Download Hitch: The Life And Times of Alfred Hitchcock by John Russell Taylor PDF

By John Russell Taylor

One in every of cinema's maximum administrators, a virtuoso visible artist, and a genius of the suspense style, Alfred Hitchcock (1899–1980) is universally identified for such masterpieces as Strangers on a teach, Rear Window, Vertigo, North via Northwest, Psycho, and [i]The Birds. the writer, a individual movie critic and pal of Hitchcock's, loved his complete cooperation. in keeping with a number of interviews, with pictures from the non-public relations albums, and an in-depth learn of the making of his final movie, this biography of the director is as exciting, revealing, perverse, and wonderful as any Hitchcock vintage.

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H e really wanted a translation of that French movie, which basically is what we got. We tried to jazz it up a bit, but it's not one of m y favorites. J A G : What attracted you to For Keeps? J G A : T h e opportunity to do a love story. I always liked Molly Ringwald. The story itself seemed to be about something that's unusual. I had to do something because there was going to be a cut-off period when people stopped making movies in anticipation of the Directors Guild strike that never happened.

They were all "up" type movies. I would go to see a Bergman film out of a sense of duty rather than to go and have a nice time. JAG: Didn't Martin Scorsese work on one of your first films? JGA: Yeah, he was a "go-fer" on the first short that I did, a thing called Smiles, and Roy Scheider was the leading man. Marty was very intense and eager. JAG: What qualities do you think make a good film director? JGA: From my experience, the more you know about the mechanics of the business, the better your chances are, especially if you're going to get your chance on a low-budget.

It was kind of an abrupt thing. M P C : What made you begin writing? M C : Joann Carelli, the associate producer on The Deer Hunter, actually talked me into it. I'd never really written anything before. I still don't regard myself as a writer. I've probably written about thirteen or fourteen screenplays by n o w but I still don't view myself that way. Yet, that's h o w I make m y living. M P C : Is The Deer Hunter a personal work? M C : As it happens, the screenplay is very personal. When I was g r o w i n g up I had a n u m b e r of very close friends w h o were Russian J e w s .

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