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Hitchcock on Hitchcock: Selected Writings and Interviews
Although Alfred Hitchcock is well-known for his interviews, he also wrote extensively about the cinema during the course of his life. The writings gathered together in this book are meditations on film art in general, as well as attempts to define his own art in particular, expressed in a manner that reflects the delight that he took in film-making. The essays focus directly on Hitchcock's life, his films and his film practice. He deals with fear, the mechanics of suspense, and the position of women in his films and in the audience - and in the process he reveals a great deal about the complex creation and manipulation of his public persona. The pieces also include a description of how he proposed to his wife.
364 pages, Paperback
First published August 14, 1995
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Displaying 1 - 11 of 11 reviews
January 30, 2020
temeljito, detaljno, sveobuhvatno, iscrpno. autor se potrudio skupiti sve moguće hitchcockove materijale (članke, intervjue i uopće svaki njegov zapis) da bi predstavio lik i djelo ovog maestra. sve je potkrijepljeno bibliografijom i citiranim materijalima što ovo djelo čini ozbiljnim i uvjerljivim.
s obzirom na šarolikost materijala, ne čudi dakle što ćeš u ovoj knjizi naći pregršt najrazličitijih informacija (hitchcockovih mišljenja i stavova) od toga zašto glumica mora biti niska i zašto ljudi vole filmske zvijezde preko razmišljanja o tome što ga povezuje s e. a. poeom, u čemu je razlika između strave i napetosti i idu li to dvoje zajedno, što je to što ga fascinira u tv reklamama i zašto je ekranizacija shakespearea rizik pa do toga kako je zaprosio svoju ženu ("zastenjala je, kimnula glavom i podrignula") i šovinistički obojanih stavova ("zašto mrzite žene?" -"nije baš da ih mrzim, ali svakako ne mislim da glume jednako dobro kao muškarci.").
koliko god se slagao ili ne slagao s njegovim uvjerenjima (npr. o zatomljivanju ženstvenosti i glorificiranju muževnosti ili o opravdanosti nasilja na filmu), nakon svega dobivaš dojam da je hitchcock bio čovjek koji je volio pričati i izražavati svoja stajališta o svemu i svačemu, premda se ipak najviše držao svojeg faha pa samouvjereno i s autoritetom govori i piše o filmu u najširem smislu riječi (kamera, filmska muzika, glamur filmskih zvijezda, kadrovi, psihologija likova, uloga straha, jeze, suspensa... odnos triler-horor itd...).
ovo je obavezno štivo za fanove hitchcockovih filmova, a temeljito poznavanje njegovog filmskog opusa nije preduvjet za razumijevanje knjige pa sve ako i nisi pogledao neki film o kojem priča, nakon čitanja dobit ćeš želju pogledati ga, s novim razumijevanjem kojemu je sam autor odškrinuo vrata.
-"možete li se sjetiti još nečega što smo možda propustili?"
-"ne. mislim da sam vam sada odao sve svoje trikove zanata. odnosite se prema njima s poštovanjem."
s obzirom na šarolikost materijala, ne čudi dakle što ćeš u ovoj knjizi naći pregršt najrazličitijih informacija (hitchcockovih mišljenja i stavova) od toga zašto glumica mora biti niska i zašto ljudi vole filmske zvijezde preko razmišljanja o tome što ga povezuje s e. a. poeom, u čemu je razlika između strave i napetosti i idu li to dvoje zajedno, što je to što ga fascinira u tv reklamama i zašto je ekranizacija shakespearea rizik pa do toga kako je zaprosio svoju ženu ("zastenjala je, kimnula glavom i podrignula") i šovinistički obojanih stavova ("zašto mrzite žene?" -"nije baš da ih mrzim, ali svakako ne mislim da glume jednako dobro kao muškarci.").
koliko god se slagao ili ne slagao s njegovim uvjerenjima (npr. o zatomljivanju ženstvenosti i glorificiranju muževnosti ili o opravdanosti nasilja na filmu), nakon svega dobivaš dojam da je hitchcock bio čovjek koji je volio pričati i izražavati svoja stajališta o svemu i svačemu, premda se ipak najviše držao svojeg faha pa samouvjereno i s autoritetom govori i piše o filmu u najširem smislu riječi (kamera, filmska muzika, glamur filmskih zvijezda, kadrovi, psihologija likova, uloga straha, jeze, suspensa... odnos triler-horor itd...).
ovo je obavezno štivo za fanove hitchcockovih filmova, a temeljito poznavanje njegovog filmskog opusa nije preduvjet za razumijevanje knjige pa sve ako i nisi pogledao neki film o kojem priča, nakon čitanja dobit ćeš želju pogledati ga, s novim razumijevanjem kojemu je sam autor odškrinuo vrata.
-"možete li se sjetiti još nečega što smo možda propustili?"
-"ne. mislim da sam vam sada odao sve svoje trikove zanata. odnosite se prema njima s poštovanjem."
August 26, 2020
Hitchcock on Hitchcock, edited by Sidney Gottlieb, is a sort of cousin to Hitchcock/Truffaut. A collection of essays, interviews and speeches by the great director, it’s a sometimes fascinating but repetitive volume.
Let’s start with the good. The richest material is when Hitchcock discusses his methods and approach to filmmaking. In his essay “Life Among the Stars," Hitch lays out his storytelling formula:
“The formula for making a picture is to find a single problem which is sufficiently enthralling to hold the attention of the people who are watching the play unfold, and yet not sufficiently difficult to demand uncomfortable concentration.”
It’s clear that one of the most popular moviemakers of all time knows a thing or two about keeping an audience’s attention. Hitchcock’s delight in thrilling audiences is eternally wonderful. His sheer joy in revealing his methods lights up the page.
The page lights up brightest in the essay “My Most Exciting Picture”. Hitch goes into great detail to describe the filming of Rope, a technically precise thriller meant to look like it was filmed in one take. Fascination abounds as the director lays out the massive choreography needed to pull it off. Markers were placed on the floor for moving camera positions. Furniture had to be moved and walls had to be silently slid in and out of position during takes. Crew members had to crouch down and grab wine glasses from an actor’s hands because the table had been taken away. And on top of everything this was Hitchcock’s first film in color.
The pinnacle of all this artistry was the cyclorama. In Hitch’s words:
“But the most magical of all devices was the cyclorama—an exact miniature reproduction of nearly 35 miles of New York skyline lighted by 8,000 incandescent bulbs and 200 neon signs requiring 150 transformers.”
It’s in view in every shot of the film and it’s stunning. He goes on to describe the detail in creating the clouds. You would think they’re painted on the background but they were spun wire woven into chicken wire molds. The filming of Rope was classic Hollywood craftsmanship at its best.
The discussion of suspense vs surprise is mentioned several times in the book. For those who haven’t read Hitchcock/Truffaut, this is essential material. Hitchcock preferred suspense. He loved to lead his audience like an orchestra conductor and suspense was the rhythm section. Suspense kept the audience involved emotionally.
The repetition of material is the book’s biggest drawback. For example, have you ever heard about the troubles Hitchcock had directing his first picture The Pleasure Garden? Have you ever heard about them three or four times? Didn’t think so. While the stories are amusing once, they are amusing just once.
It’s a minor annoyance but Hitchcock’s love of puns gets old fast. He uses them everywhere. But in a speech to the Screen Producers Guild, Hitch really lays them on thick. And being a normal, non-psychotic person who doesn’t enjoy puns, I was annoyed.
Hitchcock on Hitchcock is worth it for fans of the director and those interested in the nuts and bolts of filmmaking. If you’re a casual fan you might want to sit this one out and go right to the richer Hitchcock/Truffaut. While this book will satisfy your immediate hunger, Hitchcock/Truffaut will keep you fed for days.
Let’s start with the good. The richest material is when Hitchcock discusses his methods and approach to filmmaking. In his essay “Life Among the Stars," Hitch lays out his storytelling formula:
“The formula for making a picture is to find a single problem which is sufficiently enthralling to hold the attention of the people who are watching the play unfold, and yet not sufficiently difficult to demand uncomfortable concentration.”
It’s clear that one of the most popular moviemakers of all time knows a thing or two about keeping an audience’s attention. Hitchcock’s delight in thrilling audiences is eternally wonderful. His sheer joy in revealing his methods lights up the page.
The page lights up brightest in the essay “My Most Exciting Picture”. Hitch goes into great detail to describe the filming of Rope, a technically precise thriller meant to look like it was filmed in one take. Fascination abounds as the director lays out the massive choreography needed to pull it off. Markers were placed on the floor for moving camera positions. Furniture had to be moved and walls had to be silently slid in and out of position during takes. Crew members had to crouch down and grab wine glasses from an actor’s hands because the table had been taken away. And on top of everything this was Hitchcock’s first film in color.
The pinnacle of all this artistry was the cyclorama. In Hitch’s words:
“But the most magical of all devices was the cyclorama—an exact miniature reproduction of nearly 35 miles of New York skyline lighted by 8,000 incandescent bulbs and 200 neon signs requiring 150 transformers.”
It’s in view in every shot of the film and it’s stunning. He goes on to describe the detail in creating the clouds. You would think they’re painted on the background but they were spun wire woven into chicken wire molds. The filming of Rope was classic Hollywood craftsmanship at its best.
The discussion of suspense vs surprise is mentioned several times in the book. For those who haven’t read Hitchcock/Truffaut, this is essential material. Hitchcock preferred suspense. He loved to lead his audience like an orchestra conductor and suspense was the rhythm section. Suspense kept the audience involved emotionally.
The repetition of material is the book’s biggest drawback. For example, have you ever heard about the troubles Hitchcock had directing his first picture The Pleasure Garden? Have you ever heard about them three or four times? Didn’t think so. While the stories are amusing once, they are amusing just once.
It’s a minor annoyance but Hitchcock’s love of puns gets old fast. He uses them everywhere. But in a speech to the Screen Producers Guild, Hitch really lays them on thick. And being a normal, non-psychotic person who doesn’t enjoy puns, I was annoyed.
Hitchcock on Hitchcock is worth it for fans of the director and those interested in the nuts and bolts of filmmaking. If you’re a casual fan you might want to sit this one out and go right to the richer Hitchcock/Truffaut. While this book will satisfy your immediate hunger, Hitchcock/Truffaut will keep you fed for days.
August 3, 2022
Some interviews are good.
January 2, 2025
A completely fine book. Hitchcock is a very cheeky person and has the occasional 'wow' insightful comment on the industry but too often I found him aloof and prone to big sweeping statements about big important topics. He also repeats himself so much across his essays that I ended up skimming many of them because I don't need to read the same anecdotes recycled for different publications. Interesting points: he was such a 'brand' that many of his writings were penned by different authors and signed off by him, his formula for what makes suspense work, his betrayal of this formula in Sabotage, wanting Cary Grant to have a sneezing fit at Mount Rushmore, and why people are attracted to British Crime over American Crime. Many fun bits, but he is way too much of a formed persona to get a real read of him in my opinion.
February 19, 2020
کتاب حاصل تأمل آلفرد هیچکاک است درباره زندگیاش، کارش و هنر سینما؛ مطالبی که در این کتاب آمده است یا مدتها از انتشار آنها گذشته، به راحتی در دسترس نبوده و یا در بعضی موارد فراموششده یا ناشناخته ماندهاند. گاتلیب در این کتاب منتخبی جدید از گفتگوها و مقالات این کارگردان بزرگ گردآوری کرده تا چشماندازی پرمایه از شش دهه فعالیت حرفهای او در دسترس علاقهمندانش قرار دهد؛ شش دههای که تاریخ سینما را تغییر داد.
هیچکاک در نوشتهها و گفتگوهایش از تجارب زندگی شخصیاش تا نظریههای انگیزنده او درباره تکنیکهای فیلمسازی و به طور کلی سینما را آورده است.
هیچکاک در نوشتهها و گفتگوهایش از تجارب زندگی شخصیاش تا نظریههای انگیزنده او درباره تکنیکهای فیلمسازی و به طور کلی سینما را آورده است.
December 7, 2018
one of the good and useful books to understand Alfred Hitchcock's movies. you can really learn his ideas and the way he made films.
January 31, 2021
3.5 stars.
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November 24, 2025درباره شناخت هیچکاک کتاب خوبیه
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September 18, 2007old skool recommendation from the zedders; still haven't gotten a copy but still have my teeny tiny copy of the essay on "vertigo"
June 19, 2009
Can't get closer to Hitchcock than this. However, I did think that the selected writings got a little too repetitive. Perhaps the selection of the pieces could have been better.
April 9, 2017
Je pense sincèrement ne pas être suffisamment cinéphile pour faire honneur à ces écrits. Et pourtant, ils me passionnent réellement et sont une réelle fenêtre sur ce qu’il se passe derrière la création de ce que nous, petit public, admirons comme des grandes œuvres de cet art qu’est le cinéma.
J’ai toujours été fascinée par l’ambiance qu’Hitchcock installait dans ses films, même si je suis loin d’avoir vu un grand nombre de ceux-ci. Mais on sent cependant qu’il y a une grande maîtrise du cinéma, et toute une réflexion sur comment rendre au mieux ce qu’il veut faire ressentir. Et c’est exactement cette réflexion que l’on retrouve dans les pages de Ferme les yeux et vois !
J’ai toujours été fascinée par l’ambiance qu’Hitchcock installait dans ses films, même si je suis loin d’avoir vu un grand nombre de ceux-ci. Mais on sent cependant qu’il y a une grande maîtrise du cinéma, et toute une réflexion sur comment rendre au mieux ce qu’il veut faire ressentir. Et c’est exactement cette réflexion que l’on retrouve dans les pages de Ferme les yeux et vois !
Displaying 1 - 11 of 11 reviews