Hitchcock/Truffaut Quotes

“In many of the films now being made, there is very little cinema: they are mostly what I call 'photographs of people talking.' When we tell a story in cinema we should resort to dialogue only when it's impossible to do otherwise. I always try to tell a story in the cinematic way, through a succession of shots and bits of film in between.”
― Alfred Hitchcock, Hitchcock/Truffaut

“The camera should never anticipate what’s about to follow.”
― François Truffaut, Hitchcock/Truffaut

“The art of creating suspense is also the art of involving the audience, so that the viewer is actually a participant in the film.”
― François Truffaut, Hitchcock/Truffaut

“Suspense is simply the dramatization of a film’s narrative, or if you will, the most intense presentation possible of dramatic situations.”
― François Truffaut, Hitchcock/Truffaut

“To reproach Hitchcock for specializing in suspense is to accuse him of being the least boring of filmmakers; it is also tantamount to blaming a lover who instead of concentrating on his own pleasure insists on sharing it with his partner.”
― François Truffaut, Hitchcock

“gatherings I would sit quietly in a corner, saying nothing. I looked and observed a good deal. I’ve always been that way and still am. I was anything but expansive. I was a loner—can’t remember ever”
― François Truffaut, Hitchcock

“That’s because the theme of the innocent man being accused, I feel, provides the audience with a greater sense of danger. It’s easier for them to identify with him than with a guilty man on the run. I always take the audience into account.”
― François Truffaut, Hitchcock

“Nowadays, the work of Alfred Hitchcock is admired all over the world. Young people who are just discovering his art through the current rerelease of Rear Window and Vertigo, or through North by Northwest, may assume his prestige has always been recognized, but this is far from being the case.

In the fifties and sixties, Hitchcock was at the height of his creativity and popularity. He was, of course, famous due to the publicity masterminded by producer David O. Selznick during the six or seven years of their collaboration on such films as Rebecca, Notorious, Spellbound, and The Paradine Case.

His fame had spread further throughout the world via the television series Alfred Hitchcock Presents in the mid-fifties. But American and European critics made him pay for his commercial success by reviewing his work with condescension, and by belittling each new film.
(...)
In examining his films, it was obvious that he had given more thought to the potential of his art than any of his colleagues. It occurred to me that if he would, for the first time, agree to respond seriously to a systematic questionnaire, the resulting document might modify the American critics’ approach to Hitchcock.
That is what this book is all about.”
― François Truffaut, Hitchcock/Truffaut

“Hitchcock: Definitely, I think the most interesting women, sexually, are the English women. I feel that the English women, the Swedes, the northern Germans, and Scandinavians are a great deal more exciting than the Latin, the Italian, and the French women. Sex should not be advertised. An English girl, looking like a schoolteacher, is apt to get into a cab with you and, to your surprise, she’ll probably pull a man’s pants open.”
― François Truffaut, Hitchcock/Truffaut

“His work kept on living, like the watches on the wrists of dead soldiers.”
― François Truffaut, Hitchcock

“François Truffault: Mr. Hitchcock, you were born in London on August 13, 1899. The only thing I know about your childhood is the incident at the police station. Is that story true?


Alfred Hitchcock: Yes, it is. I must have been about four or five years old. My father sent me to the police station with a note. The chief of police read it and locked me in a cell for five to ten minutes, saying, "This is what we do to naughty boys.”
― François Truffaut, Hitchcock/Truffaut