A Quote by Toby Jones
I still don't feel I know Hitchcock at all. I find that the more one looks, the more elusive he becomes. But my admiration for Hitchcock the filmmaker remains undiminished. He is a giant of the cinema and the darkness in him informs his cinematic language. You can't separate one from the other.
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I wouldn't use the word 'scared' for my role as Hitchcock, but it was my most insecure. Taking on such a formidable, giant personality such as Hitchcock; he was one of the great geniuses of world cinema. Sheer genius.
I, you know, am all over the place — every category of pictures I have made, good, bad or indifferent. I could not make, like Hitchcock did, one Hitchcock picture after another. … I wanted to do a Hitchcock picture, so I did `Witness for the Prosecution,’ then I was bored with it, so I moved on.
Saturday mornings, or at night when I'm trying to go to bed, I'll watch Hitchcock mysteries and stuff. I know that's pretty boring, but it feels comfortable. It's called 'Alfred Hitchcock Presents.'
I think of great masters, like [Alfred] Hitchcock, for example, who works absolutely within this sensational realm. You feel like you can always tell what temperature a room is in a Hitchcock film because the people feel alive, they don't feel like they're just being filmed on a stage.
They know you're not Alfred Hitchcock, but you need to be enough Alfred Hitchcock for them not to be bothered by it. That's a reassuring thing.
I love Hitchcock movies. I took a Hitchcock class in college, so I saw all his movies. I wrote papers on his movies.
The thing about Hitchcock is that, however much one dissects him, he still manages to hang onto his mystery. You can never quite get to the bottom of him.
[Alfred] Hitchcock was very interested in the image on the screen.As is any good cinema director. That is the language they speak. It is not literature, it is images on screen.
I studied Hitchcock and Josef von Sternberg under Richard Dillard at Hollins, and that year under his tutelage just completely rewired my brain. Both directors combine moral seriousness with great artistry and, certainly in Hitchcock's case, an enormous respect for plot, for its power to enthrall and delight.
The prosthetics were interesting because the artist was so good that they could just put a Hitchcock mask on me, but you don't want to do that. You're an actor playing Hitchcock, so it's about how much of that you're going to do.
I worked with the best directors - Martin Scorsese, John Huston, David Lynch, Alfred Hitchcock. Alfred Hitchcock was great.
Hitchcock was one of the few people in Hollywood who had a brand. Every movie he made was an Alfred Hitchcock movie, couldn't have been anyone else.
The philosopher Friedrich Nietzsche once wrote that when you look into the darkness of the abyss the abyss looks into you. Probably no other line or thought more inspires or informs my work.
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.
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.
My thinking was that today's spectator is so well-versed in film language that all theories about suspense, as argued by Dreyer and Hitchcock, on what makes you scared in cinema, can be ditched. It's the spectator, finally, who's going to construct the menace and the fear.
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