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Lectura

A Definitive Study of Alfred Hitchcock

F. Truffaut

Cine

VertigoAlfred Hitchcock

Entrevistas

Alfred Hitchcock

Música

All of my lifePhil Collins

Documental

Cinephilia and

Beyond

Transcripción

In the Master’s Shadow!

Author: François Truffaut.

Collaborator: Helen G. Scott.

Publisher: Simon and Schuster.

In: Amazon

Author: François Truffaut.

Collaborator: Helen G. Scott.

Publisher: Simon and Schuster.

In: Amazon

One is ravished by the density of insights into cinematic questions...Truffaut performed a tour de force of tact in getting this ordinarily guarded man to open up as he had never done before (and never would again)...If the 1967 Hitchcock/Truffaut can now be seen as something of a classic, this revised version is even better.

A Definitive Study of Alfred HitchcockFrançois Truffaut

Hitchcock’s Films Revisited (1989)Robin Wood

When Hitchcock’s Films was first published, it quickly became known as a

new kind of book on film and as a necessary text in the growing body of

Hitchcock criticism. This revised edition of Hitchcock’s Films Revisited includes a substantial new preface in which Wood

reveals his personal history as a critic, including his coming out as a gay man, his

views on his previous critical work, and how his writings, his love of film, and his personal

life and have remained deeply intertwined through the years. This revised edition also

includes a new chapter on Marnie.

In: Amazon

A Hitchcock Reader (1992)Marshall Deutelbaum

and Leland Poaque

This new edition of A Hitchcock Reader aims to preserve what has been so

satisfying and successful in the first edition: a comprehensive anthology that may be used as a critical text in

introductory or advanced film courses, while also satisfying Hitchcock scholars

by representing the rich variety of critical responses to the director’s films

over the years..

In: Amazon

Director: Alfred Hitchcock

Stars: James Stewart, Kim Novak, Barbara Bel Geddes, Tom Helmore.

Price: 7,50 € (DVD); 19,99 € (Blu-ray).

In: FNAC.

Film (and Script)

Vertigo (1958) Alfred Hitchcok

Vertigo is a 1958 psychological thriller film directed and produced by Alfred Hitchcock. The story was based on the 1954 novel D’entre les morts by Boileau-Narcejac. The screenplay was written by Alec Coppel and Samuel A. Taylor.

The film stars James Stewart as former police detective John “Scottie” Ferguson. Scottie is forced into early retirement because an incident in the line of duty has caused him to develop acrophobia (an extreme fear of heights) and vertigo (a sensation of false, rotational, movement). Scottie is hired by an acquaintance, Gavin Elster, as a private investigator to follow Gavin’s wife Madeleine (Kim Novak), who is behaving strangely.

The film was shot on location in San Francisco, California, and at Paramount Studios in Hollywood. It popularized the dolly zoom, an in-camera effect that distorts perspective to create disorientation, to convey Scottie’s acrophobia. As a result of its use in this film, the effect is often referred to as “the Vertigo effect”.

The film received mixed reviews upon initial release, but has garnered acclaim since and is now often cited as a classic Hitchcock film and one of the defining works of his career. Attracting significant scholarly criticism, it replaced Citizen Kane as the best film of all time in the 2012 Sight & Sound critics’ poll and has appeared repeatedly in best film polls by the American Film Institute. In 1996, Vertigo underwent a major restoration to create a new 70mm print and DTS soundtrack.

Alec Coppel and Samuel TaylorDraft 9-12-1957

EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - CLOSE SHOT

We see a close view of a roof parapet and the curved rail of a fire escape. In the bag, are large skyscrapers with all their windows fully lit in the late winter afternoon. This background is used for the CREDIT TITLES of the picture. After the last card has FADED OUT, we HOLD on to the empty parapet, when suddenly a man’s hand reaches and grips the top of the rail. It is followed by another hand and, after a beat, we see the face of a man in his early 30’s. He is an Italian type, with rough features. He turns quickly and looks below him and then turning back, springs up over the empty parapet and is lost from view. We STAY on the EMPTY SCENE for a second or two as we HEAR the scraping of boots on the iron ladder. Someone else is coming up. Presently, two more hands and the head of a uniformed policeman with cap and badge starts to climb over the parapet. The CAMERA PULLS BACK so that by the time he has completed his climb, he is in full figure. He dashes out of the picture drawing his gun. Immediately following him over the parapet, a detective in plain clothes climbs over. This is JOHN FERGUSON, known as SCOTTIE. He too pulls a gun and dashes out of the picture.

(…)

Cinephilia and BeyondAll the essential documentaries on Alfred Hitchcock, including Hitchcock: Shadow of a Genius (1999), The Men Who Made the Movies: Alfred Hitchcock (1973), Reputations: Alfred Hitchcock (1999), In the Master’s Shadow: Hitchcock’s Legacy (2008), Paul Merton Looks at Alfred Hitchcock (2009), American Masters: Hitchcock, Selznick and the End of Hollywood (1999), Alfred Hitchcock Directs ‘Frenzy’ in 1972, Hitchcock: Alfred the Great (1994), Alfred Hitchcock — Masters of Cinema (Complete Interview in 1972), A Talk with Hitchcock (1964), and The Making of ‘Psycho’ (1997).

Dial H for Hitchcok (1999)

Duration: 101 minutes

This documentary is a fascinating look at the cinematic genius of Alfred Hitchcock. Briefly covering much of his early British works, the film primarily focuses on his American classics, such as Shadow of a Doubt, Notorious, Rear Window, Vertigo, Psycho and The Birds. The movie also covers his television years and neatly examines the Hitchcock signature

touches, from his inevitable brief cameo to his famous MacGuffin. Kevin Spacey narrates, and there are interviews with his delightful daughter Pat as well as such film directors as Brian De Palma, Jonathan Demme, Curtis Hanson, Robert Altman, Ronald Neame and Peter Bogdanovich, along with cast and crew members Tippi Hedren, Joseph Stefano, Norman Lloyd, Robert F. Boyle, Teresa Wright and Janet Leigh.

The Men Who Made the Movies: Hitchcock (1973)

Duration: 57 minutes

A look at Alfred Hitchcock’s films. The Master of Suspense himself, who is interviewed extensively here, shares stories including his deep-seated fear of policemen, elaborates on the difference between shock and suspense, defines the meaning of “MacGuffin,” and discusses his use of storyboarding in designing a film. Clips from many of his greatest films

(including North by Northwest, Shadow of a Doubt, The Birds, and the legendary shower scene from Psycho) illustrate his points, often to Hitchcock’s own voice-over observations, with narrator Cliff Robertson offering other critical insights.

Transcript for the documentary “In the Master’s Shadow: Hitchcock’s Legacy (2008)”, based on the subtitle track from a DVD.

The following people appear in the transcript:

• Donald Spoto.

• Martin Scorsese.

• Mark Goldblatt.

• Eli Roth.

• John Murphy.

• John Carpenter.

• Gary Rydstrom.

• Bill Pankow.

• Craig McKay.

• David Sterritt.

• Jack Sullivan.

• William Friedkin.

• Joe Carnahan.

• Guillermo del Toro.

• Ruth Myers.

In the Master’s ShadowHitchcock’s Legacy (2008) - Transcript

William FriedkinFilms beget films. Filmmakers influence other filmmakers constantly. But the most influential filmmaker of all time is Alfred Hitchcock. Guillermo del ToroHitchcock is cinema. John CarpenterAnybody who attempts a thriller owes a great debt to him. Martin ScorseseI knew DeMille’s name, I knew John Ford, too, but Hitchcock’s name was synonymous with something that was gonna be very special. John CarpenterTo talk about Hitchcock’s influence is to really talk about the history of movies. Donald SpotoIn 1951, when I was 10 years old, I went to the local theater and saw Strangers on a Train. Martin ScorseseThe audience reaction was like a communal rollercoaster. Mark GoldblattWhen you watch something like that, it doesn’t matter what you know or don’t know about the person who made it, you know that you’re watching something unique that just grabs you by the collar and never lets go until it’s over. Eli RothI remember when I was a kid, The Birds was on television, and it was an event when that movie was on. But I remember just waiting to get to that scene with the eye pecked out. John MurphyAt the time we had this parrot, and I was kind of watching this film... I was literally about five or six, and I’m, like, looking over my shoulder at this parrot in the cage, you know. John CarpenterMy first Hitchcock film memory would be back in the ‘50s, probably Rear Window. Gary RydstromRear Window must have been on television when I was a kid. I remember for years, remember this image of a little dog. The dead dog in a garden. Bill PankowThe first Hitchcock memory I have is actually watching Alfred Hitchcock Presents. I remember watching that with my family, and particularly my grandmother, who had a heavy Russian accent, and it was amusing when she would pronounce his name. Let’s go watch Hitchka. Craig McKayI was probably around nine years old and I saw The Trouble with Harry. I really became fascinated with this morbid sense of humour.

David SterrittThe first Hitchcock experience that I had was seeing Vertigo when it first came out in 1958, when I would have been 14, 15 years old. I remember to this day that the movie starts, and the first thing you see after the credits is this horizontal line going across the screen. And I thought, What is that? and then, a hand appears. And then the camera pulls back, and you see that it was a rung on a ladder. I’d never seen a movie before where the first shot of it, you didn’t know what it was. Jack SullivanThe music just knocked me out of my chair. And then shortly after that, North by Northwest came out, and I saw that and I was blown out of my chair yet again. And then Psycho came out and just freaked me out for years. William FriedkinPsycho is the film that made me feel that film could be an extremely powerful medium. And it scared the hell out of me. Joe CarnahanWhen I saw it as a kid, it was just this... It was like a Victorian freak show. I think it was the first time I was really cognizant of the fact I was being manipulated. Guillermo del ToroThe first Hitchcock film I saw was I Confess. It was very important for me because at that time I was still Catholic. The way Montgomery Clift portraying this priest almost like a beatific, beautiful entity, and the way Hitchcock handled the moral dilemma in an expressionistic way, it affected me deeply, and I wanted to know more about this filmmaker. David SterrittHitchcock is one of maybe two or three directors where his name has become a term. If you say something is Hitchcockian, you know exactly what that means. Ruth MyersThe thing about Hitchcock is that at the same time as being frightening, mysterious, the plot is so absorbing, and the look is always so immaculate that you are completely carried away by what you’re seeing in front of you. Guillermo del ToroNormally he creates incredibly polished suspense melodramas. With a few exceptions, including the brilliant exception of Frenzy where he just dispenses with any appearance of pulchritude or decency and he just portrays the world as a brutal place. William FriedkinYou knew when you went into a Hitchcock film that you were going to be entertained. You might be scared, on a few occasions, you might be horrified. You’re going to have a lot of laughs, ‘cause he was a master of humour as well. Joe CarnahanNothing is happenstance in a Hitchcock film. You don’t just throw handheld cameras on your shoulder and let ‘er rip. It’s all very, very specific. He was able to really, like a puppeteer would... You just pull this string, you get this reaction, you pull this string, you get this reaction.

More in: hitchcockwiki.com

Alfred Hitchcock - Masters of Cinema (complete interview in 1972)

Duration: 33:40 minutes

Alfred Hitchcock (UK, 1899-1980) is undeniably the world’s most famous film director. His name has become synonymous with the cinema, and each new generation takes the same pleasure in rediscovering his films, which are now treasures of our artistic heritage. Hitchcock started out in the British silent cinema of the 1920s, which reached its peak with successful thrillers such as “The Man Who Knew Too Much” (1934), “Sabotage” (1936) and “The Lady Vanishes” (1938). Recognized as a ‘young genius’, Hitchcock moved to Hollywood and set about reinventing cinematic tradition, combining the modern with the classic in films such as “Vertigo” (1957), “North by Northwest” (1959)and “The Birds” (1963). Hitchcock gave talented actors such as James Stewart and Cary Grant the chance to play enduring antiheroes and imprinted the public imagination with the myth of the ‘blonde’, as embodied by Grace Kelly, Kim Novak and Tippi Hedren.

A Talk With Hitchcock (Part One)

Duration: 26:15 minutes

Alfred Hitchcock takes us inside his creative process in this fascinating 1964 program from the Canadian Broadcasting Corporation. “A Talk with Alfred Hitchcock” is part interview, part master class in the craft of telling stories on film.

Alfred Hitchcock was traumatized by his mother

Duration: 8:43 minutes

Alfred Hitchcock said: “I think my mother scared me when I was 3 months old. You see, she said Boo. It gave me the hiccups. And she apparently was very satisfied.”

A Talk With Hitchcock (Part Two)

Duration: 25:33 minutes

A few highlights: Hitch’s view of the future of theatre (some virtual reality/hypnotism hybrid), his reasoning for making realistic fantasies, and his excellent answer to the awful question “What is happiness to you?”

All of my lifePhil Collins (1989)

Philip David Charles “Phil” Collins (born 30 January 1951) is an English musician, singer-songwriter, multi-instrumentalist, actor and writer, best known both as drummer and vocalist for English rock group Genesis and as a solo artist. He sang the lead vocals on dozens of hit albums and singles in the UK and the US between 1976 and 2010, either as a solo artist or with Genesis. His solo singles, sometimes dealing with lost love and often featuring his distinctive gated reverb drum sound, ranged from the atmospheric “In the Air Tonight”, dance pop of “Sussudio”, piano-driven power ballad “Against All Odds”, to the political statements of “Another Day in Paradise”.

Collins joined Genesis in 1970 as the group’s drummer and became their vocalist in 1975 following the departure of their original front man Peter Gabriel. His solo career, which was launched in 1981 and was heavily influenced by his personal life, brought both himself and Genesis greater commercial success. Collins’s total worldwide sales as a solo artist are 150 million. Collins has won numerous music awards throughout his career, including seven Grammy Awards, six Brit Awards—winning Best British Male three times, three American Music Awards, an Academy Award, two Golden Globe Awards and a Disney Legend Award in 2002 for his solo work. He was inducted to the Hollywood Walk of Fame in 1999, into the Songwriters Hall of Fame in 2003 and into the Rock and Roll Hall of Fame as a member of Genesis in 2010.

Collins is one of only three recording artists (along with Paul McCartney and Michael Jackson) who have sold over 100 million albums worldwide both as solo artists and (separately) as principal members of a band. When his work with Genesis, his work with other artists, as well as his solo career is totaled, Collins had more top 40 hits on the Billboard Hot 100 chart during the 1980s than any other artist. In 2008, Collins was ranked the 22nd most successful artist on the “The Billboard Hot 100 Top All-Time Artists”.

Although one of the world’s best-selling music artists, Collins concedes his status as a figure of contempt for music critics and much of the public, and he has been dubbed “the most hated man in rock” by the UK’s Daily Telegraph. In 2000, the BBC noted that “critics sneer at him” and “bad publicity also caused problems” which “damaged his public profile”. In 2009, broadcaster Mark Lawson commented: “Collins has had to endure two very different profiles in the media. Originally pop’s Mr. Nice Guy, patron saint of ordinary blokes, he has more recently been accused of blandness, tax exile and ending a marriage by sending a fax.” However, Collins denied speculation that his retirement from music in 2011 was “because of the bad press over the years”.

Official website:http://www.philcollins.co.uk/

All of my life (English lyrics) Toda mi vida (traducción al castellano)

All of my life I’ve been searchingfor the words to say how I feel.I spend my time thinking too much,and leave too little to say what I mean.I’ve tried to understand the best I can,all of my life.

All of my life I’ve been saying sorryfor the things I know I should have done,all the things I could have said come back to me.Sometimes I wish that it had just begun.Seems I’m always that little too late,All of my life.

Set them up, I’ll take a drink with you.Pull up a chair, I think I’ll stay,Set them up, ‘cos I’m going nowhere.There’s too much I need to remember,too much I need to say.

All of my life I’ve been lookingbut it’s hard to find the way.Reaching past the goal in front of mewhile what’s important just slips away.It doesn’t come back but I’ll be looking,all of my life.

Set them up...

All of my life there have been regretsthat I didn’t do all I could,making records upstairs,while he watched TV.I didn’t spend the time I should.It’s a memory I will live withall of my life.

Toda mi vida he estado buscandolas palabras para decir cómo me siento.Paso el tiempo pensando demasiado,y dejo muy poco para expresar lo que quiero decir.He intentado entender lo mejor que puedo,toda mi vida.

Toda mi vida he pedido perdónpor las cosas que sé que debería haber hecho,todas las cosas que podría haber dicho vuelven a mí.A veces deseo que todo comenzara de nuevo.Parece que siempre llego demasiado tarde,toda mi vida.

Prepáralos, tomaré un trago contigo.Trae una silla, creo que me quedaré.Prepáralos, porque no voy a ninguna parte:hay demasiadas cosas que necesito recordar,demasiadas cosas que necesito decir.

Toda mi vida he estado buscandopero es difícil encontrar el camino.Llegar más allá del objetivo frente a mímientras lo importante, simplemente, desaparece.Ya no vuelve, pero estaré buscandotoda mi vida.

Prepáralos...

Toda mi vida hubo arrepentimientospor no haber hecho todo lo que pude,grabando discos en el piso de arribamientras él veía la televisión.No pasé el tiempo que debería.Es un recuerdo con el que vivirétoda mi vida.

Theater in English. Ages 7 and up.

Face 2 face brings the Agatha Christie novel to the stage.

This work is aimed at families with children over seven who want to practice English or simply enjoy this work, adapted and performed in the language of Shakespeare by the company a Face 2 Face.

A train is the setting for a mysterious crime. A murder has been committed, and the culprit is nowhere to be found. Will Inspector Cluelez be able to figure out his identity? The trouble is, the detective is a little bit inept, so he might need a little help from the audience...

A motley crew of characters share the stage in this madcap version, in English, of the famous Agatha Christie novel. They’re all suspects, and if the inspector doesn’t find the murderer soon, he might end up dead himself, splayed across the railroad tracks.

Where: Teatro Alcázar-Cofidis

Ticket sales: El Corte Inglés and www.entradas.com

Times: Saturdays at 16:30 pm.

Price: Starting at €16

Bus: 3, 5, 9, 15, 20, 51, 52, 53 y 150

Metro: Sevilla (L2)

Face 2 Face Theatre

Paolo Abbate, Lisa Krosnicki, Stephane Shaw, Andrew Glayser.

70 minutes.

Production: Face2Face Theatre S.L.

Comedy

Murder on the dis-orient express