He wasn't directing it, of course, so I didn't work with Hitchcock.
I'm attracted to things that scare me, like 'Psycho,' my favorite Hitchcock movie.
I also think the relationship I have with my audience is a lot more complex than what Hitchcock seemed to want his to be - although I think he had more going on under the surface as well.
I love Hitchcock movies. I took a Hitchcock class in college, so I saw all his movies. I wrote papers on his movies.
I like films that just put you in someone's world. It can be very subversive. Hitchcock would put you in the mind of a psychopath, and you'd care about them.
Who was the real Hitchcock? I interviewed him once and haven't a clue.
I love Fincher, as he has a great atmosphere and intensity. Also, I grew up watching Hitchcock movies, and there was something elegant in the way he plays with you and plays with the character and tricks you.
Being the object of Alfred Hitchcock's obsession was horrific, but while he ruined my career, he could never ruin my life.
I was lucky enough to have parents with a huge film library. My mum is a huge Bollywood film geek. When we were kids, we would watch Indian films with her as well as Chinese and Japanese films. My father was more into the classics, American films, and also Hitchcock films.
Hitchcock had to fight to the death to make his movies.
Mel Brooks is an interesting one because he started out making films about stuff that he was totally affectionate about, like musicals, westerns, horror films, Hitchcock films. And then, as they get further on, and you get to 'Spaceballs,' then it's just kind of contrived.
Hitchcock's got a very interesting voice; it's a very controlled, measured rhythm that's quite slow and, in that sense, also felt quite controlling in its pace. He retained something from his childhood, that London sound, as well as adopting some of the L.A. sounds... All of this helps you create the character.
I use every single thing that Alfred Hitchcock taught me in my acting career... I am very grateful for the education he gave me in making motion pictures.
Four hours of prosthetics every morning, the jowls and the nose, and it was very hot so they're having to attend to it all day, and you're still petrified of so many things, such as, can I speak properly? Hitchcock never quite lost those East End vowels, even though he had the softened California consonants.
The thing about Hitchcock which is quite extraordinary for a director of that time, he had a very strong sense of his own image and publicizing himself. Just a very strong sense of himself as the character of Hitchcock.
One of my few childhood memories is as an eight-year-old, refused permission to watch the Hitchcock season on Irish television, sneakily viewing 'The Birds' though a crack in the living-room door. It transformed my hitherto perfectly enjoyable half-mile walk to school, down a country lane patrolled by watchful birds, into a terrifying ordeal.
I think Hitchcock had a thing about hills: think of the house on the hill in 'Psycho.' Then, in 'Vertigo,' Scottie is forever traversing the city, going downhill all the time as he goes deeper and deeper into himself. It's as if Hitchcock is using San Francisco as a psychological map.
The act of seeing any film generally is you knowing more than the characters, even if it's the classic Hitchcock shot of two people talking and a bomb being under the table. Part of the pleasure of it is seeing where people go wrong, and the irony of situations.
Guys like Spielberg and Zemeckis and really anybody who is a storyteller-filmmaker today has studied Hitchcock and the way he visually tells a story. He was the master of suspense, certainly, but visually you would get a lot of information from what he would do with the camera and what he would allow you to see as the story was unfolding.
People don't call them horror movies, but Hitchcock, for me, is my favorite storyteller. He was really exploring dark themes, and I don't know what category you put his movies in. Thriller? Horror? Some of them go in either one.
I worked with the best directors - Martin Scorsese, John Huston, David Lynch, Alfred Hitchcock. Alfred Hitchcock was great.
That is - the use of the subjective camera is an idea that's been around in movies for a long, long time. And it's an idea that was seized on very notably by Sam Fuller and by Alfred Hitchcock in two different very kind of - otherwise very different styles of filmmaking.
Alfred Hitchcock had to find ways to create tension without showing it, but now with computer-generated effects you can show anything.
It's one of those jobs where you go, 'Oh no, I've got to play Alfred Hitchcock. I have to play him even though I know what this is going to involve.'
I met with Hitchcock when I was a very, very young actress just starting out and he was making 'Frenzy' in London and I was sent along to meet with him. He was very, very unimpressed with me and I have to say, I was rather unimpressed with him - but only because I was an arrogant, ignorant young actress.
I make cameos in all my movies for no particular reason other than a joke. It's just a Hitchcock thing.
I had to change the shape of my own voice. It was quite hard to pull off and so once I had it, I stayed in Hitchcock's voice all day on set.
Hitchcock had a charm about him. He was very funny at times. He was incredibly brilliant in his field of suspense.
Every different director has another language - for instance, Hitchcock does not like any bright color ever, unless the story says 'there goes the girl in a red dress.'
Mr. Hitchcock knew what he was doing.