The Dark Side of Genius Quotes

“From his earliest years, Alfred Hitchcock was a loner and a watcher, an observer rather than a participant. "I don't remember ever having a playmate," he recalled as an adult. At family gatherings: "I would sit quietly in a corner, saying nothing. I looked and observed a great deal. I've always been that way and still am. I was anything but expansive. I was a loner—can't even remember having had a playmate. I played by myself, inventing my own games.”
― Donald Spoto, The Dark Side of Genius: The Life of Alfred Hitchcock

“Owls belong to the night world" as Hitchcock pointed out; "they are watchers, and this appeals to Perkins's masochism. He knows the birds and he knows that they're watching him all the time. He can see his own guilt reflected in their knowing eyes." This explains other avian imagery: the crucial shot of Perkins knocking over a sketch of a bird when (in his "son personality") he discovers the body of Janet Leigh—the last "stuffed bird" is, aptly, a woman named Crane, who came from Phoenix (a city named for the mythic bird that returns from the dead); and why, when Perkins suggested candy, Hitchcock insisted it be candy corn, a confection that resembles the kernels pecked by chickens. (As will become clear, everything about Psycho points forward to and aesthetically necessitates Hitchcock's next feature film, The Birds.)”
― Donald Spoto, The Dark Side of Genius: The Life of Alfred Hitchcock

“Gas She had never been in this part of Paris before—only reading of it in the novels of Duvain, or seeing it at the Grand Guignol. So this was the Montmartre? That horror where danger lurked under cover of night; where innocent souls perished without warning—where doom confronted the unwary—where the Apache revelled. She moved cautiously in the shadow of the high wall, looking furtively backward for the hidden menace that might be dogging her steps. Suddenly she darted into an alley way, little heeding where it led . . . groping her way on in the inky blackness, the one thought of eluding the pursuit firmly fixed in her mind . . . on she went . . . Oh! when would it end? . . . Then a doorway from which a light streamed lent itself to her vision . . . In here . . . anywhere, she thought. The door stood at the head of a flight of stairs . . . stairs that creaked with age as she endeavoured to creep down . . . then she heard the sound of drunken laughter and shuddered—surely this was—No, not that. Anything but that! She reached the foot of the stairs and saw an evil-smelling wine bar, with wrecks of what were once men and women indulging in a drunken orgy . . . then they saw her, a vision of affrighted purity. Half a dozen men rushed towards her amid the encouraging shouts of the rest. She was seized. She screamed with terror . . . better had she been caught by her pursuer was her one fleeting thought as they dragged her roughly across the room. The fiends lost no time in settling her fate. They would share her belongings . . . and she . . . Why! Was this not the heart of Montmartre? She should go—the rats should feast. Then they bound her and carried her down the dark passage, up a flight of stairs to the riverside. The water rats should feast, they said. And then . . . swinging her bound body to and fro, dropped her with a splash into the dark, swirling waters. Down she went, down, down. Conscious only of a choking sensation, this was death . . . then . . . "It's out, Madam," said the dentist. "Half a crown, please."—HITCH”
― Donald Spoto, The Dark Side of Genius: The Life of Alfred Hitchcock

“Guilt, of course, is the predominant theme of Hitchcock's films. It derives not only from the complexities of his own inner life: guilt is also one of the great themes in all art, and especially in contemporary art and literature.”
― Donald Spoto, The Dark Side of Genius: The Life of Alfred Hitchcock