A Quote by Toby Jones
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.
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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.
Although a man may lose a sense of his own importance when he is a mere unit among a busy throng, all utterly regardless of him, it by no means follows that he can dispossess himself, with equal facility, of a very strong sense of the importance and magnitude of his cares.
Nelson's Mandela own sense of himself was a very humble reading, [different] from how the world read him. And, quite often, you had the sense that he was not comfortable with all the accolades that would be.
My mother ... had a very deep inner spirituality that allowed her to rebuild her life. It's extraordinary that she had such a strong sense of self and such a commitment to the future and such a strong creative sense that she could build new worlds for herself and for us out of the total devastation in her life.
A strong film director does leave you to your devices. A strong director allows you to be free and you trust that he's there and he will tell you if you've gone too far. A strong director allows you to be much more experimental and take greater chances than a director who isn't secure within himself.
Since being quite young, I've had a very strong sense of independence and survival. As a child, I was on my own two feet emotionally.
A strong man cannot help a weaker unless the weaker is willing to be helped, and even then the weak man must become strong of himself; he must, by his own efforts, develop the strength which he admires in another. None but himself can alter his condition.
Any child who is self-sufficient, who can tie his shoes, dress or undress himself, reflects in his joy and sense of achievement the image of human dignity which is derived from a sense of independence.
I had to be extremely strong to fight off Mr Hitchcock. He was so insistent and obsessive, but I was an extremely strong young woman, and there was no way he was going to get the better of me.
The thing that impressed me then as now about New York… was the sharp, and at the same time immense, contrast it showed between the dull and the shrewd, the strong and the weak, the rich and the poor, the wise and the ignorant… the strong, or those who ultimately dominated, were so very strong, and the weak so very, very weak - and so very, very many.
[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've done my share of reading about Abraham Lincoln, throughout my life, and he wasn't always carved in stone. He was a human being. He was a very thoughtful, self-educated, complex, magnanimous human being, who was very, very strong, very smart and very canny, with a very strong sense of what was right and what was wrong. Through all that, he's become an icon, over the years, and some of his warmth and humanity has been lost. You don't tend to think of Lincoln as this warm, funny person, but he was.
I loved cinema from a very young age. I was also obsessed with Hitchcock and actresses like Kim Novak in Vertigo. They all played heroines and were strong, powerful women, yet they were very feminine.
I was lucky in the sense that I started work very young but had a solid family base provided by my mother. She instilled a strong sense of perspective and humility in me from a very early age.
There are two kinds of filmmaking: Hitchcock's (the film is complete in the director's mind) and Coppola's (which thrives on process). For Hitchcock, any variation from the complete internal idea is seen as a defect. The perfection already exists. Coppola's approach is to harvest the random elements that the process throws up, things that were not in his mind when he began.
When you take on Hitchcock you know it's gonna provoke some sort of controversy, because there were so many people talking about the book [Stephen Rebello's Alfred Hitchcock and the Making of Psycho] and wanting it to be the film about the making of this movie [Psycho]. But that's been done. That's been done in the book, and Stephen Rebello himself was like, "I want a movie which is an entertainment for the audience." So we made the conscious decision.
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