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Gottlieb Sidney - Hitchcock on Hitchcock, Volume 2: Selected Writings and Interviews

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Gottlieb Sidney Hitchcock on Hitchcock, Volume 2: Selected Writings and Interviews

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This second volume of Alfred Hitchcocks reflections on his life and work and the art of cinema contains material long out of print, not easily accessible, and in some cases forgotten or unknown. Edited by Sidney Gottlieb, this new collection of interviews, articles with the great directors byline, and as-told-to pieces provides an enlivening perspective on a career that spanned seven decades and transformed the history of cinema.
In writings and interviews imbued with the same exuberance and originality that he brought to his films, Hitchcock ranges from accounts of his own life and experiences to provocative comments on filmmaking techniques and cinema in general. Wry, thoughtful, witty, and humorousas well as brilliantly informative and insightfulthis volume contains much valuable material that adds to our understanding and appreciation of a titan who decades after his death remains one of the most renowned and influential of all filmmakers.
Franois Truffaut once said that Hitchcock had given more thought to the potential of his art than any of his colleagues. This profound contemplation of his art is superbly captured in the pieces from all periods of Hitchcocks career gathered in this volume, which reveal fascinating details about how he envisioned and attempted to create a pure cinema that was entertaining, commercially successful, and artistically ambitious and innovative in an environment that did not always support this lofty goal.

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The publisher gratefully acknowledges the generous support of the Fletcher - photo 1

The publisher gratefully acknowledges the generous support of the Fletcher - photo 2

The publisher gratefully acknowledges the generous support of the Fletcher Jones Foundation Humanities Endowment Fund of the University of California Press Foundation.

HITCHCOCK ON HITCHCOCK
HITCHCOCK ON HITCHCOCK
Selected Writings and Interviews
Volume 2

Edited by

Sidney Gottlieb

Picture 3

UNIVERSITY OF CALIFORNIA PRESS

University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu.

University of California Press

Oakland, California

2015 Sidney Gottlieb.

For permissions, please see page 269.

Library of Congress Cataloging-in-Publication Data

Hitchcock, Alfred, 1899

Hitchcock on Hitchcock: selected writings and interviews, Volume 2/edited by Sidney Gottlieb.

p. cm.

Bibliography of writings by Hitchcock: p.

Includes bibliographical references and index.

ISBN 978-0-520-27958-2 (cloth : alk. paper)

ISBN 978-0-520-27960-5 (paper : alk. paper)

ISBN 978-0-520-96039-8 (e-book)

1. Motion pictures. 2. Motion picturesProduction and direction. 3. Hitchcock, Alfred, 1899Interviews. I. Gottlieb, Sidney. II. Title.

PN1994.H53 1995

791.430233092dc209431624

Manufactured in the United States of America

24 23 22 21 20 19 18 17 16 15

10 9 8 7 6 5 4 3 2 1

In keeping with a commitment to support environmentally responsible and sustainable printing practices, UC Press has printed this book on Natures Natural, a fiber that contains 30% post-consumer waste and meets the minimum requirements of ANSI/NISO Z 39.481992 ( R 1997) ( Permanence of Paper ).

CONTENTS

Beth Twiggar

Anthony Macklin

Charles Bitsch and Franois Truffaut

Roger Burford

Franois Truffaut and Claude Chabrol

Budge Crawley, Fletcher Markle, and Gerald Pratley

Bill Davidson

Richard Gehman

R. Allen Leider

ACKNOWLEDGMENTS

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.

INTRODUCTION

Some years ago when I proposed publishing a volume of selected writings by and interviews with Alfred Hitchcock, I admit that I felt the need to be somewhat defensive. Several key challenges needed to be addressed: about whether Hitchcock should be taken seriously not only as a filmmaker (Robin Woods famous question had been answered affirmatively, in ways persuasive to most people, by that time) but also as a commenter on films and filmmaking; about whether there was much of interest and substance beyond what was already easily available (especially in what was sometimes considered Truffauts definitive book); and about whether any claim that Hitchcocks pronouncements on film merited extensive consideration was fatally undermined by the fact that they were often presented as glib publicity efforts, were sometimes not easily identifiable as written by Hitchcock himself, and were frequently repetitious, familiar, and prepackaged.

While I was prepared to champion Hitchcock, in fact he didnt and doesnt really need my help, other than as a facilitator in making his often evanescent and inaccessible but frequently thoughtful, revealing, and extremely valuable comments more easily available. The material ultimately published in Hitchcock on Hitchcock: Selected Writings and Interviews, volume 1 (1995), speaks for itself and defends itself quite capably from the above challenges. And as it turns out, so does the material I have gathered for this second volume of Hitchcock on Hitchcock. I think that a strong case could be made for a comprehensive edition (in print or digital format) of all of Hitchcocks writings and interviews, however repetitive and uneven in quality and usefulness such a collection might be: old-school scholarship presents a legitimate model (not just a fetish object) of carefully prepared editions of even the marginalia of significant authors (five thick volumes for Coleridge, for example), and T. S. Eliots quip about the value of even Shakespeares (as yet unearthed) laundry lists applies just as well to our cinematic Shakespeare. But the material available for a second volume of Hitchcock on Hitchcock is far more than the result of a gleaning or a second pressing. New articles by Hitchcock displaying his lifelong reflections on his art and career continue to be discovered, and we have reached a point where these pieces added to ones regrettably left out of the first volume for reasons of space, not quality and level of interest, make up a substantive new collection.

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