Hitchcock - Hitchcock on Hitchcock, Volume 2

I am deeply grateful to Patricia Hitchcock OConnell and Leland Faust, representing the Hitchcock Estate, for their gracious support of this project and their permission to reprint the material herein. I also want to thank Daniel Halpern, Makoto Imai, R. Allen Leider, and F. Anthony Macklin for facilitating further permission to reprint the material herein that they had a hand in. At the University of California Press, Mary Francis was to me what she has been to scores of others, a tireless collaborator, and I have been sustained by her encouragement and efficiency and taken full advantage of her patience. And this second volume of Hitchcock on Hitchcock also bears the imprint of my University of California Press editor for the first volume, Ed Dimendberg, whose good advice then continues to be good advice now.

This book would not have been possible without the generous support and tangible assistance of numerous people who sent me copies of articles that they had discovered or that I was looking for but could not find. Charles Barr and Christopher K. Philippo in particular were constant sources of material as well as information, advice, and encouragement. I also got valuable items and help from Wayne Beach, David Bordwell, Stephane Duckett, David Henry, Alain Kerzoncuf, Nathalie Morris, Patrick McGilligan, Michael Walker, James M. Vest, and Nancy Vest. In addition, James Vest translated two interviews specifically for this volume and made important suggestions and corrections that I integrated into my commentary on these interviews. My work on the Hitchcock-Truffaut material benefited greatly from numerous exchanges with Janet Bergstrom, as well as her own very important essay on that subject. Renata Jackson looked over my introductions, and Robin Whitaker read the entire manuscript and both helped remove innumerable errors and infelicities and offered valuable advice and support.

Much of my research was conducted at the New York Public Library, the Film Study Center at the Museum of Modern art, the British Film Institute, and the Margaret Herrick Library at the Academy of Motion Picture Arts and Sciences. I am grateful to the librarians and research associates at those institutions for their help. And Christopher Philippo has been a particularly good guide for me in navigating the new online research environment that we truly cant live without. I wouldnt have been able to find the time to work on such a long-term project without the long-term help of Andrew Miller, Jim Castonguay, and Debbie Danowski, my colleagues at Sacred Heart University, who in their terms as our department chairperson arranged my teaching schedules and departmental responsibilities in ways that allowed me to do other things as well and coordinated much needed and much appreciated sabbatical leaves, without which two decades of work on this project would have stretched far into a third.

I have always relied on the kindness of friends, and there is little that I do related to Hitchcock that isnt somehow grounded in my admiration for and friendship with Richard Allen, Charles Barr, Thomas Leitch, and David Sterritt, all of which goes far beyond this thing of ours, Hitchcock studies. Closer to home, literally, I am fortunate beyond words to have Chris Sharrett and Rick Grigg as intellectual models, good buddies, and formidable allies in our shared pursuit of the sublime and the ridiculous, Hitchcockian and otherwise.