Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated:
1
00:01:38,890 --> 00:01:42,019
HITCHCOCK: Why do these
Hitchcock films stand up well?
2
00:01:42,102 --> 00:01:43,854
They don't look
old fashioned.
3
00:01:45,564 --> 00:01:47,862
Well, I don't know
the answer.
4
00:01:50,861 --> 00:01:53,410
(TRUFFAUT SPEAKING FRENCH)
5
00:01:59,286 --> 00:02:02,415
HITCHCOCK: That's true, yes.
6
00:02:14,426 --> 00:02:16,554
FINCHER: My dad
was a big movie buff...
7
00:02:16,637 --> 00:02:20,062
...and it was one of the books
that was in his library.
8
00:02:24,269 --> 00:02:26,067
From the time I was
about seven years old...
9
00:02:26,146 --> 00:02:27,819
...he knew I wanted
to make movies...
10
00:02:27,898 --> 00:02:29,946
...so he recommended it to me.
11
00:02:31,276 --> 00:02:33,495
And I remember
picking over it...
12
00:02:33,570 --> 00:02:36,073
...and I must've read it...
Sections of it.
13
00:02:36,156 --> 00:02:40,536
Like, there's the Oskar Homolka
sequence from Sabotage.
14
00:02:41,036 --> 00:02:44,757
Where it sort of lays out
all of the cutting pattern.
15
00:02:49,378 --> 00:02:51,756
It's not even a book anymore,
16
00:02:51,838 --> 00:02:54,387
it's like a stack of papers
because it was a...
17
00:02:54,466 --> 00:02:57,561
You know, I had a paperback
and it's just...
18
00:02:57,636 --> 00:02:59,889
You know, it's got
a rubber band around it.
19
00:03:01,014 --> 00:03:03,893
NARRATOR:
In 1966, Frangois Truffaut
20
00:03:03,975 --> 00:03:07,354
published one of the few
indispensable books on movies.
21
00:03:07,437 --> 00:03:12,364
A series of conversations with
Alfred Hitchcock about his career,
22
00:03:12,442 --> 00:03:13,443
title by title.
23
00:03:18,198 --> 00:03:22,419
It was a window into the world of
cinema that I hadn't had before,
24
00:03:22,494 --> 00:03:27,716
because it was a director simultaneously
talking about his own work,
25
00:03:27,791 --> 00:03:30,670
but doing so in a way that
was utterly unpretentious
26
00:03:30,752 --> 00:03:32,345
and had no pomposity.
27
00:03:38,719 --> 00:03:40,642
PAUL SCHRADER:
There was starting to be
28
00:03:40,721 --> 00:03:45,602
these kind of erudite
conversations about the art form.
29
00:03:45,976 --> 00:03:49,276
But Truffaut was the first
one where you really
30
00:03:50,939 --> 00:03:55,410
felt that, you know, they're
talking about the craft of it.
31
00:03:57,821 --> 00:04:00,199
That was incredibly
fascinating to me
32
00:04:00,282 --> 00:04:04,753
that these two people
from very different worlds
33
00:04:04,828 --> 00:04:06,501
who were both
doing the same job,
34
00:04:06,580 --> 00:04:08,833
how they would
talk about things.
35
00:04:10,917 --> 00:04:12,760
(ASSAYAS SPEAKING FRENCH)
36
00:04:21,970 --> 00:04:25,645
I think it
conclusively changed
37
00:04:25,724 --> 00:04:27,852
people's opinions
about Hitchcock
38
00:04:28,268 --> 00:04:31,863
and so Hitchcock began to be
taken much more seriously.
39
00:04:33,356 --> 00:04:36,200
SCORSESE: At that time,
the general consensus
40
00:04:36,276 --> 00:04:41,077
and climate was
a bullying, as usual,
41
00:04:42,073 --> 00:04:45,577
by the establishment as
to what serious cinema is.
42
00:04:47,412 --> 00:04:50,291
So it was
really revolutionary.
43
00:04:50,373 --> 00:04:52,171
Based on what the
Truffaut-Hitchcock book was,
44
00:04:52,250 --> 00:04:55,880
we became radicalized
as moviemakers.
45
00:04:57,047 --> 00:04:58,344
It was almost as if
somebody had taken
46
00:04:58,423 --> 00:04:59,800
a weight off our
shoulders and said,
47
00:04:59,883 --> 00:05:01,556
"Yes, we can embrace
this, we could go."
48
00:05:05,430 --> 00:05:08,479
NARRATOR: In 1962,
Hitchcock was 63 years old,
49
00:05:08,558 --> 00:05:10,105
(ALFRED HITCHCOCK PRESENTS
THEME PLAYING)
50
00:05:10,185 --> 00:05:14,565
a household name in television, and
a virtual franchise unto himself.
51
00:05:19,027 --> 00:05:22,998
He had already been known for many
years as the "master of suspense,"
52
00:05:23,573 --> 00:05:27,294
and he had scared the wits out of
audiences all over the world with Psycho,
53
00:05:27,994 --> 00:05:31,464
and in the process, upended
our idea of what a movie was.
54
00:05:32,082 --> 00:05:37,589
And in this house, the most dire,
horrible event took place.
55
00:05:39,172 --> 00:05:40,719
Let's go inside.
56
00:05:41,049 --> 00:05:44,349
NARRATOR: He had just completed
his 40th feature, The Birds.
57
00:05:45,053 --> 00:05:46,225
(INAUDIBLE)
58
00:05:51,434 --> 00:05:55,780
Truffaut, half Hitchcock's age,
had made only three features,
59
00:05:56,022 --> 00:06:00,368
but he was already an internationally
renowned and acclaimed filmmaker.
60
00:06:00,986 --> 00:06:02,954
(TRUFFAUT SPEAKING FRENCH)
61
00:06:12,455 --> 00:06:14,207
Truffaut wrote
Hitchcock a letter.
62
00:06:14,457 --> 00:06:17,051
He proposed a series of
in-depth discussions
63
00:06:17,127 --> 00:06:20,381
of Hitchcock's entire body
of work in movies.
64
00:06:53,705 --> 00:06:56,128
For Truffaut,
the book on Hitchcock
65
00:06:56,207 --> 00:06:59,586
was every bit as important
as one of his own films,
66
00:06:59,669 --> 00:07:03,219
and it required just as much
time and preparation.
67
00:07:22,901 --> 00:07:23,902
(m FRENCH)
68
00:07:43,880 --> 00:07:48,101
The meeting was documented by the
great photographer Philippe Halsman.
69
00:07:51,638 --> 00:07:54,517
Hitchcock and Truffaut.
70
00:07:54,599 --> 00:07:57,819
They were from different generations
and different cultures,
71
00:07:57,894 --> 00:08:00,943
and they had different approaches
to their work.
72
00:08:01,022 --> 00:08:05,152
But both men lived for,
and through, the cinema.
73
00:08:11,282 --> 00:08:14,081
HITCHCOCK: My mind
is strictly visual.
74
00:08:16,830 --> 00:08:19,504
Hitchcock was born
with the movies.
75
00:08:23,712 --> 00:08:27,091
HITCHCOCK: There's no such
thing as a face,
76
00:08:27,173 --> 00:08:30,052
it's nonexistent until
the light hits it.
77
00:08:33,388 --> 00:08:35,857
There was no such
thing as a line,
78
00:08:35,932 --> 00:08:38,776
it's just light and shade.
79
00:08:39,936 --> 00:08:44,191
The function of pure cinema,
as we well know,
80
00:08:44,274 --> 00:08:47,869
is the placing of two or three
pieces of film together
81
00:08:47,944 --> 00:08:49,821
to create a single idea.
82
00:08:49,904 --> 00:08:51,781
(WOMAN TRANSLATING
INTO FRENCH)
83
00:08:57,287 --> 00:08:59,585
NARRATOR: Hitchcock
was trained as an engineer,
84
00:09:00,665 --> 00:09:02,508
then moved into advertising.
85
00:09:03,418 --> 00:09:05,466
HITCHCOCK: Through that,
I went into the designing
86
00:09:05,545 --> 00:09:06,922
of what were,
87
00:09:07,005 --> 00:09:11,226
in those days of silent
films, the art title.
88
00:09:12,635 --> 00:09:15,855
And then art direction, script
writing, and production duties.
89
00:09:19,476 --> 00:09:22,480
HITCHCOCK: They said, "How would
you like to direct a picture?"
90
00:09:22,562 --> 00:09:25,361
And I said, "I've never
thought about it."
91
00:09:25,440 --> 00:09:27,192
I was 23.
92
00:09:29,402 --> 00:09:31,700
My wife was
to be my assistant.
93
00:09:32,989 --> 00:09:35,242
We're not married yet,
(WOMAN SPEAKING FRENCH)
94
00:09:35,325 --> 00:09:37,874
but we're not
living in sin either.
95
00:09:39,537 --> 00:09:40,880
(BOTH LAUGH)
96
00:09:43,833 --> 00:09:46,086
NARRATOR: Hitchcock
had many close collaborators,
97
00:09:46,169 --> 00:09:49,343
but none of them
was closer than Alma Reville.
98
00:09:50,715 --> 00:09:54,765
She was credited on some films,
uncredited on many others,
99
00:09:54,844 --> 00:09:58,894
but Hitchcock consulted his wife
on every movie he ever made.
100
00:10:03,144 --> 00:10:08,742
HITCHCOCK: The Lodger was the first
time I'd exercised any style.
101
00:10:22,497 --> 00:10:24,374
FINCHER: He is making
floors out of glass
102
00:10:24,457 --> 00:10:28,803
so that he can show people walking
in circles in the apartment above.
103
00:10:28,878 --> 00:10:33,179
He's playing with
all those things
104
00:10:33,258 --> 00:10:36,637
that make cinema fun
105
00:10:37,345 --> 00:10:40,565
and magic, the tricks of it.
106
00:10:43,101 --> 00:10:45,479
He was also conceptual
107
00:10:45,562 --> 00:10:47,405
with the way he approached
many of these films.
108
00:10:48,481 --> 00:10:52,531
This movie, I have an idea for a
way that I've never worked before.
109
00:10:58,408 --> 00:11:01,878
This is somebody whose mind
is racing, filled with ideas
110
00:11:01,953 --> 00:11:04,627
and that's why, you know,
we refer to him all the time.
111
00:11:06,040 --> 00:11:09,465
Do you realize the squad van
will be here any moment?
112
00:11:09,586 --> 00:11:11,429
No, really! Oh, my God,
I'm terribly frightened.
113
00:11:11,546 --> 00:11:14,015
Why? Have you been
a bad woman or something?
114
00:11:14,090 --> 00:11:15,808
Well, not just bad, but...
115
00:11:15,884 --> 00:11:17,181
But you've slept with men?
116
00:11:17,260 --> 00:11:18,432
Oh, no!
117
00:11:18,511 --> 00:11:19,763
WOMAN; Knife.
118
00:11:19,846 --> 00:11:21,098
He directed
the first British talkie.
119
00:11:21,181 --> 00:11:23,354
And if you use a penknife!
Or a pocketknife!
120
00:11:23,433 --> 00:11:25,606
MAN: Alice, cut us a bit
of bread, will you?
121
00:11:25,685 --> 00:11:27,938
WOMAN: I mean, in Chelsea
you mustn't use a knife!
122
00:11:29,439 --> 00:11:32,113
And then, in 1934,
123
00:11:32,275 --> 00:11:35,370
he made the first
100% Hitchcock picture.
124
00:11:36,821 --> 00:11:38,289
HITCHCOCK: St. Moritz
was the beginning
125
00:11:38,364 --> 00:11:40,366
of The Man Who Knew Too Much.
126
00:11:43,244 --> 00:11:45,588
It was the place
of our honeymoon.
127
00:12:16,611 --> 00:12:18,989
NARRATOR: And of course,
Hollywood beckoned.
128
00:12:22,325 --> 00:12:26,046
HITCHCOCK: I wasn't attracted
to Hollywood as a place.
129
00:12:26,162 --> 00:12:28,335
(WOMAN SPEAKING FRENCH)
130
00:12:28,414 --> 00:12:29,916
HITCHCOCK:
That had no interest,
131
00:12:29,999 --> 00:12:33,799
what had interest for me was
getting inside that studio.
132
00:12:39,676 --> 00:12:41,519
(SPEAKING JAPAN ESE)
133
00:12:54,357 --> 00:12:57,736
Hitchcock did some of his
best work in the '40s.
134
00:13:05,535 --> 00:13:07,708
But in the '50s, he soared.
135
00:13:07,787 --> 00:13:10,711
I have a murder on my conscience,
but it's not my murder.
136
00:13:12,542 --> 00:13:14,419
NARRATOR: And curiosity
of James Stewart,
137
00:13:14,502 --> 00:13:19,053
in this story of a romance shadowed
by the terror of a horrifying secret.
138
00:13:24,762 --> 00:13:28,266
Look, John, hold them.
139
00:13:28,725 --> 00:13:29,851
Diamonds.
140
00:13:41,362 --> 00:13:43,160
SCORSESE: There was a spell
that was cast with those films
141
00:13:43,239 --> 00:13:44,832
in the '50s and the '60s.
142
00:13:46,826 --> 00:13:51,457
And it's a special
blessed time for me
143
00:13:51,539 --> 00:13:53,587
because I saw them
as they came out.
144
00:14:03,509 --> 00:14:05,136
NARRATOR: Truffaut began
as a critic in the early '50s.
145
00:14:05,219 --> 00:14:06,937
(INAUDIBLE)
146
00:14:07,013 --> 00:14:10,608
He started at the great French
film magazine, Gamers du Unema.
147
00:14:11,059 --> 00:14:15,439
For the writers at Cahiers, soon to become
the filmmakers of the Nouvelle Vague,
148
00:14:15,897 --> 00:14:19,777
Hitchcock's greatness
as an artist was self-evident.
149
00:14:20,777 --> 00:14:23,451
(JEAN-LUC GODARD
SPEAKING FRENCH)
150
00:14:33,790 --> 00:14:35,383
Before they made
their own movies,
151
00:14:35,458 --> 00:14:38,337
the Cahiers critics erected
a new pantheon of cinema-
152
00:14:39,295 --> 00:14:41,343
The directors who were
the true artists,
153
00:14:41,964 --> 00:14:45,810
the authors who wrote with
the camera, the auteurs.
154
00:14:53,351 --> 00:14:56,070
(TRUFFAUT SPEAKING FRENCH)
155
00:15:18,668 --> 00:15:20,511
(ASSAYAS SPEAKING FRENCH)
156
00:15:43,025 --> 00:15:44,026
(SPEAKS FRENCH)
157
00:15:47,196 --> 00:15:51,201
Being an individual artist
meant self-exposure,
158
00:15:51,868 --> 00:15:54,291
pouring all of yourself into your movie,
159
00:15:54,996 --> 00:15:58,421
all of your fears
and obsessions and fetishes,
160
00:15:59,250 --> 00:16:01,002
just like Hitchcock did.
161
00:16:01,836 --> 00:16:03,213
(MAN WHISTLING)
162
00:16:04,881 --> 00:16:06,929
MAN: All together! Pull!
163
00:16:11,095 --> 00:16:13,518
(SPEAKING FRENCH)
164
00:16:31,532 --> 00:16:35,253
Hitchcock often told the story of being
sent to the police station as a boy,
165
00:16:35,328 --> 00:16:39,299
where he was locked up for a few
minutes as a symbolic punishment.
166
00:16:40,208 --> 00:16:43,803
He said that it led to a
lifelong fear of the police.
167
00:16:50,843 --> 00:16:53,596
But Truffaut
really was locked up.
168
00:16:54,347 --> 00:16:57,191
He was delivered to the police
by his own father,
169
00:16:57,266 --> 00:16:58,358
(SPEAKING ANGRILY IN FRENCH)
170
00:16:58,434 --> 00:17:00,482
and then sent to
a juvenile detention center,
171
00:17:08,027 --> 00:17:11,952
an episode he put into his
autobiographical first feature.
172
00:17:19,288 --> 00:17:21,086
(TRUFFAUT SPEAKING FRENCH)
173
00:17:28,839 --> 00:17:31,809
Truffaut had a fierce
attachment to freedom.
174
00:17:31,884 --> 00:17:33,602
It's there
in all of his films.
175
00:17:34,011 --> 00:17:38,983
And it sent him in search of another
father, a father who would liberate him.
176
00:17:39,100 --> 00:17:40,101
(INAUDIBLE)
177
00:17:40,184 --> 00:17:42,903
He found the great
film critic Andre' Bazin,
178
00:17:42,979 --> 00:17:47,485
who virtually adopted Truffaut and
brought him to Gamers du Unema.
179
00:17:51,862 --> 00:17:53,535
He found Jean Renoir,
180
00:17:54,115 --> 00:17:55,913
and Roberto Rossellini.
181
00:17:59,745 --> 00:18:02,373
And he found Alfred Hitchcock.
182
00:18:02,456 --> 00:18:05,380
Hitchcock had freed Truffaut as an artist,
183
00:18:05,459 --> 00:18:08,588
and Truffaut wanted to reciprocate
by freeing Hitchcock
184
00:18:08,671 --> 00:18:11,550
from his reputation as a light entertainer.
185
00:18:12,925 --> 00:18:16,179
And that's the basis on which
they started their conversation.
186
00:18:17,305 --> 00:18:19,182
(CASSETTE RECORDING)
187
00:18:21,726 --> 00:18:25,151
HITCHCOCK: Well, let me check with
him and see if he's running yet.
188
00:18:25,229 --> 00:18:26,230
(CLEARS T HRO AT)
189
00:18:26,897 --> 00:18:28,194
(TRUFFAUT SPEAKING FRENCH)
190
00:18:28,274 --> 00:18:29,571
HITCHCOCK: You started?
191
00:18:29,692 --> 00:18:30,693
You're up?
192
00:18:30,818 --> 00:18:32,035
(WOMAN SPEAKING FRENCH)
193
00:18:32,111 --> 00:18:35,206
HITCHCOCK: All right, you're
running now, huh? Okay, fine.
194
00:18:35,823 --> 00:18:37,370
We are now on the air.
(LAUGHS)
195
00:18:37,450 --> 00:18:39,077
(WOMAN CONTINUES SPEAKING)
196
00:18:45,333 --> 00:18:47,301
(TRUFFAUT SPEAKING FRENCH)
197
00:18:47,376 --> 00:18:48,969
WOMAN". Your type of picture?
198
00:18:49,545 --> 00:18:51,388
(TRUFFAUT CONTINUES SPEAKING)
199
00:18:52,131 --> 00:18:59,310
WOMAN: People get enjoyment
but pretend not to be fooled.
200
00:18:59,388 --> 00:19:01,140
(TRUFFAUT SPEAKING)
201
00:19:01,223 --> 00:19:02,770
WOMAN: They sulk,
they begrudge...
202
00:19:02,850 --> 00:19:04,693
They give their
pleasure grudgingly.
203
00:19:04,769 --> 00:19:06,021
HYYCHCOCK'. Yes. Well...
204
00:19:06,103 --> 00:19:08,652
WOMAN: When I say pleasure, I don't
mean amusement. I mean their enjoyment.
205
00:19:08,731 --> 00:19:10,859
HYYCHCOCK:
They are obviously...
206
00:19:10,941 --> 00:19:13,410
They're going to sit there
and say, "Show me!"
207
00:19:13,569 --> 00:19:16,072
(WOMAN SPEAKING FRENCH)
208
00:19:17,531 --> 00:19:20,831
HITCHCOCK: They expect to anticipate-
"I know what's coming next- "
209
00:19:20,910 --> 00:19:23,083
I have to say, "Do you?"
210
00:19:27,083 --> 00:19:29,632
(TRUFFAUT SPEAKING FRENCH)
211
00:19:38,260 --> 00:19:39,933
HYYCHCOCK: Yes,
but you see, to me,
212
00:19:40,012 --> 00:19:41,184
(WOMAN SPEAKING FRENCH)
213
00:19:41,263 --> 00:19:45,143
plausibility for
the sake of plausibility
214
00:19:45,226 --> 00:19:48,025
does not help, you know.
215
00:19:48,604 --> 00:19:50,151
(HORN HONKING)
(TIRES SCREECHING)
216
00:19:59,323 --> 00:20:01,246
(TRUFFAUT SPEAKING FRENCH)
217
00:20:08,874 --> 00:20:10,000
(BIRDS SCREECHING)
(GIRL SHRIEKING)
218
00:20:10,418 --> 00:20:15,140
HYYCHCOCK: I have a favorite little
saying to myself, "Logic is dull."
219
00:20:15,297 --> 00:20:16,298
(TRUFFAUT SPEAKING FRENCH)
220
00:20:20,928 --> 00:20:23,147
(TRUFFAUT CONTINUES SPEAKING)
221
00:20:23,222 --> 00:20:25,896
WOMAN: Is it possible now
for us to define suspense?
222
00:20:25,975 --> 00:20:29,900
That is to say, are there
many forms of suspense?
223
00:20:29,979 --> 00:20:31,526
(TRUFFAUT SPEAKING)
224
00:20:31,605 --> 00:20:34,575
WOMAN: People believe,
uh, somewhat naively...
225
00:20:34,650 --> 00:20:36,493
(TRUFFAUT SPEAKING)
226
00:20:36,569 --> 00:20:40,119
...that suspense is when one is afraid.
Which is wrong.
227
00:20:40,197 --> 00:20:44,247
HITCHCOCK: No, no.
In the film Easy Virtue...
228
00:20:44,326 --> 00:20:45,748
(WOMAN SPEAKING FRENCH)
229
00:20:45,828 --> 00:20:48,832
HYYCHCOCK: ...a young man
was proposing to this woman.
230
00:20:48,998 --> 00:20:50,215
(WOMAN CONTINUES SPEAKING)
231
00:20:50,291 --> 00:20:53,170
She wouldn't give an answer,
232
00:20:53,294 --> 00:20:57,845
she said, "I'll call you up
when I get back around 12:00."
233
00:21:03,888 --> 00:21:09,395
And all I showed was the operator
on this telephone switchboard.
234
00:21:09,518 --> 00:21:11,111
(WOMAN CONTINUES SPEAKING)
235
00:21:13,689 --> 00:21:16,112
That girl is in suspense!
236
00:21:18,027 --> 00:21:21,873
And she was
relieved at the end,
237
00:21:21,947 --> 00:21:23,870
so that the suspense
was over.
238
00:21:24,950 --> 00:21:27,578
The woman said, "Yes."
239
00:21:27,661 --> 00:21:30,835
The suspense doesn't
always have fear in it.
240
00:21:34,168 --> 00:21:35,761
(TRUFFAUT SPEAKING FRENCH)
241
00:21:54,021 --> 00:21:55,318
FINCHER:
He talks about things,
242
00:21:55,397 --> 00:21:59,573
contextualizing what the
work of a director truly is
243
00:21:59,735 --> 00:22:03,410
at its most fundamental
and most simple.
244
00:22:07,284 --> 00:22:10,413
HYYCHCOCK: Emotionally,
the size of the image...
245
00:22:10,496 --> 00:22:12,965
(WOMAN SPEAKING FRENCH)
is very important.
246
00:22:13,415 --> 00:22:15,634
You're dealing with space.
247
00:22:15,751 --> 00:22:17,845
(WOMAN CONTINUES SPEAKING)
248
00:22:18,128 --> 00:22:21,257
You may need space
and use it dramatically.
249
00:22:21,465 --> 00:22:22,967
(WHIRRING)
250
00:22:25,594 --> 00:22:29,315
When the girl shrank
back on the sofa,
251
00:22:30,975 --> 00:22:35,025
I kept the camera back
and used the space
252
00:22:35,104 --> 00:22:40,861
to indicate the nothingness
from which she was shrinking.
253
00:22:47,658 --> 00:22:51,538
FINCHER: If you have
some kind of understanding
254
00:22:51,620 --> 00:22:54,840
of color and design
and light...
255
00:22:55,374 --> 00:22:58,002
Directing is
really three things.
256
00:22:58,794 --> 00:23:02,048
You're editing behavior
over time,
257
00:23:02,131 --> 00:23:06,056
and then controlling moments
that should be really fast
258
00:23:06,135 --> 00:23:08,229
and making them slow,
259
00:23:08,304 --> 00:23:11,353
and moments that should be really
slow and making them fast.
260
00:23:11,432 --> 00:23:13,651
NARRATOR: It is indeed
a solemn occasion.
261
00:23:13,726 --> 00:23:16,070
I switch you over
to our microphone...
262
00:23:16,145 --> 00:23:18,614
(TRUFFAUT SPEAKING FRENCH)
263
00:23:20,316 --> 00:23:23,240
HYYCHCOCK: Yes.
That's what film is for.
264
00:23:24,194 --> 00:23:27,994
To either contract time...
(WOMAN SPEAKING FRENCH)
265
00:23:28,616 --> 00:23:31,369
...or extend it.
Whatever you wish.
266
00:23:33,913 --> 00:23:35,335
(TRUFFAUT SPEAKING)
267
00:23:41,211 --> 00:23:43,134
UNKLATER: Hitchcock, in
a way, was the master,
268
00:23:43,213 --> 00:23:46,717
let's say sculptor
of moments in time
269
00:23:46,800 --> 00:23:48,894
to take you through
a sequence
270
00:23:48,969 --> 00:23:51,438
or to direct your
perception in a way
271
00:23:51,513 --> 00:23:54,016
where he could elongate
time or telescope it.
272
00:23:55,768 --> 00:23:59,272
HYYCHCOCK: Well, there are moments
when you have to stop time.
273
00:23:59,480 --> 00:24:00,948
(BOYS CONVERSING IN FRENCH)
274
00:24:01,815 --> 00:24:03,362
(TRUFFAUT SPEAKING FRENCH)
275
00:24:13,369 --> 00:24:16,748
HYYCHCOCK: Describe to me
in detail what the action was.
276
00:24:18,082 --> 00:24:19,550
(TRUFFAUT SPEAKING)
277
00:24:22,044 --> 00:24:24,672
HYYCHCOCK: Cutting to the
mother before the boy saw her?
278
00:24:24,838 --> 00:24:25,930
(TRUFFAUT SPEAKING)
279
00:24:27,049 --> 00:24:29,051
WOMAN: She was not
looking at the child yet.
280
00:24:29,134 --> 00:24:32,013
(TRUFFAUT SPEAKING)
281
00:24:33,013 --> 00:24:36,142
WOMAN: And then you show the
mother who saw them walking away.
282
00:24:36,725 --> 00:24:38,272
(SPEAKING FRENCH)
283
00:24:38,352 --> 00:24:42,357
HYYCHCOCK: I'm asking from a story
point of view, what was the intention?
284
00:24:43,691 --> 00:24:46,069
(TRUFFAUT SPEAKING)
285
00:24:46,235 --> 00:24:48,158
(BOTH SPEAKING FRENCH)
286
00:24:48,320 --> 00:24:50,414
(TRUFFAUT SPEAKING)
287
00:24:50,572 --> 00:24:53,075
HYYCHCOCK: I would have hoped
that there was nothing spoken.
288
00:24:55,160 --> 00:24:57,413
(SPEAKING FRENCH)
289
00:25:07,548 --> 00:25:09,596
(SPEAKING FRENCH)
290
00:25:12,011 --> 00:25:14,855
(ASSAYAS CONTINUES SPEAKING)
291
00:25:39,496 --> 00:25:41,624
ANDERSON: The thing I think about
the most with Hitchcock is
292
00:25:42,041 --> 00:25:46,638
the visuals are so
graphic and precise.
293
00:25:47,463 --> 00:25:49,932
There is a lot
to learn from that.
294
00:25:53,635 --> 00:25:56,388
BOGDANOVKZH: He said, "When I'm
on the set, I'm not on the set.
295
00:25:56,472 --> 00:25:58,600
"I'm watching it
on the screen."
296
00:25:59,641 --> 00:26:01,234
That's the key to
Hitchcock, in a way.
297
00:26:01,310 --> 00:26:03,187
I mean, he sees the
picture in his head.
298
00:26:09,610 --> 00:26:12,238
I imagine he just sat alone
and these images came to him
299
00:26:12,321 --> 00:26:13,664
and hejust
never questioned it.
300
00:26:28,003 --> 00:26:31,883
You don't feel like he's ever
not confident in every shot.
301
00:26:34,968 --> 00:26:37,016
That's one guy you
don't really question.
302
00:26:37,304 --> 00:26:39,853
It always works within his
world, kind of perfectly.
303
00:26:48,440 --> 00:26:50,067
(KU ROSAWA SPEAKING JAPAN ESE)
304
00:27:25,602 --> 00:27:27,855
(KUROSAWA CONTINUES SPEAKING)
305
00:27:52,296 --> 00:27:54,264
lthoughtyou
didn't like to cook.
306
00:27:54,882 --> 00:27:56,555
No, I don't like to cook.
307
00:27:57,259 --> 00:27:59,011
(KUROSAWA CONTINUES SPEAKING)
308
00:28:19,615 --> 00:28:21,367
I'd be delighted.
309
00:28:22,492 --> 00:28:24,711
ANDERSON: Even if they go
all the way across the room,
310
00:28:24,786 --> 00:28:26,709
he is going to move
with them in the kiss
311
00:28:26,788 --> 00:28:27,880
and the actors
are going to say,
312
00:28:27,956 --> 00:28:29,674
"This is the most
bizarre thing,
313
00:28:29,750 --> 00:28:31,377
"we are walking
while we are kissing."
314
00:28:32,628 --> 00:28:34,505
But he knows how it
fits in the frame
315
00:28:34,630 --> 00:28:37,053
and he knows that the
tension won't be broken
316
00:28:37,132 --> 00:28:40,181
and, um, the spell
won't be broken.
317
00:28:41,595 --> 00:28:43,347
This is a very strange love affair.
(DIALING PHONE)
318
00:28:43,430 --> 00:28:45,103
Why?
319
00:28:47,392 --> 00:28:49,815
Maybe the fact that
you don't love me.
320
00:28:50,312 --> 00:28:51,313
Hello?
321
00:28:51,396 --> 00:28:55,572
HYYCHCOCK: I was giving the
public the great privilege
322
00:28:55,651 --> 00:28:59,827
of embracing Cary Grant
and Ingrid Bergman together.
323
00:28:59,947 --> 00:29:01,540
(WOMAN SPEAKING FRENCH)
324
00:29:01,615 --> 00:29:06,837
HYYCHCOCK: It was a kind of
temporary menage e trois.
325
00:29:08,455 --> 00:29:11,208
And the actors
hated doing it.
326
00:29:11,333 --> 00:29:14,633
They felt dreadfully uncomfortable-
- - (VVCDIVIAN CONTINUES SPEAKING)
327
00:29:14,711 --> 00:29:18,306
...in the manner in which they
had to cling to each other.
328
00:29:19,174 --> 00:29:21,597
And I said, "Well,
I don't care how you feel,
329
00:29:21,677 --> 00:29:24,146
"I only know what it's gonna
look like on the screen."
330
00:29:29,309 --> 00:29:34,361
He obviously had contentious
relationships, in some cases, with actors.
331
00:29:34,439 --> 00:29:37,192
You know, he definitely
solicited movie stars.
332
00:29:37,442 --> 00:29:40,241
You know, there is no doubt
in reading the book
333
00:29:40,320 --> 00:29:43,290
that he is very
cognizant of the value
334
00:29:43,365 --> 00:29:45,788
of faces that
people want to see.
335
00:29:47,035 --> 00:29:51,165
And sometimes, the complications
that come with that baggage.
336
00:29:51,665 --> 00:29:55,670
LINKLATER: Montgomery Clift is
transcendent in I Confess. He's great.
337
00:29:56,044 --> 00:29:58,172
But I don't think
Hitchcock cared
338
00:29:58,255 --> 00:30:00,974
if they had a good time or not
or how they felt about him.
339
00:30:01,049 --> 00:30:05,225
Obviously, that wasn't (LAUGHS)
a huge concern of his.
340
00:30:06,013 --> 00:30:10,018
HITCHCOCK: Sometimes you need
a look to convey something.
341
00:30:10,100 --> 00:30:11,477
(WOMAN SPEAKING FRENCH)
342
00:30:11,560 --> 00:30:13,562
...or to look at
something and react.
343
00:30:15,689 --> 00:30:18,238
I had a conflict with Clift.
344
00:30:20,694 --> 00:30:24,449
I said, "Monty, I want you
to look up at the hotel."
345
00:30:24,531 --> 00:30:26,158
(WOMAN CONTINUES SPEAKING)
346
00:30:26,241 --> 00:30:30,792
Uh, so he said to me, "I don't know
whether I would look up to the hotel."
347
00:30:32,414 --> 00:30:33,506
I said, "Why not?"
348
00:30:33,582 --> 00:30:37,428
He said, "I may be occupied
by the people below."
349
00:30:39,379 --> 00:30:44,351
I said, "I want you to look
up to the hotel windows
350
00:30:44,426 --> 00:30:45,848
"and please do so."
351
00:30:46,178 --> 00:30:49,899
I was telling the audience
across the street is the hotel.
352
00:30:50,849 --> 00:30:53,602
So an actor is gonna try
and interfere with me,
353
00:30:53,685 --> 00:30:56,438
organizing my geography.
354
00:30:56,646 --> 00:30:59,069
That's why all
actors are cattle.
355
00:30:59,232 --> 00:31:01,075
(WOMAN CONTINUES SPEAKING)
356
00:31:01,860 --> 00:31:05,615
UNKLATER: With Hitchcock you get a sense
of a kind of a self-contained psychology
357
00:31:05,697 --> 00:31:07,870
that we were gonna
explore his obsessions
358
00:31:07,949 --> 00:31:09,701
and what he was
interested in.
359
00:31:09,785 --> 00:31:11,628
I think his
collaboration there
360
00:31:11,703 --> 00:31:13,501
didn't go much
farther than that.
361
00:31:14,498 --> 00:31:18,799
FINCHER: Acting, it's a
great part of movie making
362
00:31:19,669 --> 00:31:21,592
but it's not the only
part of movie making.
363
00:31:21,671 --> 00:31:25,471
And I think Hitchcock was one
of the first people to say
364
00:31:25,550 --> 00:31:28,474
there is a structure
to this language.
365
00:31:39,564 --> 00:31:44,240
He probably did more for the
psychological underpinnings
366
00:31:44,319 --> 00:31:45,411
of characterization
367
00:31:45,487 --> 00:31:47,956
in motion pictures
than anyone.
368
00:31:54,121 --> 00:31:58,251
And on top of it, wouldn't
allow any of his actors
369
00:31:58,333 --> 00:32:01,883
to explore that kind
of behavior on set.
370
00:32:01,962 --> 00:32:06,217
It was the rigor of dramatizing
it in narrative terms,
371
00:32:06,299 --> 00:32:09,724
and then not allowing for it to, like,
spill over the edge of the bucket.
372
00:32:14,474 --> 00:32:15,475
SCORSESE". Coming out
of World War H,
373
00:32:15,559 --> 00:32:18,688
which is the worst
recorded war in history.
374
00:32:19,646 --> 00:32:22,616
Destruction of civilization,
375
00:32:22,691 --> 00:32:26,036
no peace or comfort
from religion.
376
00:32:27,362 --> 00:32:29,364
The paranoia, the anxiety.
377
00:32:31,450 --> 00:32:33,418
Who are we? What are we?
378
00:32:35,745 --> 00:32:39,295
Post-World VVar ll, there
was a rupture, a change.
379
00:32:39,374 --> 00:32:43,550
Um, particularly in the
nature of what a performance
380
00:32:43,628 --> 00:32:46,552
or a persona
onscreen would be.
381
00:32:47,549 --> 00:32:50,473
And that is that the actor
is the main instrument really.
382
00:32:51,553 --> 00:32:56,024
And this is all expressed I think
in Brando, James Dean, and Clift.
383
00:32:56,725 --> 00:32:59,774
Alfred Hitchcock was able to get
the soul of the actors on screen,
384
00:32:59,853 --> 00:33:03,232
whether it's Cary Grant, Eva Marie
Saint, Grace Kelly, Jimmy Stewart.
385
00:33:04,608 --> 00:33:06,531
But it comes of
another tradition.
386
00:33:08,653 --> 00:33:14,080
FINCHER: (CHUCKLING) I'd love to see
De Niro, Pacino, Dustin Hoffman.
387
00:33:14,743 --> 00:33:18,498
To see that school of actor,
388
00:33:18,580 --> 00:33:24,587
you know, try to flourish
under the iron umbrella of
389
00:33:25,128 --> 00:33:29,133
this is what this next three
and a half seconds is about.
390
00:33:33,803 --> 00:33:36,352
HYYCHCOCK:
I would like to ask you.
391
00:33:36,431 --> 00:33:38,354
Do you feel
it's too much trouble
392
00:33:38,433 --> 00:33:42,609
having to direct actors
in their acting?
393
00:33:43,605 --> 00:33:44,902
(TRUFFAUT SPEAKING FRENCH)
394
00:33:44,981 --> 00:33:47,575
WOMAN: What I'd like is
an intermediary formula.
395
00:33:47,692 --> 00:33:49,035
(TRUFFAUT CONTINUES SPEAKING)
396
00:33:49,110 --> 00:33:54,162
That is to say, to speak with an
actor the evening after dinner,
397
00:33:55,450 --> 00:33:58,795
and then create
the dialogue in the night
398
00:33:58,870 --> 00:34:00,747
with the words which he
himself has been using
399
00:34:00,830 --> 00:34:02,924
from his own vocabulary.
400
00:34:02,999 --> 00:34:06,173
HYYCHCOCK: Yes. Will that mean
you have to write overnight?
401
00:34:06,962 --> 00:34:09,715
(TRUFFAUT SPEAKING FRENCH)
402
00:34:20,600 --> 00:34:23,854
(TRUFFAUT CONTINUES SPEAKING)
403
00:34:25,021 --> 00:34:30,243
WOMAN: Alive perhaps, but which are
very dangerous for the curve...
404
00:34:30,318 --> 00:34:32,571
HITCHCOCK: For the shape,
the shape of the picture.
405
00:34:35,949 --> 00:34:41,581
HITCHCOCK: I often am troubled
as to whether! cling to the,
406
00:34:41,663 --> 00:34:44,883
what I call the rising
curve-shape of a story
407
00:34:44,958 --> 00:34:45,959
(WOMAN SPEAKING FRENCH)
408
00:34:46,042 --> 00:34:48,841
...and whether I shouldn't
experiment more
409
00:34:48,920 --> 00:34:52,925
with a looser
form of narrative.
410
00:34:54,509 --> 00:34:56,511
Sometimes it's very hard- - -
(VVCDIVIAN CONTINUES SPEAKING)
411
00:34:56,636 --> 00:35:01,437
...because if you work
for character direct,
412
00:35:01,516 --> 00:35:04,144
they'll take you along
where they want to go.
413
00:35:04,227 --> 00:35:07,276
And I'm like the old lady
with the boy scouts.
414
00:35:07,355 --> 00:35:08,652
I don't want to
do go that way.
415
00:35:08,732 --> 00:35:11,360
(WOMAN CONTINUES SPEAKING)
416
00:35:11,526 --> 00:35:14,700
And this has always
been a conflict with me.
417
00:35:21,536 --> 00:35:23,209
FINCHER: It seems to me
he finds material
418
00:35:23,288 --> 00:35:24,881
that he can kind of,
you know,
419
00:35:24,956 --> 00:35:26,503
it's an applied science.
420
00:35:26,583 --> 00:35:32,056
He can sort of apply the
Hitchcock thing to this story.
421
00:35:32,714 --> 00:35:36,514
By now I have my series
of linear plot devices
422
00:35:36,593 --> 00:35:38,311
leading to a fall
from a high place.
423
00:35:38,887 --> 00:35:40,264
(SCREAMING)
424
00:35:45,685 --> 00:35:47,528
HYYCHCOCK:
Quite obviously, I'm, uh...
425
00:35:47,604 --> 00:35:48,821
(WOMAN SPEAKING FRENCH)
426
00:35:48,897 --> 00:35:52,822
I suppose like any artist
who paints or writes,
427
00:35:52,901 --> 00:35:56,280
I'm limited to a certain
field, you know.
428
00:35:58,490 --> 00:36:00,288
(ASSAYAS SPEAKING FRENCH)
429
00:36:33,358 --> 00:36:37,864
HYYCHCOCK: I went high because I
didn't want to spend a lot of footage
430
00:36:37,946 --> 00:36:40,699
on people getting out hoses...
(WOMAN SPEAKING FRENCH)
431
00:36:40,782 --> 00:36:42,409
...and starting
to put out a fire.
432
00:36:46,871 --> 00:36:48,919
If you play it
a long way away,
433
00:36:48,998 --> 00:36:50,966
you aren't committed
to any detail.
434
00:36:52,043 --> 00:36:55,047
ltwasn'tjust, um,
simply to show the whole town
435
00:36:55,130 --> 00:36:56,632
and how the birds
are coming in.
436
00:36:56,715 --> 00:37:01,391
It took on another kind of
apocalyptic, religious feel.
437
00:37:01,678 --> 00:37:03,305
It was omniscient.
438
00:37:04,472 --> 00:37:07,021
It's the cleansing
of the Earth.
439
00:37:07,434 --> 00:37:10,904
Whose point of view is it when
you cut to above everything?
440
00:37:10,979 --> 00:37:13,698
God's point of view? Are we
all being judged from above?
441
00:37:13,773 --> 00:37:15,446
You know, that kind
of suggests that.
442
00:37:15,942 --> 00:37:17,694
(INDISTINCT CHATTERING)
443
00:37:21,948 --> 00:37:23,950
Where are those
papers now, exactly?
444
00:37:24,409 --> 00:37:25,911
SCORSESE: For me that angle
is always something
445
00:37:25,994 --> 00:37:28,668
that has a kind of
religious element to it.
446
00:37:30,331 --> 00:37:33,084
(TRUFFAUT SPEAKING FRENCH)
447
00:37:36,463 --> 00:37:38,340
HYYCHCOCK:
Go off the record.
448
00:37:41,009 --> 00:37:43,478
SCORSESE: You know, you have Martin
Balsam going up the stairs, right?
449
00:37:43,553 --> 00:37:45,351
And that's so
deliberately slow,
450
00:37:45,430 --> 00:37:47,398
you just know
he's gonna get it,
451
00:37:47,474 --> 00:37:49,897
but you don't expect
that high angle.
452
00:37:52,520 --> 00:37:56,366
There's something omniscient about
it that's kind of frightening.
453
00:38:01,780 --> 00:38:03,532
(TRUFFAUT SPEAKING FRENCH)
454
00:38:06,326 --> 00:38:07,669
HITCHCOCK: Yes.
455
00:38:17,962 --> 00:38:20,215
(TRUFFAUT CONTINUES SPEAKING)
456
00:38:29,891 --> 00:38:33,065
WOMAN: Everyone always has
something to feel guilty about.
457
00:38:33,728 --> 00:38:35,571
SCORSESE: They're asking,
"Did you ever hear of topaz?"
458
00:38:35,647 --> 00:38:38,150
Colonel Kusenov, does the word
"topaz" mean anything to you?
459
00:38:39,359 --> 00:38:41,327
SCORSESE:
It cuts to the defector
460
00:38:41,402 --> 00:38:44,121
and the camera's sort of
up above him a little bit.
461
00:38:44,197 --> 00:38:46,245
And you see his eye shift.
462
00:38:46,574 --> 00:38:49,418
The eye is not covered. That means
the angle had to just be right.
463
00:38:51,371 --> 00:38:54,295
Now, you know he's lying,
it's that poem.
464
00:38:54,874 --> 00:38:58,469
You may leave the religion, but the
Hound of Heaven is always there.
465
00:39:01,422 --> 00:39:04,392
That infuses everything,
the whole thought process
466
00:39:04,467 --> 00:39:05,935
and the storytelling process.
467
00:39:07,470 --> 00:39:12,818
MAN: And continually turn
our hearts from wickedness,
468
00:39:12,892 --> 00:39:17,898
and from worldly things
unto thee...
469
00:39:23,027 --> 00:39:25,405
(DESPLECHIN SPEAKING FRENCH)
470
00:39:44,799 --> 00:39:46,642
Over the years,
I keep revisiting it
471
00:39:46,718 --> 00:39:48,641
by watching it, watching
it over and over again.
472
00:39:51,347 --> 00:39:54,226
This is the average man,
decent man I should say.
473
00:39:55,143 --> 00:39:57,566
Family, kids...
Uh, suddenly picked up.
474
00:39:57,896 --> 00:39:59,148
Your name Chris?
475
00:39:59,606 --> 00:40:00,732
You're calling me?
476
00:40:00,815 --> 00:40:02,943
SCORSESE: And everything...
477
00:40:03,318 --> 00:40:04,319
Yes, it is.
478
00:40:04,694 --> 00:40:07,322
(CHUCKLES) Everything
points to him doing it.
479
00:40:08,239 --> 00:40:09,286
And you know he didn't.
480
00:40:09,657 --> 00:40:15,960
One, two, three, four...
481
00:40:18,082 --> 00:40:19,129
MAN: You're sure?
482
00:40:19,208 --> 00:40:20,255
Absolutely.
483
00:40:20,919 --> 00:40:23,013
(SPEAKING FRENCH)
484
00:40:36,059 --> 00:40:37,481
SCORSESE:
Those extraordinary inserts
485
00:40:37,560 --> 00:40:40,484
where Henry Fonda's
just sitting on the bunk,
486
00:40:41,022 --> 00:40:42,740
he looks at the cell
around him.
487
00:40:42,815 --> 00:40:45,614
And it cuts to different
sections of the cell.
488
00:40:47,528 --> 00:40:49,701
What makes you
feel oppressed?
489
00:40:49,781 --> 00:40:52,079
The lock on the door,
but from what angle?
490
00:40:53,076 --> 00:40:55,374
Is it really
his point of view?
491
00:40:56,037 --> 00:40:57,380
All these things are
remarkable, I think.
492
00:41:00,792 --> 00:41:01,839
(TRUFFAUT SPEAKING FRENCH)
493
00:41:06,547 --> 00:41:07,514
HITCHCOCK: Yes, that's right.
494
00:41:07,590 --> 00:41:08,591
(TRUFFAUT SPEAKING)
495
00:41:12,679 --> 00:41:15,728
(DESPLECHIN SPEAKING FRENCH)
496
00:41:57,265 --> 00:41:58,733
(TRUFFAUT SPEAKING FRENCH)
497
00:41:58,808 --> 00:42:00,276
HITCHCOCK: Not a lot, no.
498
00:42:00,643 --> 00:42:03,692
(TRUFFAUT SPEAKING)
499
00:42:03,771 --> 00:42:06,274
WOMAN: One senses in your work
the importance of dreams.
500
00:42:06,357 --> 00:42:08,359
HYYCHCOCK:
Daydreams, probably.
501
00:42:08,651 --> 00:42:11,029
(TRUFFAUT SPEAKING)
502
00:42:16,159 --> 00:42:19,629
HYYCHCOCK: Well, that's
probably me within myself.
503
00:42:24,125 --> 00:42:26,719
(TRUFFAUT SPEAKING)
504
00:42:30,381 --> 00:42:31,473
Look.
505
00:42:35,303 --> 00:42:36,976
HYYCHCOCK:
I think it occurs
506
00:42:37,055 --> 00:42:41,276
because I am never satisfied
with the ordinary.
507
00:42:42,435 --> 00:42:45,689
I can't do well
with the ordinary.
508
00:43:03,498 --> 00:43:07,799
SCHRADER: Hitchcock keeps referring
to these, sort of, fetish objects.
509
00:43:08,920 --> 00:43:12,766
Keys and handcuffs
and ropes and stuff,
510
00:43:12,840 --> 00:43:14,888
which are kind of
dream objects
511
00:43:15,843 --> 00:43:19,598
which have a kind of
Freudian weight to them.
512
00:43:25,520 --> 00:43:26,521
(ASSAYAS SPEAKING FRENCH)
513
00:43:42,036 --> 00:43:43,629
(DESPLECHIN SPEAKING FRENCH)
514
00:44:45,474 --> 00:44:49,980
HITCHCOCK: Silent pictures are
the pure motion picture form.
515
00:44:50,062 --> 00:44:52,485
(WOMAN SPEAKING FRENCH)
516
00:44:52,565 --> 00:44:58,698
There was no need to
abandon the technique
517
00:44:58,779 --> 00:45:01,658
of the pure motion picture
518
00:45:01,949 --> 00:45:04,953
the way it was abandoned
when the sound came in.
519
00:45:13,169 --> 00:45:16,639
The craft was of course developed
in silent cinema first.
520
00:45:17,256 --> 00:45:19,224
So the whole idea was,
521
00:45:19,300 --> 00:45:22,179
"How do I tell the story
without any dialogue?"
522
00:45:22,803 --> 00:45:25,977
This is a brilliant way to train
someone to think visually,
523
00:45:26,599 --> 00:45:28,317
and part of the reason
the films have
524
00:45:28,392 --> 00:45:30,394
that incredible
dream-like feeling.
525
00:45:38,694 --> 00:45:42,244
(DESPLECHIN SPEAKING FRENCH)
526
00:45:53,334 --> 00:45:56,304
UNKLATER". So many Hitchcock
films would work silently.
527
00:45:58,130 --> 00:46:01,680
You could watch a Hitchcock film
without any dialogue or music
528
00:46:01,759 --> 00:46:05,138
and I think you'd still get a
really high percentage of it.
529
00:46:07,640 --> 00:46:11,861
(DESPLECHIN SPEAKING FRENCH)
530
00:46:38,045 --> 00:46:39,592
SCORSESE: They're meant
to achieve a realism,
531
00:46:39,672 --> 00:46:41,094
but it's more of a...
How should I put this?
532
00:46:41,173 --> 00:46:45,053
Spirit of realism. (CHUCKLING)
It isn't objective.
533
00:46:47,930 --> 00:46:49,432
(DESPLECHIN SPEAKING FRENCH)
534
00:47:02,111 --> 00:47:04,830
(TRUFFAUT SPEAKING FRENCH)
535
00:47:20,296 --> 00:47:22,845
HYYCHCOCK: Yes, but you are
dealing with the point of view
536
00:47:22,923 --> 00:47:24,596
of an emotional man.
537
00:47:28,095 --> 00:47:31,599
(TRUFFAUT SPEAKING)
538
00:47:31,807 --> 00:47:36,563
HYYCHCOCK: I was intrigued with
the effort to create a woman...
539
00:47:36,645 --> 00:47:37,646
(WOMAN SPEAKING FRENCH)
540
00:47:37,730 --> 00:47:40,734
...after another in
the image of a dead woman.
541
00:47:50,618 --> 00:47:54,543
FINCHER: If you think that you can
hide what your interests are,
542
00:47:54,622 --> 00:47:57,296
what your prurient
interests are,
543
00:47:57,375 --> 00:47:59,844
what your noble
interests are,
544
00:47:59,919 --> 00:48:02,342
what your
fascinations are...
545
00:48:02,421 --> 00:48:05,049
If you think you can
hide that in your work
546
00:48:05,132 --> 00:48:07,885
as a film director,
you're nuts, you know.
547
00:48:07,968 --> 00:48:10,892
And I think that he was one
of the first guys who said,
548
00:48:12,473 --> 00:48:15,898
"I'm gonna go with it."
(CHUCKLES) "I'm just going to...
549
00:48:15,976 --> 00:48:17,853
"I'm gonna be...
I gotta be me."
550
00:48:22,650 --> 00:48:25,244
And in the case
of his best work,
551
00:48:25,319 --> 00:48:30,496
there is a more direct
umbilicus to his subconscious.
552
00:48:32,618 --> 00:48:35,838
Certainly I think
that is true of Vertigo.
553
00:48:36,288 --> 00:48:39,041
HYYCHCOCK: The sex
psychological side is that...
554
00:48:39,125 --> 00:48:40,092
(WOMAN SPEAKING FRENCH)
555
00:48:40,167 --> 00:48:44,422
...you have a man
creating a sex image,
556
00:48:44,505 --> 00:48:47,429
but he can't
go to bed with her
557
00:48:47,508 --> 00:48:52,560
until he's got her back to the
thing he wants to go to bed with.
558
00:48:52,721 --> 00:48:55,099
It should be back from your
face and pinned at the neck.
559
00:48:55,182 --> 00:48:57,276
I told her that.
I told you that.
560
00:48:58,352 --> 00:48:59,478
We tried it.
561
00:48:59,562 --> 00:49:02,691
HYYCHCOCK:
Or metaphorically indulged
562
00:49:02,773 --> 00:49:05,868
in a form of necrophilia.
563
00:49:06,318 --> 00:49:07,695
That's what it really was.
564
00:49:07,778 --> 00:49:09,030
Please, Judy.
565
00:49:11,490 --> 00:49:16,462
HYYCHCOCK: The thing you see
that I liked and felt most
566
00:49:16,537 --> 00:49:20,792
when she came back from
having her hair made blond
567
00:49:20,875 --> 00:49:22,468
and it wasn't up.
568
00:49:24,545 --> 00:49:30,723
This means she has stripped, but
won't take her knickers off.
569
00:49:30,801 --> 00:49:33,304
(TRUFFAUT CHUCKLES)
570
00:49:33,387 --> 00:49:34,639
You see.
571
00:49:34,722 --> 00:49:38,898
She says all right, and she goes
into the bath and he is waiting.
572
00:49:41,020 --> 00:49:44,115
He's waiting for the
woman to undress,
573
00:49:45,024 --> 00:49:49,370
and come out nude, ready for him-
(VVCDIVIAN CONTINUES SPEAKING)
574
00:49:54,909 --> 00:49:55,910
(DOOR OPENS)
575
00:49:58,412 --> 00:50:03,714
HYYCHCOCK: And while he was looking at
that door, he was getting an erection.
576
00:50:04,168 --> 00:50:06,591
We will now tell a story.
Shut the machine off.
577
00:50:07,713 --> 00:50:11,138
What I love about Vertigo
is just, it's so perverted.
578
00:50:11,217 --> 00:50:13,094
It's just so perverted.
579
00:50:14,094 --> 00:50:17,314
Here, Judy, drink this straight down.
Just like medicine.
580
00:50:18,599 --> 00:50:22,103
Why are you doing this?
What good will it do?
581
00:50:22,436 --> 00:50:26,236
I've always felt that the most
interesting view of Vertigo
582
00:50:26,941 --> 00:50:29,865
would be her story.
583
00:50:31,445 --> 00:50:33,447
The color of your hair.
584
00:50:36,200 --> 00:50:38,453
Judy, please,
it can't matter to you!
585
00:50:39,954 --> 00:50:42,173
FINCHER: And it's almost more honest
than the guy's point of view.
586
00:50:42,373 --> 00:50:43,465
If...
587
00:50:46,043 --> 00:50:48,671
If I let you change me,
will that do it?
588
00:50:49,463 --> 00:50:53,093
FINCHER: I guess taking
Scottie's point of view was...
589
00:50:53,259 --> 00:50:54,511
Will you love me?
590
00:50:54,635 --> 00:50:56,228
FINCHER: ...Hitchcock's
point of view.
591
00:50:57,805 --> 00:50:59,557
Yes.
Fine.
592
00:51:01,350 --> 00:51:04,149
(TRUFFAUT SPEAKING FRENCH)
593
00:51:04,270 --> 00:51:05,897
HYYCHCOCK: Yes,
I enjoyed it, yes.
594
00:51:06,647 --> 00:51:10,368
You know, I had Vera Miles
tested and costumed.
595
00:51:10,442 --> 00:51:12,115
We were ready to go with her.
596
00:51:12,194 --> 00:51:14,242
She went pregnant,
597
00:51:14,321 --> 00:51:16,415
and that was
going to be the part
598
00:51:16,490 --> 00:51:18,083
that I was going
to bring her out.
599
00:51:18,158 --> 00:51:19,956
She was under contract to me.
600
00:51:20,744 --> 00:51:21,836
But I lost interest.
601
00:51:21,912 --> 00:51:26,258
I couldn't get the rhythm going
again with her. Silly girl.
602
00:51:26,333 --> 00:51:27,755
SCHRADER: I don't think
he would have been able
603
00:51:27,835 --> 00:51:30,509
to take Vera Miles
into that Judy place.
604
00:51:31,839 --> 00:51:35,469
Into that real,
kind of, a slutty place.
605
00:51:35,884 --> 00:51:39,354
And so I think that he surmounted
his restriction in that way.
606
00:51:41,015 --> 00:51:45,361
I saw the film
fairly early in my life
607
00:51:45,436 --> 00:51:48,189
as a film person and I
saw it through Marty.
608
00:51:48,522 --> 00:51:51,492
SCORSESE: It became
a lost film, so to speak.
609
00:51:51,567 --> 00:51:53,114
I can tell you that all the
filmmakers in the '70s
610
00:51:53,193 --> 00:51:54,661
were trying to find
copies of it.
611
00:51:55,696 --> 00:51:56,948
Some people had 16s.
612
00:51:57,031 --> 00:51:58,908
So it became a picture
we were looking for.
613
00:51:59,241 --> 00:52:02,495
SCHRADER: It was a kind of
forbidden document,
614
00:52:02,578 --> 00:52:07,004
a kind of sacred document that only
certain insiders had privilege to.
615
00:52:07,082 --> 00:52:08,675
Which is kind of
hard to imagine
616
00:52:08,751 --> 00:52:13,097
in today's world of indiscriminate
access to virtually everything.
617
00:52:14,214 --> 00:52:17,593
So, the number of people who had
seen Vertigo weren't that many.
618
00:52:17,676 --> 00:52:20,054
Hitchcock wasn't
talking about it that much
619
00:52:20,137 --> 00:52:22,890
because it wasn't
very successful.
620
00:52:30,939 --> 00:52:32,486
(HEAVY BREATHING)
621
00:52:33,108 --> 00:52:34,610
(TRUFFAUT SPEAKING FRENCH)
622
00:52:35,194 --> 00:52:36,912
HYYCHCOCK:
The hole in the story.
623
00:52:37,488 --> 00:52:40,662
The husband who pushed
his wife off the tower.
624
00:52:40,741 --> 00:52:44,871
How did he know that Stewart wasn't
going to run up those stairs?
625
00:52:46,580 --> 00:52:47,752
GRAY: In the case of Vertigo,
626
00:52:47,998 --> 00:52:50,467
the machinations
of the plot...
627
00:52:51,335 --> 00:52:52,837
Well, they do work,
they function,
628
00:52:52,920 --> 00:52:54,297
and they function
rather brilliantly,
629
00:52:54,380 --> 00:52:57,304
but the subtext
seems to be bubbling up
630
00:52:57,383 --> 00:52:59,260
almost to the point
where it's text.
631
00:53:03,555 --> 00:53:06,729
SCORSESE: I can't really say
that I believe the plot.
632
00:53:07,142 --> 00:53:10,817
And I don't take any
of the story seriously.
633
00:53:10,896 --> 00:53:13,240
I mean, as a
"realistic story."
634
00:53:15,609 --> 00:53:18,579
So the plot is just a line
that you could hang things on.
635
00:53:22,491 --> 00:53:24,493
And the things that
he hangs on there
636
00:53:24,576 --> 00:53:28,672
are all aspects of,
you know, cinema poetry.
637
00:53:33,877 --> 00:53:35,220
And that's a film
that I can't really tell
638
00:53:35,295 --> 00:53:38,469
where things start and end.
I don't care.
639
00:53:38,549 --> 00:53:41,302
And when he's following her
in the streets in the car,
640
00:53:41,385 --> 00:53:42,932
what is he looking for?
641
00:53:44,138 --> 00:53:46,061
What is he looking for?
642
00:53:48,600 --> 00:53:50,352
GRAY: The frustration
is on his face.
643
00:53:50,644 --> 00:53:52,897
And you're like, "Where is
this going?" And you realize,
644
00:53:52,980 --> 00:53:57,110
"No, that's totally connected
to who he is in the film."
645
00:53:58,986 --> 00:54:00,659
SCORSESE: The city itself
is a character...
646
00:54:02,948 --> 00:54:04,245
The architecture itself.
647
00:54:06,160 --> 00:54:09,630
The mystery of
old San Francisco.
648
00:54:12,082 --> 00:54:13,425
That painting...
649
00:54:16,837 --> 00:54:20,637
We cannot see Kim Novak's face
looking at that painting.
650
00:54:20,966 --> 00:54:23,139
How important
her gaze must be.
651
00:54:24,011 --> 00:54:27,106
But no, it's not,
because it's all a ruse.
652
00:54:28,515 --> 00:54:30,438
The connection that Kim Novak
has with that painting
653
00:54:30,517 --> 00:54:32,519
is bullshit. Right?
654
00:54:32,770 --> 00:54:34,943
The only gaze that matters
655
00:54:35,022 --> 00:54:38,117
is Jimmy Stewart's
gaze watching
656
00:54:38,192 --> 00:54:42,538
the curl in the hair and how it's
similar to the painting on the wall.
657
00:54:53,791 --> 00:54:55,793
I'm sure he didn't shoot
coverage from the front.
658
00:54:55,876 --> 00:54:57,970
Someone like me, I would do that.
We're not that good.
659
00:54:58,045 --> 00:55:03,802
We don't understand the power of
the image, the way that he did.
660
00:55:03,926 --> 00:55:05,724
I don't want anything.
I wanna get out of here.
661
00:55:05,803 --> 00:55:06,975
Judy, do this for me!
662
00:55:07,054 --> 00:55:09,557
SCORSESE: This whole business of
remaking her. Yes, we get it.
663
00:55:09,640 --> 00:55:11,859
Everyone's talking
about the fetishism of it.
664
00:55:11,934 --> 00:55:13,106
I don't like it.
665
00:55:13,185 --> 00:55:14,277
Yeah, we'll take it.
666
00:55:14,353 --> 00:55:15,570
Fine, it's good.
667
00:55:15,646 --> 00:55:17,444
But it's this extraordinary
sense of loss
668
00:55:17,523 --> 00:55:19,901
that he's trying
to fill that void.
669
00:55:20,400 --> 00:55:24,155
Um, maybe it reaches out to
everyone, because of that.
670
00:55:25,405 --> 00:55:27,407
You know.
We could bring our own
671
00:55:27,491 --> 00:55:29,084
sense of melancholy
or loss to it.
672
00:55:29,868 --> 00:55:32,121
Judy.Judy,
I'll tell you this.
673
00:55:32,204 --> 00:55:35,458
These past few days have been the first
happy days I've known in a year.
674
00:55:35,541 --> 00:55:36,667
I know.
675
00:55:36,959 --> 00:55:40,259
It's about desire,
but we all understand that.
676
00:55:40,629 --> 00:55:42,302
We all understand
the idea of desire.
677
00:55:42,422 --> 00:55:44,095
That's part of
what makes us us.
678
00:55:59,273 --> 00:56:01,617
GRAY: I think Kim Novak
coming out of the bathroom
679
00:56:01,692 --> 00:56:03,740
is the single greatest moment
in the history of movies.
680
00:56:03,819 --> 00:56:06,413
At that moment, everything
that Hitchcock was about,
681
00:56:06,488 --> 00:56:10,209
everything that
cinema is about,
682
00:56:10,284 --> 00:56:13,709
comes together in the most
beautiful way, which is...
683
00:56:15,664 --> 00:56:19,510
Yes, it's a fantasy, but the
fantasy is real to him.
684
00:56:32,222 --> 00:56:34,316
That kiss is
so extraordinary.
685
00:56:34,391 --> 00:56:39,238
That's the one moment where he
gets some kind of fulfillment.
686
00:56:41,023 --> 00:56:42,900
And then after that,
it's time to go.
687
00:56:43,150 --> 00:56:45,448
There was where you
made your mistake, Judy.
688
00:56:45,819 --> 00:56:47,787
You shouldn't keep
souvenirs of a killing.
689
00:56:49,656 --> 00:56:51,499
You shouldn't have been...
690
00:56:53,076 --> 00:56:54,874
You shouldn't have
been that sentimental.
691
00:56:56,038 --> 00:56:59,258
SCORSESE: It's a world that
he creates that reflects,
692
00:56:59,333 --> 00:57:00,880
I think, what
it is to be alive.
693
00:57:01,376 --> 00:57:03,674
And what it is
to live in fear.
694
00:57:05,547 --> 00:57:07,766
A good fear.
A natural fear.
695
00:57:07,841 --> 00:57:09,935
But fear just the same.
696
00:57:11,303 --> 00:57:13,556
Of just the human condition
of who we are.
697
00:57:17,809 --> 00:57:19,106
It's more than a story.
698
00:57:20,270 --> 00:57:22,238
It's more than a story.
699
00:57:23,065 --> 00:57:25,614
It really is like living
a lifetime with him.
700
00:57:32,199 --> 00:57:35,499
(TRUFFAUT SPEAKING FRENCH)
701
00:57:35,619 --> 00:57:37,041
HYYCHCOCK:
It was a break-even.
702
00:57:37,913 --> 00:57:40,541
(TRUFFAUT CONTINUES SPEAKING)
703
00:57:41,416 --> 00:57:43,293
HYYCHCOCK:
I suppose so, yes.
704
00:57:44,795 --> 00:57:46,923
It's tricky. You know,
people will learn
705
00:57:47,005 --> 00:57:49,007
the wrong lessons
from failures
706
00:57:49,091 --> 00:57:52,516
just as they sometimes learn the
wrong lessons from success.
707
00:57:55,764 --> 00:57:59,814
And the thing that I find so
depressing about Hollywood is
708
00:57:59,893 --> 00:58:04,649
how often people really feel
the first three months of
709
00:58:04,731 --> 00:58:08,486
anyone's response
to your film... That's it.
710
00:58:09,695 --> 00:58:12,574
Carve that into marble.
That was the response.
711
00:58:12,656 --> 00:58:15,660
It's not true.
It wasn't true for Vertigo.
712
00:58:24,084 --> 00:58:27,930
HYYCHCOCK: There is sometimes
a tendency among filmmakers...
713
00:58:28,005 --> 00:58:29,222
(WOMAN SPEAKING FRENCH)
714
00:58:29,297 --> 00:58:31,891
...to forget the audience.
715
00:58:33,593 --> 00:58:37,188
I, personally, am
interested in the audience.
716
00:58:39,057 --> 00:58:44,029
I mean that one's film should
be designed for 2,000 seats,
717
00:58:44,104 --> 00:58:45,447
and not one seat.
718
00:58:46,523 --> 00:58:50,528
This, to me, is the
power of the cinema.
719
00:58:51,278 --> 00:58:57,411
It is the greatest known mass
medium there is in the world.
720
00:58:58,577 --> 00:59:00,830
(AUDIENCE LAUGHING)
721
00:59:01,788 --> 00:59:04,541
(ASSAYAS SPEAKING FRENCH)
722
00:59:15,302 --> 00:59:17,304
(ASSAYAS CONTINUES SPEAKING)
723
00:59:34,780 --> 00:59:36,373
(SHRIEKS)
(MUMBUNG)
724
00:59:40,744 --> 00:59:42,496
(DESPLECHIN SPEAKING FRENCH)
725
00:59:55,092 --> 00:59:57,265
NARRATOR: Directors
of Hitchcock's generation,
726
00:59:57,344 --> 00:59:59,767
the ones who came up
under the studio system,
727
00:59:59,846 --> 01:00:02,349
were all mindful
of their audience.
728
01:00:03,517 --> 01:00:07,567
But in Hitchcock's case,
it ran deeper than that.
729
01:00:07,646 --> 01:00:12,698
His films are made in a dialogue
with the public that's close, almost intimate.
730
01:00:15,070 --> 01:00:17,619
HITCHCOCK: It doesn't matter
where the film goes.
731
01:00:17,697 --> 01:00:19,540
(WOMAN SPEAKING FRENCH)
732
01:00:19,616 --> 01:00:22,620
If you've designed
it correctly,
733
01:00:24,079 --> 01:00:26,798
the Japanese
audience should scream
734
01:00:26,873 --> 01:00:28,796
at the same time
as the Indian audience.
735
01:00:33,046 --> 01:00:34,263
SCORSESE: Could you still
play an audience
736
01:00:34,339 --> 01:00:35,465
the way Hitchcock can?
They do.
737
01:00:35,549 --> 01:00:38,393
But it's a different audience,
and it's different playing.
738
01:00:38,760 --> 01:00:43,140
See, the audience has been raised
on films which are very loud,
739
01:00:44,182 --> 01:00:46,230
uh, which have a climax
every two seconds.
740
01:00:47,394 --> 01:00:52,025
Now, we are so
pummeled by stories
741
01:00:52,107 --> 01:00:54,781
and visual hyperbole
742
01:00:54,860 --> 01:00:57,989
that it's a very different
world in trying to
743
01:00:58,071 --> 01:01:01,166
move the needle in terms of
744
01:01:01,241 --> 01:01:04,336
getting humans to
accept your theses.
745
01:01:07,164 --> 01:01:08,586
Hitchcock's coming
out of a world
746
01:01:08,665 --> 01:01:10,133
where everything
was a proscenium,
747
01:01:10,208 --> 01:01:11,835
and everything
was structured,
748
01:01:11,918 --> 01:01:13,920
and he was able to take
that structure and bend it
749
01:01:14,004 --> 01:01:16,678
and twist it
and exaggerate it
750
01:01:16,756 --> 01:01:18,508
to a greater
or lesser effect.
751
01:01:20,844 --> 01:01:24,724
By the time
you get to Psycho,
752
01:01:24,806 --> 01:01:27,025
people are
watching television.
753
01:01:27,309 --> 01:01:31,280
And Ed Gein is informing what's
happening in the movies.
754
01:01:34,399 --> 01:01:37,448
We're starting to borrow
from the real world.
755
01:01:40,113 --> 01:01:42,286
(TRUFFAUT SPEAKING FRENCH)
756
01:01:42,365 --> 01:01:46,711
HITCHCOCK: I believe so,
yes, in Wisconsin somewhere.
757
01:01:46,786 --> 01:01:48,129
(WOMAN SPEAKING FRENCH)
758
01:01:50,081 --> 01:01:53,961
HYYCHCOCK: Psycho, in order
to get the audience effects...
759
01:01:54,878 --> 01:01:56,346
(WOMAN CONTINUES SPEAKING)
...on the audience,
760
01:01:57,589 --> 01:02:00,308
I would say that
this is pretty well
761
01:02:00,383 --> 01:02:02,886
as cinematic as
a lot of pictures.
762
01:02:03,053 --> 01:02:04,805
(TRUFFAUT MUMBLES
IN AGREEMENT)
763
01:02:09,851 --> 01:02:12,445
HITCHCOCK: It was a very
interesting construction.
764
01:02:12,979 --> 01:02:18,156
I tried for a long time
to play the audience.
765
01:02:19,152 --> 01:02:21,871
Let's say we were
playing them like an organ.
766
01:02:22,239 --> 01:02:23,741
Why don't you call
your boss and tell him
767
01:02:23,823 --> 01:02:26,417
you're taking the rest
of the afternoon off?
768
01:02:26,493 --> 01:02:28,086
SCORSESE: The scene with
John Gavin and Janet Leigh
769
01:02:28,161 --> 01:02:29,162
in the beginning...
770
01:02:29,996 --> 01:02:31,418
The element there is the bra.
771
01:02:32,499 --> 01:02:33,500
Okay-
772
01:02:35,085 --> 01:02:38,589
But it's shot very simply,
but ominously.
773
01:02:39,047 --> 01:02:41,470
There's something
ominous about it.
774
01:02:42,717 --> 01:02:46,813
The scenes in the office are
kind of all right, you know.
775
01:02:47,347 --> 01:02:48,439
With that Texan...
776
01:02:48,515 --> 01:02:51,894
I'm buying this house for
my baby's wedding present.
777
01:02:52,852 --> 01:02:55,605
$40,000 cash.
778
01:02:55,689 --> 01:02:58,283
SCORSESE: For his style,
the blandness of the scenes
779
01:02:58,358 --> 01:03:00,577
and the blandness
of the framing,
780
01:03:00,986 --> 01:03:01,987
um,
781
01:03:02,737 --> 01:03:04,535
is just really
a kind of a bridge
782
01:03:04,614 --> 01:03:06,742
to get you to the
next major moment.
783
01:03:07,617 --> 01:03:10,871
I think his instinct is right
in telling stories like that.
784
01:03:10,954 --> 01:03:13,878
I never carry more than
I can afford to lose.
785
01:03:13,957 --> 01:03:17,507
How benign can we make these
images that just connect the dots?
786
01:03:18,420 --> 01:03:20,593
I don't even want it in the
office over the weekend.
787
01:03:20,714 --> 01:03:22,933
Put it in the safe deposit
box in the bank and...
788
01:03:23,008 --> 01:03:25,181
HYYCHCOCK: It cost
only $800,000 dollars...
789
01:03:25,260 --> 01:03:26,261
(WOMAN SPEAKING FRENCH)
790
01:03:26,344 --> 01:03:29,473
...and I used a complete
television unit to do it.
791
01:03:31,766 --> 01:03:33,484
He was flirting with you.
792
01:03:33,560 --> 01:03:35,483
I guess he must have
noticed my wedding ring.
793
01:03:35,562 --> 01:03:40,318
HITCHCOCK: It was necessary
to make the robbery,
794
01:03:40,400 --> 01:03:44,997
and what happened to the girl,
purposely on the long side,
795
01:03:45,071 --> 01:03:48,575
to get an audience
absorbed with her plight.
796
01:03:49,743 --> 01:03:51,165
MAN: Come in.
797
01:03:51,244 --> 01:03:53,246
HYYCHCOCK:
Where I slowed up
798
01:03:53,330 --> 01:03:58,086
was when I came to the scenes
that indicated time and trouble.
799
01:04:03,548 --> 01:04:06,802
Hitchcock really does
love to surprise people
800
01:04:06,885 --> 01:04:08,853
and to take you in
unusual directions.
801
01:04:09,429 --> 01:04:12,933
He sort of thrived on that
and he was very proud of that.
802
01:04:13,016 --> 01:04:15,018
That's what his cinema
is kind of based on.
803
01:04:15,101 --> 01:04:20,449
The beginning of Psycho... It's
one of the great misdirections.
804
01:04:26,279 --> 01:04:30,910
FINCHER: He is playing
with your expectations of
805
01:04:31,493 --> 01:04:33,291
where you're supposed
to be in a movie,
806
01:04:33,370 --> 01:04:35,464
where you're supposed to
be in a Hitchcock movie,
807
01:04:35,538 --> 01:04:37,666
where you're supposed to
be in a Universal movie.
808
01:04:51,596 --> 01:04:55,271
You can argue the value
of Janet Leigh's performance.
809
01:04:55,350 --> 01:04:56,772
You can say, "Well,
that's a little flat,
810
01:04:56,851 --> 01:04:59,400
"it's a little this,
that's a little Kabuki."
811
01:04:59,479 --> 01:05:03,700
Maybe all of those things
are leading you to believe
812
01:05:04,484 --> 01:05:06,703
as an audience member
813
01:05:06,778 --> 01:05:09,281
there's a bigger
cumulative effect.
814
01:05:09,989 --> 01:05:12,037
She's servicing
an expectation.
815
01:05:12,826 --> 01:05:15,545
SCORSESE: The best scenes for me are
the ones he must have spent time on,
816
01:05:16,121 --> 01:05:17,589
the driving shots.
817
01:05:17,664 --> 01:05:19,917
You had to have
spent time on those,
818
01:05:21,167 --> 01:05:23,090
particularly the points
of view somehow.
819
01:05:24,546 --> 01:05:28,346
And the framing of Janet Leigh
in the center of the frame
820
01:05:28,425 --> 01:05:31,304
with the top of the steering wheel
in the bottom of the frame.
821
01:05:31,803 --> 01:05:34,022
'Cause you can make a choice, you
can go above the steering wheel.
822
01:05:35,014 --> 01:05:36,766
You know, or you
can go further out.
823
01:05:36,850 --> 01:05:38,944
But then maybe you won't
see her eyes as well.
824
01:05:39,018 --> 01:05:40,941
So that's like
the perfect size.
825
01:05:46,734 --> 01:05:48,361
In quite a hurry?
826
01:05:48,820 --> 01:05:51,118
Yes, I didn't intend
to sleep so long.
827
01:05:51,656 --> 01:05:53,454
I almost had an
accident last night.
828
01:05:53,533 --> 01:05:55,126
SCORSESE: The scene
with the policeman.
829
01:05:55,201 --> 01:05:59,297
Of course, the framing of
him staring into the car...
830
01:05:59,372 --> 01:06:01,215
Yes, we know with
the glasses, he's scary.
831
01:06:04,169 --> 01:06:07,389
But there's something about the
restraint of those frames.
832
01:06:09,924 --> 01:06:12,803
See? And the more
you restrain,
833
01:06:12,886 --> 01:06:15,184
the better it is when
the explosion happens.
834
01:06:18,725 --> 01:06:20,147
And on the way
to the explosion,
835
01:06:20,226 --> 01:06:23,230
there are these meditative states.
Driving...
836
01:06:24,898 --> 01:06:27,401
MAN: Caroline,
get Mr. Cassidy for me.
837
01:06:30,111 --> 01:06:33,786
After all, Cassidy,
I told you, all that cash...
838
01:06:33,907 --> 01:06:37,377
And there's a sense of movement
ahead, movement ahead...
839
01:06:43,917 --> 01:06:45,840
She steals money.
840
01:06:45,919 --> 01:06:47,842
Then she decides
to drive away.
841
01:06:47,921 --> 01:06:50,219
Then she becomes
guilty about it.
842
01:06:51,090 --> 01:06:53,684
Gee, I'm sorry, I didn't
hear you in all this rain.
843
01:06:53,760 --> 01:06:55,057
Then she meets
this guy in a motel,
844
01:06:55,136 --> 01:06:56,433
and he's telling her
all his problems.
845
01:06:57,430 --> 01:06:59,273
A few years ago,
Mother met this man.
846
01:06:59,807 --> 01:07:02,526
And he talked her into
building this motel.
847
01:07:02,602 --> 01:07:04,104
SCORSESE: You're watching,
you wanna know what happens.
848
01:07:04,187 --> 01:07:05,734
Is she gonna bring
that money back?
849
01:07:05,813 --> 01:07:07,815
Now what is Anthony Perkins
really gonna do?
850
01:07:08,816 --> 01:07:10,614
You know, he has
his mother there.
851
01:07:10,693 --> 01:07:11,694
Maybe there's gonna
be this whole thing
852
01:07:11,778 --> 01:07:13,121
going on with the mother
and him and her.
853
01:07:13,404 --> 01:07:16,578
When he died too, it was just
too great a shock for her.
854
01:07:18,117 --> 01:07:20,415
SCORSESE: I mean, you're really...
You're taken down a path,
855
01:07:20,495 --> 01:07:21,496
but what's great
about it is that
856
01:07:21,955 --> 01:07:24,925
all your expectations are
taken and turned upside down.
857
01:07:29,963 --> 01:07:31,590
FINCHER: You know,
there are certain rules,
858
01:07:31,673 --> 01:07:34,096
and he pulled the pin
and rolled a grenade
859
01:07:34,175 --> 01:07:36,553
into the middle of
that conference room
860
01:07:36,636 --> 01:07:38,809
and destroyed
all those rules.
861
01:07:44,143 --> 01:07:47,738
GRAY: The camera is very
much with Marion, right?
862
01:07:47,814 --> 01:07:49,191
Even to the point
where you have that
863
01:07:49,274 --> 01:07:50,992
very famous shot
of the showerhead.
864
01:07:53,695 --> 01:07:56,915
All of a sudden,
you go from Marion,
865
01:07:56,990 --> 01:08:00,085
and the camera is then
in this very strange place
866
01:08:00,159 --> 01:08:02,628
where you see
both her showering,
867
01:08:02,704 --> 01:08:06,459
and the shadowy figure behind
that kind of Visqueen curtain.
868
01:08:12,839 --> 01:08:15,638
He did it with an eye
towards having to shift
869
01:08:15,717 --> 01:08:19,062
point of view
35 minutes into the film.
870
01:08:24,017 --> 01:08:27,271
BOGDANOVRH: The very first
screening of that film,
871
01:08:27,353 --> 01:08:30,448
none of us had a clue
what was gonna happen.
872
01:08:36,321 --> 01:08:40,451
And when that murder,
that shower scene came,
873
01:08:40,533 --> 01:08:42,661
I've never seen an
audience react like that.
874
01:08:43,745 --> 01:08:47,875
You could hear a sustained shriek
from the audience downstairs.
875
01:08:47,957 --> 01:08:51,302
It wasn't like... Ahh! Ahh!
Ahh! It was like... Ahh!
876
01:08:51,377 --> 01:08:53,004
Like they wanted
to close it out.
877
01:08:53,880 --> 01:08:55,132
(SCREAMING)
878
01:08:55,798 --> 01:08:58,392
But they couldn't
stop watching it.
879
01:08:58,676 --> 01:09:00,599
You wanted to close your
eyes, but you couldn't.
880
01:09:02,930 --> 01:09:05,558
Hitch was right, you didn't
have to build suspense anymore,
881
01:09:05,642 --> 01:09:07,315
they were...
882
01:09:07,393 --> 01:09:10,317
They were blithering idiots.
883
01:09:10,396 --> 01:09:12,899
The audience was like,
"What happened?"
884
01:09:12,982 --> 01:09:14,074
They couldn't believe
what happened.
885
01:09:14,150 --> 01:09:16,152
They kept thinking,
"It couldn't have happened.
886
01:09:16,235 --> 01:09:18,283
"She's gonna be alive."
887
01:09:18,363 --> 01:09:21,663
It was... Every impulse that
you have going to the movies,
888
01:09:21,741 --> 01:09:25,587
it was the first time that going
to the movies was dangerous.
889
01:09:28,331 --> 01:09:31,380
HITCHCOCK:
Seven days, 70 setups.
890
01:09:31,459 --> 01:09:32,506
(WOMAN SPEAKING FRENCH)
891
01:09:32,585 --> 01:09:35,839
I used a nude girl a lot,
892
01:09:35,922 --> 01:09:39,267
and I shot some of it
in slow motion.
893
01:09:40,134 --> 01:09:42,887
Because of
covering the breasts,
894
01:09:42,970 --> 01:09:44,438
you couldn't do it quick...
895
01:09:44,514 --> 01:09:46,767
You couldn't
measure it correctly.
896
01:09:46,891 --> 01:09:47,892
(WOMAN CONTINUES SPEAKING)
897
01:09:50,436 --> 01:09:54,782
That's when you feel like this guy
really has his finger on the pulse of,
898
01:09:54,857 --> 01:09:57,610
not only just audience response,
but the world in general,
899
01:09:57,694 --> 01:09:59,867
that the world was ready
for a film like that.
900
01:09:59,946 --> 01:10:01,323
It didn't know it was,
but it was.
901
01:10:02,740 --> 01:10:04,788
This was a small story.
902
01:10:04,867 --> 01:10:09,338
But it represented probably something
much larger on the horizon.
903
01:10:15,169 --> 01:10:18,514
SCORSESE: At that time as it is
now, we expect certain things.
904
01:10:19,132 --> 01:10:20,805
And it took storytelling
at that time and says,
905
01:10:20,883 --> 01:10:23,477
"No, I'm not gonna
give you that.
906
01:10:23,553 --> 01:10:24,896
"I'm gonna give you
something else."
907
01:10:24,971 --> 01:10:26,143
Because you think
everything is so cool.
908
01:10:26,222 --> 01:10:29,897
You're at the end of the '50s, the
'60s are gonna look glorious to us.
909
01:10:35,356 --> 01:10:38,781
I think it was really important
for who we were then.
910
01:10:40,695 --> 01:10:43,699
You have Vietnam,
you have world revolution,
911
01:10:43,781 --> 01:10:46,204
you have everything
that happened in the '60s,
912
01:10:46,284 --> 01:10:49,003
and the society has
never been the same.
913
01:10:49,579 --> 01:10:53,004
That picture really touched
upon that, I think, Psycho.
914
01:10:57,378 --> 01:11:00,848
Of course, you want everything
so neat and wrapped up.
915
01:11:01,257 --> 01:11:02,804
Well, life isn't like that.
916
01:11:02,884 --> 01:11:05,012
Even the stories I'm gonna tell
you are not like that now.
917
01:11:07,388 --> 01:11:10,107
HITCHCOCK:
My main satisfaction is...
918
01:11:10,183 --> 01:11:11,480
(WOMAN SPEAKING FRENCH)
919
01:11:11,934 --> 01:11:15,108
...the film did something
to an audience.
920
01:11:15,188 --> 01:11:16,610
I really mean that.
921
01:11:16,689 --> 01:11:21,411
And in many ways, I feel my
satisfaction with our...
922
01:11:21,486 --> 01:11:26,242
Our art achieves something
923
01:11:26,824 --> 01:11:29,919
of a mass emotion.
924
01:11:32,705 --> 01:11:34,833
It wasn't a message,
925
01:11:34,916 --> 01:11:38,671
it wasn't some
great performance,
926
01:11:38,753 --> 01:11:44,260
it wasn't a highly appreciated
novel that stirred an audience.
927
01:11:48,346 --> 01:11:50,348
It was pure film.
928
01:11:53,059 --> 01:11:56,063
People will say, "What a
terrible thing to make."
929
01:11:56,646 --> 01:11:59,149
(WOMAN CONTINUES SPEAKING)
The subject was horrible,
930
01:11:59,232 --> 01:12:01,109
the people were small,
931
01:12:01,192 --> 01:12:03,365
there were
no characters in it.
932
01:12:03,444 --> 01:12:05,071
I know all this.
933
01:12:05,655 --> 01:12:08,329
But I know one thing,
934
01:12:08,407 --> 01:12:14,335
the use of film in
constructing this story
935
01:12:14,413 --> 01:12:17,542
caused audiences
all over the world
936
01:12:19,252 --> 01:12:23,302
to react and
become emotional.
937
01:12:23,506 --> 01:12:26,259
My only pride in the picture
938
01:12:26,342 --> 01:12:31,564
is that the picture
belongs to filmmakers.
939
01:12:31,806 --> 01:12:35,231
It belongs to us, you and I.
940
01:12:35,309 --> 01:12:37,311
(WOMAN CONTINUES SPEAKING)
941
01:12:39,939 --> 01:12:42,158
HYYCHCOCK: Yes, how do
you want to handle this?
942
01:12:42,483 --> 01:12:44,827
HALSMAN: I am the cameraman,
you are the director.
943
01:12:44,902 --> 01:12:46,950
And you are directing
a double portrait
944
01:12:47,029 --> 01:12:50,158
of a Mr. Hitchcock
and of a Mr. Truffaut.
945
01:12:50,241 --> 01:12:52,744
Whatever you want,
any idea that comes into...
946
01:12:52,827 --> 01:12:56,422
HYYCHCOCK: Really, it's my directing Mr.
Truffaut, isn't it?
947
01:12:57,498 --> 01:13:00,047
HALSMAN: Yes, but you
direct also yourself.
948
01:13:00,126 --> 01:13:02,970
HYYCHCOCK: Ah, I got
what you want. Okay.
949
01:13:03,129 --> 01:13:04,551
(TRUFFAUT SPEAKING FRENCH)
950
01:13:04,630 --> 01:13:06,382
(TRUFFAUT LAUGHS) WOMAN: You
look less worried than he is.
951
01:13:06,465 --> 01:13:08,888
HITCHCOCK: Now, here we are.
Look, here's the angle.
952
01:13:09,135 --> 01:13:11,012
Now, I'm gonna be
like this, you see.
953
01:13:11,095 --> 01:13:14,770
Now, Mr. Truffaut should half
turn around and look back to me.
954
01:13:14,849 --> 01:13:16,817
(HITCHCOCK SPEAKS FRENCH)
(TRUFFAUT CHUCKLES)
955
01:13:17,101 --> 01:13:18,444
HYYCHCOCK: Like this.
You see, then?
956
01:13:19,186 --> 01:13:22,235
(ALL LAUGHING)
957
01:13:22,356 --> 01:13:23,778
(TRUFFAUT SPEAKING FRENCH)
958
01:13:23,858 --> 01:13:25,952
HYYCHCOCK: We better not
have cigars, you are right.
959
01:13:26,027 --> 01:13:29,122
Otherwise, it might make us
look like movie directors.
960
01:13:29,196 --> 01:13:31,494
And God forbid
we ever look like that.
961
01:13:44,003 --> 01:13:48,804
NARRATOR: The conversation that began
in 1962 extended far beyond the book,
962
01:13:49,216 --> 01:13:51,344
and bloomed into a real friendship.
963
01:13:58,851 --> 01:14:02,651
Hitchcock and Truffaut spoke and
wrote to each other constantly.
964
01:14:05,942 --> 01:14:07,285
They read
each other's scripts,
965
01:14:07,360 --> 01:14:09,613
made story and casting suggestions,
and screened each other's films.
966
01:14:16,744 --> 01:14:20,749
After the first edition of the
book was published in 1966,
967
01:14:21,332 --> 01:14:24,927
Truffaut made a movie a year,
sometimes two.
968
01:14:29,048 --> 01:14:31,767
Hitchcock made
only three more films.
969
01:14:34,637 --> 01:14:38,312
Right to the end, he was haunted by the
question he had raised with Truffaut.
970
01:14:40,101 --> 01:14:43,526
"Should I have experimented more
with character and narrative?
971
01:14:45,940 --> 01:14:48,409
"Did I become a prisoner
of my own form?"
972
01:14:57,785 --> 01:14:59,913
The same old questions
still swirled around him.
973
01:15:01,580 --> 01:15:04,083
Was he an artist
or an entertainer?
974
01:15:06,085 --> 01:15:08,554
Could anyone really
claim to be an artist,
975
01:15:08,629 --> 01:15:11,303
working within the factory
conditions of Hollywood?
976
01:15:12,925 --> 01:15:14,347
(AUDIENCE CLAPPING)
977
01:15:15,511 --> 01:15:18,435
In America, you call
this man "Hitch."
978
01:15:19,306 --> 01:15:22,685
In France, we call him
"Monsieur Hitchcock."
979
01:15:23,102 --> 01:15:25,104
(AUDIENCE CONTINUES CLAPPING)
980
01:15:32,862 --> 01:15:36,958
"Two weeks after the American Film
Institute tribute," wrote Truffaut,
981
01:15:37,783 --> 01:15:40,912
"resigned to the fact that he
would never shoot another film,
982
01:15:41,412 --> 01:15:45,883
"Hitchcock closed his office,
dismissed his staff, and went home."
983
01:15:53,507 --> 01:15:58,934
Frangois Truffaut's energy and his
love of cinema seemed inexhaustible.
984
01:16:00,681 --> 01:16:03,855
The idea that he would
be dead at the age of 52,
985
01:16:04,477 --> 01:16:08,448
only four years after
Hitchcock, was unthinkable.
986
01:16:09,982 --> 01:16:11,825
It still is.
987
01:16:16,822 --> 01:16:19,666
The last completed
project of Truffaut's life,
988
01:16:20,034 --> 01:16:25,086
published a few months before he died,
was an updated edition of his book,
989
01:16:25,164 --> 01:16:28,338
in which he gave us
Alfred Hitchcock.
990
01:16:29,168 --> 01:16:33,344
not the television star,
not the Master of Suspense,
991
01:16:34,423 --> 01:16:38,644
but Alfred Hitchcock the artist,
who wrote with the camera.
992
01:16:46,185 --> 01:16:48,187
HITCHCOCK: Isuppose...
(WOMAN SPEAKING FRENCH)
993
01:16:48,270 --> 01:16:51,740
...the films
with atmosphere,
994
01:16:52,191 --> 01:16:54,410
suspense and incident
995
01:16:54,485 --> 01:16:58,581
are really my creations
as a writer.
996
01:17:09,875 --> 01:17:12,048
(TRUFFAUT SPEAKING FRENCH)
997
01:17:33,858 --> 01:17:35,075
HITCHCOCK: Sure, yeah.
998
01:17:36,402 --> 01:17:38,905
(TRUFFAUT CONTINUES SPEAKING)
999
01:17:45,578 --> 01:17:47,080
HYYCHCOCK:
Sure, that's right.
1000
01:17:49,123 --> 01:17:50,796
(TRUFFAUT SPEAKING)
84464
Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.