in your work
the importance of dreams.
414
00:42:06,358 --> 00:42:08,360
Hitchcock: Daydreams, probably.
415
00:42:16,159 --> 00:42:19,621
Hitchcock: Well, that's
probably me within myself
416
00:42:30,382 --> 00:42:31,466
Look.
417
00:42:35,303 --> 00:42:36,972
Hitchcock: I think it occurs
418
00:42:37,055 --> 00:42:41,268
because I am never satisfied
with the ordinary.
419
00:42:42,436 --> 00:42:45,689
I can't do well
with the ordinary.
420
00:43:03,498 --> 00:43:07,794
Schrader: Hitchcock keeps referring
to these, sort of, fetish objects.
421
00:43:08,920 --> 00:43:12,758
Keys and handcuffs
and ropes and stuff,
422
00:43:12,841 --> 00:43:14,885
which are kind of dream objects
423
00:43:15,844 --> 00:43:19,598
which have a kind of
freudian weight to them.
424
00:44:45,475 --> 00:44:49,980
Hitchcock: Silent pictures
are the pure motion picture form.
425
00:44:52,566 --> 00:44:58,697
There was no need to
abandon the technique
426
00:44:58,780 --> 00:45:01,658
of the pure motion picture
427
00:45:01,950 --> 00:45:04,953
the way it was abandoned
when the sound came in.
428
00:45:13,169 --> 00:45:16,631
The craft was of course
developed in silent cinema first.
429
00:45:17,257 --> 00:45:19,217
So the whole idea was,
430
00:45:19,301 --> 00:45:22,178
"how do I tell the story
without any dialogue?"
431
00:45:22,804 --> 00:45:25,974
This is a brilliant way to
train someone to think visually,
432
00:45:26,600 --> 00:45:28,310
and part of the reason
the films have
433
00:45:28,393 --> 00:45:30,395
that incredible
dream-like feeling.
434
00:45:53,335 --> 00:45:56,296
Linklater: So many
Hitchcock films would work silently.
435
00:45:58,131 --> 00:46:01,676
You could watch a Hitchcock
film without any dialogue or music
436
00:46:01,760 --> 00:46:05,138
and I think you'd still get a
really high percentage of it.
437
00:46:38,046 --> 00:46:39,649
Scorsese: They're meant
to achieve a realism,
438
00:46:39,673 --> 00:46:41,150
but it's more of a...
How should I put this?
439
00:46:41,174 --> 00:46:45,053
Spirit of realism.
It isn't objective.
440
00:47:20,296 --> 00:47:22,841
Hitchcock: Yes, but you are
dealing with the point of view
441
00:47:22,924 --> 00:47:24,592
of an emotional man.
442
00:47:31,808 --> 00:47:36,563
Hitchcock: I was intrigued
with the effort to create a woman...
443
00:47:37,731 --> 00:47:40,734
After another in
the image of a dead woman.
444
00:47:50,618 --> 00:47:54,539
Fincher: If you think that you
can hide what your interests are,
445
00:47:54,622 --> 00:47:57,292
what your prurient
interests are,
446
00:47:57,375 --> 00:47:59,836
what your noble interests are,
447
00:47:59,919 --> 00:48:02,338
what your fascinations are...
448
00:48:02,422 --> 00:48:05,050
If you think you can
hide that in your work
449
00:48:05,133 --> 00:48:07,886
as a film director,
you're nuts, you know.
450
00:48:07,969 --> 00:48:10,889
And I think that he was
one of the first guys who said,
451
00:48:12,474 --> 00:48:15,894
"I'm gonna go with it."
"I'm just going to...
452
00:48:15,977 --> 00:48:17,854
"I'm gonna be... I gotta be me."
453
00:48:22,650 --> 00:48:25,236
And in the case
of his best work,
454
00:48:25,320 --> 00:48:30,492
there is a more direct
umbilicus to his subconscious.
455
00:48:32,619 --> 00:48:35,830
Certainly I think
that is true ofvertigo.
456
00:48:36,289 --> 00:48:39,042
H itchcock: The sex
psychological side is that...
457
00:48:40,168 --> 00:48:44,422
You have a man
creating a sex image,
458
00:48:44,506 --> 00:48:47,425
but he can't go to bed with her
459
00:48:47,509 --> 00:48:52,555
until he's got her back to the
thing he wants to go to bed with.
460
00:48:52,722 --> 00:48:55,100
It should be back from your
face and pinned at the neck.
461
00:48:55,183 --> 00:48:57,268
I told her that.
I told you that.
462
00:48:58,353 --> 00:48:59,479
We tried it.
463
00:48:59,562 --> 00:49:02,690
Hitchcock:
Or metaphorically indulged
464
00:49:02,774 --> 00:49:05,860
in a form of necrophilia.
465
00:49:06,319 --> 00:49:07,695
That's what it really was.
466
00:49:07,779 --> 00:49:09,030
Please, Judy.
467
00:49:11,491 --> 00:49:16,454
Hitchcock: The thing you
see that I liked and felt most
468
00:49:16,538 --> 00:49:20,792
when she came back from
having her hair made blond
469
00:49:20,875 --> 00:49:22,460
and it wasn't up.
470
00:49:24,546 --> 00:49:30,718
This means she has stripped,
but won't take her knickers off.
471
00:49:33,388 --> 00:49:34,639
You see.
472
00:49:34,722 --> 00:49:38,893
She says all right, and she goes
into the bath and he is waiting.
473
00:49:41,020 --> 00:49:44,107
He's waiting for the
woman to undress,
474
00:49:45,024 --> 00:49:49,362
and come out nude, ready for him.
475
00:49:58,413 --> 00:50:03,710
Hitchcock: And while he was looking
at that door, he was getting an erection.
476
00:50:04,169 --> 00:50:06,588
We will now tell a story.
Shut the machine off.
477
00:50:07,714 --> 00:50:11,134
What I love about vertigo
is just, it's so perverted.
478
00:50:11,217 --> 00:50:13,094
It's just so perverted.
479
00:50:14,095 --> 00:50:17,307
Here, Judy, drink this straight
down. Just like medicine.
480
00:50:18,600 --> 00:50:22,103
Why are you doing this?
What good will it do?
481
00:50:22,437 --> 00:50:26,232
I've always felt that the most
interesting view of vertigo
482
00:50:26,941 --> 00:50:29,861
would be her story.
483
00:50:31,446 --> 00:50:33,448
The color of your hair.
484
00:50:36,201 --> 00:50:38,453
Judy, please,
it can't matter to you!
485
00:50:39,954 --> 00:50:42,554
Fincher: And it's almost more
honest than the guy's point of view.
486
00:50:46,044 --> 00:50:48,671
If I let you change me,
will that do it?
487
00:50:49,464 --> 00:50:53,092
Fincher: I guess taking
scottie's point of view was...
488
00:50:53,259 --> 00:50:54,510
Will you love me?
489
00:50:54,636 --> 00:50:56,221
Fincher: Hitchcock's
point of view.
490
00:50:57,805 --> 00:50:59,557
Yes. Fine.
491
00:51:04,270 --> 00:51:05,897
Hitchcock: Yes,
I enjoyed it, yes.
492
00:51:06,648 --> 00:51:10,360
You know, I had Vera
miles tested and costumed.
493
00:51:10,443 --> 00:51:12,111
We were ready to go with her.
494
00:51:12,195 --> 00:51:14,239
She went pregnant,
495
00:51:14,322 --> 00:51:16,407
and that was
going to be the part
496
00:51:16,491 --> 00:51:18,076
that I was going
to bring her out.
497
00:51:18,159 --> 00:51:19,953
She was under contract to me.
498
00:51:20,745 --> 00:51:21,829
But I lost interest.
499
00:51:21,913 --> 00:51:26,251
I couldn't get the rhythm
going again with her. Silly girl.
500
00:51:26,334 --> 00:51:27,811
Schrader: I don't think
he would have been able
501
00:51:27,835 --> 00:51:30,505
to take Vera miles
into that Judy place.
502
00:51:31,839 --> 00:51:35,468
Into that real,
kind of, a slutty place.
503
00:51:35,885 --> 00:51:39,347
And so I think that he surmounted
his restriction in that way.
504
00:51:41,015 --> 00:51:45,353
I saw the film
fairly early in my life
505
00:51:45,436 --> 00:51:48,189
as a film person and I
saw it through Marty.
506
00:51:48,523 --> 00:51:51,484
Scorsese: It became
a lost film, so to speak.
507
00:51:51,567 --> 00:51:53,170
I can tell you that all the
filmmakers in the '70s
508
00:51:53,194 --> 00:51:54,654
were trying to find
copies of it.
509
00:51:55,697 --> 00:51:56,948
Some people had 16s.
510
00:51:57,031 --> 00:51:58,908
So it became a picture
we were looking for.
511
00:51:59,242 --> 00:52:02,495
Schrader: It was a kind of
forbidden document,
512
00:52:02,578 --> 00:52:07,000
a kind of sacred document that
only certain insiders had privilege to.
513
00:52:07,083 --> 00:52:08,668
Which is kind of hard to imagine
514
00:52:08,751 --> 00:52:13,089
in today's world of indiscriminate
access to virtually everything.
515
00:52:14,215 --> 00:52:17,593
So, the number of people who
had seen vertigo weren't that many.
516
00:52:17,677 --> 00:52:20,054
Hitchcock wasn't
talking about it that much
517
00:52:20,138 --> 00:52:22,890
because it wasn't
very successful.
518
00:52:35,194 --> 00:52:36,904
Hitchcock:
The hole in the story.
519
00:52:37,488 --> 00:52:40,658
The husband who pushed
his wife off the tower.
520
00:52:40,742 --> 00:52:44,871
How did he know that Stewart
wasn't going to run up those stairs?
521
00:52:46,581 --> 00:52:47,749
Gray: In the case ofvertigo,
522
00:52:47,999 --> 00:52:50,460
the machinations of the plot...
523
00:52:51,336 --> 00:52:52,837
Well, they do work,
they function,
524
00:52:52,920 --> 00:52:54,356
and they function
rather brilliantly,
525
00:52:54,380 --> 00:52:57,300
but the subtext
seems to be bubbling up
526
00:52:57,383 --> 00:52:59,260
almost to the point
where it's text.
527
00:53:03,556 --> 00:53:06,726
Scorsese: I can't really say
that I believe the plot.
528
00:53:07,143 --> 00:53:10,813
And I don't take any
of the story seriously.
529
00:53:10,897 --> 00:53:13,232
I mean, as a "realistic story."
530
00:53:15,610 --> 00:53:18,571
So the plot is just a line
that you could hang things on.
531
00:53:22,492 --> 00:53:24,494
And the things that
he hangs on there
532
00:53:24,577 --> 00:53:28,664
are all aspects of,
you know, cinema poetry.
533
00:53:33,878 --> 00:53:35,272
And that's a film
that I can't really tell
534
00:53:35,296 --> 00:53:38,466
where things start and end.
I don't care.
535
00:53:38,549 --> 00:53:41,302
And when he's following her
in the streets in the car,
536
00:53:41,386 --> 00:53:42,929
what is he looking for?
537
00:53:44,138 --> 00:53:46,057
What is he looking for?
538
00:53:48,601 --> 00:53:50,353
Gray: The frustration
is on his face.
539
00:53:50,645 --> 00:53:52,897
And you're like, "where is
this going?" And you realize,
540
00:53:52,980 --> 00:53:57,110
"no, that's totally connected
to who he is in the film."
541
00:53:58,986 --> 00:54:00,666
Scorsese: The city itself
is a character...
542
00:54:02,949 --> 00:54:04,242
The architecture itself.
543
00:54:06,160 --> 00:54:09,622
The mystery of
old San Francisco.
544
00:54:12,083 --> 00:54:13,418
That painting...
545
00:54:16,838 --> 00:54:20,633
We cannot see Kim novak's
face looking at that painting.
546
00:54:20,967 --> 00:54:23,136
How important her gaze must be.
547
00:54:24,011 --> 00:54:27,098
But no, it's not,
because it's all a ruse.
548
00:54:28,516 --> 00:54:30,494
The connection that Kim
novak has with that painting
549
00:54:30,518 --> 00:54:32,520
is bullshit. Right?
550
00:54:32,770 --> 00:54:34,939
The only gaze that matters
551
00:54:35,022 --> 00:54:38,109
is Jimmy Stewart's gaze watching
552
00:54:38,192 --> 00:54:42,530
the curl in the hair and how it's
similar to the painting on the wall.
553
00:54:53,791 --> 00:54:55,793
I'm sure he didn't shoot
coverage from the front.
554
00:54:55,877 --> 00:54:57,997
Someone like me, I would
do that. We're not that good.
555
00:54:58,045 --> 00:55:03,801
We don't understand the power
of the image, the way that he did.
556
00:55:03,926 --> 00:55:05,766
I don't want anything.
I wanna get out of here.
557
00:55:05,803 --> 00:55:06,971
Judy, do this for me!
558
00:55:07,054 --> 00:55:09,557
Scorsese: This whole business
of remaking her. Yes, we get it.
559
00:55:09,640 --> 00:55:11,851
E veryone's talking
about the fetishism of it.
560
00:55:11,934 --> 00:55:13,102
I don't like it.
561
00:55:13,186 --> 00:55:14,270
Yeah, we'll take it.
562
00:55:14,353 --> 00:55:15,563
Fine, it's good.
563
00:55:15,646 --> 00:55:17,440
But it's this extraordinary
sense of loss
564
00:55:17,523 --> 00:55:19,901
that he's trying
to fill that void.
565
00:55:20,401 --> 00:55:24,155
Um, maybe it reaches out
to everyone, because of that.
566
00:55:25,406 --> 00:55:27,408
You know. We could bring our own
567
00:55:27,492 --> 00:55:29,076
sense of melancholy
or loss to it.
568
00:55:29,869 --> 00:55:32,121
Judy. Judy, I'll tell you this.
569
00:55:32,205 --> 00:55:35,458
These past few days have been the
first happy days I've known in a year.
570
00:55:35,541 --> 00:55:36,667
I know.
571
00:55:36,959 --> 00:55:40,254
It's about desire,
but we all understand that.
572
00:55:40,630 --> 00:55:42,298
We all understand
the idea of desire.
573
00:55:42,423 --> 00:55:44,091
That's part of what makes us us.
574
00:55:59,273 --> 00:56:01,609
Gray: I think Kim novak
coming out of the bathroom
575
00:56:01,692 --> 00:56:03,795
is the single greatest moment
in the history of movies.
576
00:56:03,819 --> 00:56:06,405
At that moment, everything
that Hitchcock was about,
577
00:56:06,489 --> 00:56:10,201
everything that cinema is about,
578
00:56:10,284 --> 00:56:13,704
comes together in the most
beautiful way, which is...
579
00:56:15,665 --> 00:56:19,502
Yes, it's a fantasy, but
the fantasy is real to him.
580
00:56:32,223 --> 00:56:34,308
That kiss is so extraordinary.
581
00:56:34,392 --> 00:56:39,230
That's the one moment where
he gets some kind of fulfillment.
582
00:56:41,023 --> 00:56:42,900
And then after that,
it's time to go.
583
00:56:43,150 --> 00:56:45,444
There was where you
made your mistake, Judy.
584
00:56:45,820 --> 00:56:47,780
You shouldn't keep
souvenirs of a killing.
585
00:56:49,657 --> 00:56:51,492
You shouldn't have been...
586
00:56:53,077 --> 00:56:54,870
You shouldn't have
been that sentimental.
587
00:56:56,038 --> 00:56:59,250
Scorsese: It's a world that
he creates that reflects,
588
00:56:59,333 --> 00:57:00,876
I think, what it is to be alive.
589
00:57:01,377 --> 00:57:03,671
And what it is to live in fear.
590
00:57:05,548 --> 00:57:07,758
A good fear. A natural fear.
591
00:57:07,842 --> 00:57:09,927
But fearjust the same.
592
00:57:11,304 --> 00:57:13,556
Ofjust the human condition
of who we are.
593
00:57:17,810 --> 00:57:19,103
It's more than a story.
594
00:57:20,271 --> 00:57:22,231
It's more than a story.
595
00:57:23,065 --> 00:57:25,610
It really is like living
a lifetime with him.
596
00:57:35,620 --> 00:57:37,038
Hitchcock: It was a break-even.
597
00:57:41,417 --> 00:57:43,294
Hitchcock: I suppose so, yes.
598
00:57:44,795 --> 00:57:46,922
It's tricky. You know,
people will learn
599
00:57:47,006 --> 00:57:49,008
the wrong lessons from failures
600
00:57:49,091 --> 00:57:52,511
just as they sometimes learn
the wrong lessons from success.
601
00:57:55,765 --> 00:57:59,810
And the thing that I find so
depressing about Hollywood is
602
00:57:59,894 --> 00:58:04,649
how often people really feel
the first three months of
603
00:58:04,732 --> 00:58:08,486
anyone's response
to your film... that's it.
604
00:58:09,695 --> 00:58:12,573
Carve that into marble.
That was the response.
605
00:58:12,657 --> 00:58:15,660
It's not true.
It wasn't true for vertigo.
606
00:58:24,085 --> 00:58:27,922
Hitchcock: There is sometimes
a tendency among filmmakers...
607
00:58:29,298 --> 00:58:31,884
To forget the audience.
608
00:58:33,594 --> 00:58:37,181
I, personally, am
interested in the audience.
609
00:58:39,058 --> 00:58:44,021
I mean that one's film should
be designed for 2, 000 seats,
610
00:58:44,105 --> 00:58:45,439
and not one seat.
611
00:58:46,524 --> 00:58:50,528
This, to me, is the
power of the cinema.
612
00:58:51,278 --> 00:58:57,410
It is the greatest known mass
medium there is in the world.
613
00:59:55,092 --> 00:59:57,261
Narrator: Directors
of Hitchcock's generation,
614
00:59:57,344 --> 00:59:59,764
the ones who came up
under the studio system,
615
00:59:59,847 --> 01:00:02,349
were all mindful
of their audience.
616
01:00:03,517 --> 01:00:07,563
But in Hitchcock's case,
it ran deeper than that.
617
01:00:07,646 --> 01:00:12,693
His films are made in a dialogue with
the public that's close, almost intimate.
618
01:00:15,070 --> 01:00:17,615
Hitchcock: It doesn't matter
where the film goes.
619
01:00:19,617 --> 01:00:22,620
If you've designed it correctly,
620
01:00:24,079 --> 01:00:26,791
the Japanese
audience should scream
621
01:00:26,874 --> 01:00:28,793
at the same time
as the Indian audience.
622
01:00:33,047 --> 01:00:34,316
Scorsese: Could you still
play an audience
623
01:00:34,340 --> 01:00:35,525
the way Hitchcock can? They do.
624
01:00:35,549 --> 01:00:38,385
But it's a different audience,
and it's different playing.
625
01:00:38,761 --> 01:00:43,140
See, the audience has been
raised on films which are very loud,
626
01:00:44,183 --> 01:00:46,227
uh, which have a climax
every two seconds.
627
01:00:47,394 --> 01:00:52,024
Now, we are so
pummeled by stories
628
01:00:52,107 --> 01:00:54,777
and visual hyperbole
629
01:00:54,860 --> 01:00:57,988
that it's a very different
world in trying to
630
01:00:58,072 --> 01:01:01,158
move the needle in terms of
631
01:01:01,242 --> 01:01:04,328
getting humans to
accept your theses.
632
01:01:07,164 --> 01:01:08,582
Hitchcock's coming
out of a world
633
01:01:08,666 --> 01:01:10,125
where everything
was a proscenium,
634
01:01:10,209 --> 01:01:11,836
and everything was structured,
635
01:01:11,919 --> 01:01:13,921
and he was able to take
that structure and bend it
636
01:01:14,004 --> 01:01:16,674
and twist it and exaggerate it
637
01:01:16,757 --> 01:01:18,509
to a greater or lesser effect.
638
01:01:20,845 --> 01:01:24,723
By the time you get to psycho,
639
01:01:24,807 --> 01:01:27,017
people are watching television.
640
01:01:27,309 --> 01:01:31,272
And ed gein is informing
what's happening in the movies.
641
01:01:34,400 --> 01:01:37,444
We 're starting to borrow
from the real world.
642
01:01:42,366 --> 01:01:46,704
Hitchcock: Lbelieve so,
yes, in Wisconsin somewhere.
643
01:01:50,082 --> 01:01:53,961
Hitchcock: Psycho, in order
to get the audience effects...
644
01:01:54,879 --> 01:01:56,679
On the audience,
645
01:01:57,590 --> 01:02:00,301
I would say that
this is pretty well
646
01:02:00,384 --> 01:02:02,887
as cinematic as
a lot of pictures.
647
01:02:09,852 --> 01:02:12,438
Hitchcock: It was a very
interesting construction.
648
01:02:12,980 --> 01:02:18,152
I tried for a long time
to play the audience.
649
01:02:19,153 --> 01:02:21,864
Let's say we were
playing them like an organ.
650
01:02:22,239 --> 01:02:23,800
Why don't you call
your boss and tell him
651
01:02:23,824 --> 01:02:26,410
you're taking the rest
of the afternoon off?
652
01:02:26,493 --> 01:02:28,138
Scorsese: The scene with
John Gavin and Janet Leigh
653
01:02:28,162 --> 01:02:29,163
in the beginning...
654
01:02:29,997 --> 01:02:31,415
The element there is the bra.
655
01:02:32,499 --> 01:02:33,500
Okay.
656
01:02:35,085 --> 01:02:38,589
But it's shot very simply,
but ominously.
657
01:02:39,048 --> 01:02:41,467
There's something
ominous about it.
658
01:02:42,718 --> 01:02:46,805
The scenes in the office
are kind of all right, you know.
659
01:02:47,348 --> 01:02:48,432
With that texan...
660
01:02:48,515 --> 01:02:51,894
I'm buying this house for
my baby's wedding present.
661
01:02:52,853 --> 01:02:55,606
$40,000 cash.
662
01:02:55,689 --> 01:02:58,275
Scorsese: For his style,
the blandness of the scenes
663
01:02:58,359 --> 01:03:00,569
and the blandness
of the framing,
664
01:03:02,738 --> 01:03:04,531
is just really
a kind of a bridge
665
01:03:04,615 --> 01:03:06,742
to get you to the
next major moment.
666
01:03:07,618 --> 01:03:10,871
I think his instinct is right
in telling stories like that.
667
01:03:10,955 --> 01:03:13,874
I never carry more than
I can afford to lose.
668
01:03:13,958 --> 01:03:17,503
How benign can we make these
images that just connect the dots?
669
01:03:18,420 --> 01:03:20,589
I don't even want it in the
office over the weekend.
670
01:03:20,714 --> 01:03:22,925
Put it in the safe deposit
box in the bank and...
671
01:03:23,008 --> 01:03:25,177
Hitchcock: It cost
only $800,000 dollars...
672
01:03:26,345 --> 01:03:29,473
And I used a complete
television unit to do it.
673
01:03:31,767 --> 01:03:33,477
He was flirting with you.
674
01:03:33,560 --> 01:03:35,479
I guess he must have
noticed my wedding ring.
675
01:03:35,562 --> 01:03:40,317
Hitchcock: It was necessary
to make the robbery,
676
01:03:40,401 --> 01:03:44,989
and what happened to the
girl, purposely on the long side,
677
01:03:45,072 --> 01:03:48,575
to get an audience
absorbed with her plight.
678
01:03:49,743 --> 01:03:51,161
Man: Come in.
679
01:03:51,245 --> 01:03:53,247
Hitchcock: Where I slowed up
680
01:03:53,330 --> 01:03:58,085
was when I came to the scenes
that indicated time and trouble.
681
01:04:03,549 --> 01:04:06,802
Hitchcock really does
love to surprise people
682
01:04:06,885 --> 01:04:08,846
and to take you in
unusual directions.
683
01:04:09,430 --> 01:04:12,933
He sort of thrived on that
and he was very proud of that.
684
01:04:13,017 --> 01:04:15,019
That's what his cinema
is kind of based on.
685
01:04:15,102 --> 01:04:20,441
The beginning of psycho... it's
one of the great misdirections.
686
01:04:26,280 --> 01:04:30,909
Fincher: He is playing
with your expectations of
687
01:04:31,493 --> 01:04:33,287
where you're supposed
to be in a movie,
688
01:04:33,370 --> 01:04:35,456
where you're supposed to
be in a Hitchcock movie,
689
01:04:35,539 --> 01:04:37,666
where you're supposed to
be in a universal movie.
690
01:04:51,597 --> 01:04:55,267
You can argue the value
of Janet Leigh's performance.
691
01:04:55,350 --> 01:04:56,828
You can say, "well,
that's a little flat,
692
01:04:56,852 --> 01:04:59,396
"it's a little this,
that's a little kabuki."
693
01:04:59,480 --> 01:05:03,692
Maybe all of those things
are leading you to believe
694
01:05:04,485 --> 01:05:06,695
as an audience member
695
01:05:06,779 --> 01:05:09,281
there's a bigger
cumulative effect.
696
01:05:09,990 --> 01:05:12,034
She's servicing an expectation.
697
01:05:12,826 --> 01:05:15,706
Scorsese: The best scenes for me
are the ones he must have spent time on,
698
01:05:16,121 --> 01:05:17,581
the driving shots.
699
01:05:17,664 --> 01:05:19,917
You had to have
spent time on those,
700
01:05:21,168 --> 01:05:23,087
particularly the points
of view somehow.
701
01:05:24,546 --> 01:05:28,342
And the framing of Janet
Leigh in the center of the frame
702
01:05:28,425 --> 01:05:31,303
with the top of the steering
wheel in the bottom of the frame.
703
01:05:31,804 --> 01:05:34,404
'Cause you can make a choice,
you can go above the steering wheel.
704
01:05:35,015 --> 01:05:36,767
You know, or you
can go further out.
705
01:05:36,850 --> 01:05:38,936
But then maybe you
won't see her eyes as well.
706
01:05:39,019 --> 01:05:40,938
So that's like the perfect size.
707
01:05:46,735 --> 01:05:48,362
In quite a hurry?
708
01:05:48,821 --> 01:05:51,115
Yes, I didn't intend
to sleep so long.
709
01:05:51,657 --> 01:05:53,450
I almost had an
accident last night.
710
01:05:53,534 --> 01:05:55,119
Scorsese: The scene
with the policeman.
711
01:05:55,202 --> 01:05:59,289
Of course, the framing of
him staring into the car...
712
01:05:59,373 --> 01:06:01,208
Yes, we know with
the glasses, he's scary.
713
01:06:04,169 --> 01:06:07,381
But there's something about
the restraint of those frames.
714
01:06:09,925 --> 01:06:12,803
See? And the more you restrain,
715
01:06:12,886 --> 01:06:15,180
the better it is when
the explosion happens.
716
01:06:18,725 --> 01:06:20,144
And on the way to the explosion,
717
01:06:20,227 --> 01:06:23,230
there are these
meditative states. Driving...
718
01:06:24,898 --> 01:06:27,401
Man: Caroline,
get Mr. Cassidy for me.
719
01:06:30,112 --> 01:06:33,782
After all, Cassidy,
I told you, all that cash...
720
01:06:33,907 --> 01:06:37,369
And there's a sense of movement
ahead, movement ahead...
721
01:06:43,917 --> 01:06:45,836
She steals money.
722
01:06:45,919 --> 01:06:47,838
Then she decides to drive away.
723
01:06:47,921 --> 01:06:50,215
Then she becomes
guilty about it.
724
01:06:51,091 --> 01:06:53,677
Gee, I'm sorry, I didn't
hear you in all this rain.
725
01:06:53,760 --> 01:06:55,113
Then she meets
this guy in a motel,
726
01:06:55,137 --> 01:06:56,617
and he's telling her
all his problems.
727
01:06:57,431 --> 01:06:59,266
A few years ago,
mother met this man.
728
01:06:59,808 --> 01:07:02,519
And he talked her into
building this motel.
729
01:07:02,603 --> 01:07:04,164
Scorsese: You're watching,
you wanna know what happens.
730
01:07:04,188 --> 01:07:05,731
Is she gonna bring
that money back?
731
01:07:05,814 --> 01:07:07,816
Now what is Anthony Perkins
really gonna do?
732
01:07:08,817 --> 01:07:10,611
You know, he has
his mother there.
733
01:07:10,694 --> 01:07:11,754
Maybe there's gonna
be this whole thing
734
01:07:11,778 --> 01:07:13,378
going on with the mother
and him and her.
735
01:07:13,405 --> 01:07:16,575
When he died too, it was
just too great a shock for her.
736
01:07:18,118 --> 01:07:20,471
Scorsese: I mean, you're
really... you're taken down a path,
737
01:07:20,495 --> 01:07:21,775
but what's great
about it is that
738
01:07:21,955 --> 01:07:24,917
all your expectations are
taken and turned upside down.
739
01:07:29,963 --> 01:07:31,643
Fincher: You know,
there are certain rules,
740
01:07:31,673 --> 01:07:34,092
and he pulled the pin
and rolled a grenade
741
01:07:34,176 --> 01:07:36,553
into the middle of
that conference room
742
01:07:36,637 --> 01:07:38,805
and destroyed all those rules.
743
01:07:44,144 --> 01:07:47,731
Gray: The camera is very
much with Marion, right?
744
01:07:47,814 --> 01:07:49,250
Even to the point
where you have that
745
01:07:49,274 --> 01:07:50,984
very famous shot
of the showerhead.
746
01:07:53,695 --> 01:07:56,907
All of a sudden,
you go from Marion,
747
01:07:56,990 --> 01:08:00,077
and the camera is then
in this very strange place
748
01:08:00,160 --> 01:08:02,621
where you see
both her showering,
749
01:08:02,704 --> 01:08:06,458
and the shadowy figure behind
that kind of visqueen curtain.
750
01:08:12,839 --> 01:08:15,634
He did it with an eye
towards having to shift
751
01:08:15,717 --> 01:08:19,054
point of view
35 minutes into the film.
752
01:08:24,017 --> 01:08:27,271
Bogdanovich: The very first
screening of that film,
753
01:08:27,354 --> 01:08:30,440
none of us had a clue
what was gonna happen.
754
01:08:36,321 --> 01:08:40,450
And when that murder,
that shower scene came,
755
01:08:40,534 --> 01:08:42,661
I've never seen an
audience react like that.
756
01:08:43,745 --> 01:08:47,874
You could hear a sustained
shriek from the audience downstairs.
757
01:08:47,958 --> 01:08:51,295
It wasn't like... ahh!
Ahh! Ahh! Itwas like... ahh!
758
01:08:51,378 --> 01:08:53,005
Like they wanted
to close it out.
759
01:08:55,799 --> 01:08:58,385
But they couldn't
stop watching it.
760
01:08:58,677 --> 01:09:00,595
You wanted to close
your eyes, but you couldn't.
761
01:09:02,931 --> 01:09:05,559
Hitch was right, you didn't
have to build suspense anymore,
762
01:09:05,642 --> 01:09:07,311
they were...
763
01:09:07,394 --> 01:09:10,314
They were blithering idiots.
764
01:09:10,397 --> 01:09:12,899
The audience was like,
"what happened?"
765
01:09:12,983 --> 01:09:14,127
They couldn't believe
what happened.
766
01:09:14,151 --> 01:09:16,153
They kept thinking,
"it couldn't have happened.
767
01:09:16,236 --> 01:09:18,280
"She's gonna be alive."
768
01:09:18,363 --> 01:09:21,658
Itwas... every impulse that
you have going to the movies,
769
01:09:21,742 --> 01:09:25,579
it was the first time that going
to the movies was dangerous.
770
01:09:28,332 --> 01:09:31,376
Hitchcock:
Seven days, 70 setups.
771
01:09:32,586 --> 01:09:35,839
I used a nude girl a lot,
772
01:09:35,922 --> 01:09:39,259
and I shot some of it
in slow motion.
773
01:09:40,135 --> 01:09:42,888
Because of covering the breasts,
774
01:09:42,971 --> 01:09:44,431
you couldn't do it quick...
775
01:09:44,514 --> 01:09:46,767
You couldn't
measure it correctly.
776
01:09:50,437 --> 01:09:54,775
That's when you feel like this guy
really has his finger on the pulse of,
777
01:09:54,858 --> 01:09:57,611
not only just audience
response, but the world in general,
778
01:09:57,694 --> 01:09:59,863
that the world was ready
for a film like that.
779
01:09:59,946 --> 01:10:01,323
It didn't know it was,
but it was.
780
01:10:02,741 --> 01:10:04,785
This was a small story.
781
01:10:04,868 --> 01:10:09,331
But it represented probably
something much larger on the horizon.
782
01:10:15,170 --> 01:10:18,507
Scorsese: At that time as it
is now, we expect certain things.
783
01:10:19,132 --> 01:10:20,860
And it took storytelling
at that time and says,
784
01:10:20,884 --> 01:10:23,470
"no, I'm not gonna
give you that.
785
01:10:23,553 --> 01:10:24,947
"I'm gonna give you
something else."
786
01:10:24,971 --> 01:10:26,199
Because you think
everything is so cool.
787
01:10:26,223 --> 01:10:29,893
You're at the end of the '5os, the
'60s are gonna look glorious to us.
788
01:10:35,357 --> 01:10:38,777
I think it was really important
for who we were then.
789
01:10:40,695 --> 01:10:43,698
You have Vietnam,
you have world revolution,
790
01:10:43,782 --> 01:10:46,201
you have everything
that happened in the '60s,
791
01:10:46,284 --> 01:10:48,995
and the society has
never been the same.
792
01:10:49,579 --> 01:10:52,999
That picture really touched
upon that, I think, psycho.
793
01:10:57,379 --> 01:11:00,841
Of course, you want everything
so neat and wrapped up.
794
01:11:01,258 --> 01:11:02,801
Well, life isn't like that.
795
01:11:02,884 --> 01:11:05,165
Even the stories I'm gonna
tell you are not like that now.
796
01:11:07,389 --> 01:11:10,100
Hitchcock:
My main satisfaction is...
797
01:11:11,935 --> 01:11:15,105
The film did something
to an audience.
798
01:11:15,188 --> 01:11:16,606
I really mean that.
799
01:11:16,690 --> 01:11:21,403
And in many ways, I feel
my satisfaction with our...
800
01:11:21,486 --> 01:11:26,241
Our art achieves something
801
01:11:26,825 --> 01:11:29,911
of a mass emotion.
802
01:11:32,706 --> 01:11:34,833
It wasn't a message,
803
01:11:34,916 --> 01:11:38,670
it wasn't some
great performance,
804
01:11:38,753 --> 01:11:44,259
it wasn't a highly appreciated
novel that stirred an audience.
805
01:11:48,346 --> 01:11:50,348
It was pure film.
806
01:11:53,059 --> 01:11:56,062
People will say, "what
a terrible thing to make."
807
01:11:56,646 --> 01:11:59,149
The subject was horrible,
808
01:11:59,232 --> 01:12:01,109
the people were small,
809
01:12:01,193 --> 01:12:03,361
there were no characters in it.
810
01:12:03,445 --> 01:12:05,071
I know all this.
811
01:12:05,655 --> 01:12:08,325
But I know one thing,
812
01:12:08,408 --> 01:12:14,331
the use of film in
constructing this story
813
01:12:14,414 --> 01:12:17,542
caused audiences
all over the world
814
01:12:19,252 --> 01:12:23,298
to react and become emotional.
815
01:12:23,507 --> 01:12:26,259
My only pride in the picture
816
01:12:26,343 --> 01:12:31,556
is that the picture
belongs to filmmakers.
817
01:12:31,806 --> 01:12:35,227
It belongs to us, you and I.
818
01:12:39,940 --> 01:12:42,150
Hitchcock: Yes, how
do you want to handle this?
819
01:12:42,484 --> 01:12:44,819
Halsman: I am the cameraman,
you are the director.
820
01:12:44,903 --> 01:12:46,947
And you are directing
a double portrait
821
01:12:47,030 --> 01:12:50,158
of a Mr. Hitchcock
and of a Mr. Truffaut.
822
01:12:50,242 --> 01:12:52,744
Whatever you want,
any idea that comes into...
823
01:12:52,827 --> 01:12:56,414
Hitchcock: Really, it's my
directing Mr. Truffaut, isn't it?
824
01:12:57,499 --> 01:13:00,043
Halsman: Yes, but
you direct also yourself
825
01:13:00,126 --> 01:13:02,963
Hitchcock: Ah, I got
what you want. Okay.
826
01:13:04,631 --> 01:13:06,442
Woman:
You look less worried than he is.
827
01:13:06,466 --> 01:13:08,885
Hitchcock: Now, here we are.
Look, here's the angle.
828
01:13:09,135 --> 01:13:11,012
Now, I'm gonna be
like this, you see.
829
01:13:11,096 --> 01:13:14,766
Now, Mr. Truffaut should half
turn around and look back to me.
830
01:13:17,102 --> 01:13:18,502
Hitchcock: Like this.
You see, then?
831
01:13:23,858 --> 01:13:25,944
Hitchcock: We better
not have cigars, you are right.
832
01:13:26,027 --> 01:13:29,114
Otherwise, it might make
us look like movie directors.
833
01:13:29,197 --> 01:13:31,491
And god forbid
we ever look like that.
834
01:13:44,004 --> 01:13:48,800
Narrator: The conversation that
began in 1962 extended far beyond the book,
835
01:13:49,217 --> 01:13:51,344
and bloomed into a real friendship.
836
01:13:58,852 --> 01:14:02,647
Hitchcock and truffaut spoke
and wrote to each other constantly.
837
01:14:05,942 --> 01:14:07,277
They read each other's scripts,
838
01:14:07,360 --> 01:14:10,040
made story and casting suggestions,
and screened each other's films.
839
01:14:16,745 --> 01:14:20,749
After the first edition of the
book was published in 1966,
840
01:14:21,333 --> 01:14:24,919
truffaut made a movie a year,
sometimes two.
841
01:14:29,049 --> 01:14:31,760
Hitchcock made
only three more films.
842
01:14:34,638 --> 01:14:38,308
Right to the end, he was haunted by
the question he had raised with truffaut.
843
01:14:40,101 --> 01:14:43,521
"Should I have experimented
more with character and narrative?
844
01:14:45,940 --> 01:14:48,401
"Did I become a prisoner
of my own form?"
845
01:14:57,786 --> 01:14:59,913
The same old questions
still swirled around him.
846
01:15:01,581 --> 01:15:04,084
Was he an artist
or an entertainer?
847
01:15:06,086 --> 01:15:08,546
Could anyone really
claim to be an artist,
848
01:15:08,630 --> 01:15:11,299
working within the factory
conditions of Hollywood?
849
01:15:15,512 --> 01:15:18,431
In america, you call
this man "hitch."
850
01:15:19,307 --> 01:15:22,686
In France, we call him
"monsieur Hitchcock."
851
01:15:32,862 --> 01:15:36,950
"Two weeks after the American
film institute tribute," wrote truffaut,
852
01:15:37,784 --> 01:15:40,912
"resigned to the fact that he
would never shoot another film,
853
01:15:41,413 --> 01:15:45,875
"Hitchcock closed his office,
dismissed his staff, and went home."
854
01:15:53,508 --> 01:15:58,930
Francois truffaut's energy and his
love of cinema seemed inexhaustible.
855
01:16:00,682 --> 01:16:03,852
The idea that he would
be dead at the age of 52,
856
01:16:04,477 --> 01:16:08,440
only four years after
Hitchcock, was unthinkable.
857
01:16:09,983 --> 01:16:11,818
It still is.
858
01:16:16,823 --> 01:16:19,659
The last completed
project of truffaut's life,
859
01:16:20,034 --> 01:16:25,081
published a few months before he
died, was an updated edition of his book,
860
01:16:25,165 --> 01:16:28,334
in which he gave us
Alfred Hitchcock.
861
01:16:29,169 --> 01:16:33,339
Not the television star,
not the master of suspense,
862
01:16:34,424 --> 01:16:38,636
but Alfred Hitchcock the artist,
who wrote with the camera.
863
01:16:46,186 --> 01:16:48,188
Hitchcock: I suppose...
864
01:16:48,271 --> 01:16:51,733
The films with atmosphere,
865
01:16:52,192 --> 01:16:54,402
suspense and incident
866
01:16:54,486 --> 01:16:58,573
are really my creations
as a writer.
867
01:17:33,858 --> 01:17:35,068
Hitchcock: Sure, yeah.
868
01:17:45,578 --> 01:17:47,080
Hitchcock: Sure, that's right.
68266
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