Alfred Hitchcock

IMDb:https://www.imdb.com/name/nm0000033/

Height:5' 7" (1.7 m)

Trademarks:[Cameo] Often has a quick cameo in his films. He eventually began making his appearances in the beginning of his films, because he knew viewers were watching for him and he didn't want to divert their attention away from the story's plot. He made a live cameo appearance in all of his movies beginning with The Lady Vanishes (1938) (Man in London Railway Station walking on the station train platform), Young and Innocent (1937) (Photographer Outside Courthouse) ... aka The Girl Was Young (USA), The 39 Steps (1935) (Passerby Near the Bus), Murder! (1930) (Man on Street), Blackmail (1929) (Man on subway), Easy Virtue (1928) (Man with stick near tennis court), The Lodger: A Story of the London Fog (1927) (Extra in newspaper office) ... aka The Case of Jonathan Drew., excluding Lifeboat (1944), in which he appeared in a newspaper advertisement; Dial M for Murder (1954), in which he appeared in a class reunion photo; Rope (1948) in which his "appearance" is as a neon version of his famous caricature on a billboard outside the window in a night scene and Family Plot (1976) in which his "appearance" is as a silhouette of someone standing on the other side of a frosted glass door. [Hair] Likes to insert shots of a woman's hairstyle, frequently in close-ups. [Bathrooms] Often a plot device, a hiding place or a place where lovemaking is prepared for. Hitchcock also frequently used the letters "BM", which stand for "Bowel Movement". Often used the "wrong man" or "mistaken identity" theme in his movies (Saboteur (1942), I Confess (1953), The Wrong Man (1956), North by Northwest (1959), Frenzy (1972)). [Blondes] The most famous actresses in his filmography (mostly in leading roles) were Anny Ondra, Madeleine Carroll, Joan Fontaine, Ingrid Bergman, Grace Kelly, Eva Marie Saint, Kim Novak, Vera Miles, Janet Leigh and Tippi Hedren. There is a recurrent motif of lost or assumed identity. While mistaken identity applies to a film like North by Northwest (1959), assumed identity applies to films such as The 39 Steps (1935), Vertigo (1958), Psycho (1960), and Marnie (1964) among others. Always formally dressed, wearing a suit on film sets In order to create suspense in his films, he would alternate between different shots to extend cinematic time (e.g., the climax of Saboteur (1942), the cropduster sequence in North by Northwest (1959), the shower scene in Psycho (1960), etc.) His driving sequences were also shot in this particular way. They would typically alternate between the character's point of view while driving and a close-up shot of those inside car from opposite direction. This technique kept the viewer 'inside' the car and made any danger encountered more richly felt. [Profile] The famous profile sketch, most often associated with Alfred Hitchcock Presents (1955) and The Alfred Hitchcock Hour (1962). It was actually from a Christmas card Hitchcock designed himself while still living in England. In a lot of his films (more noticeably in the early black and white American films), he used to create more shadows on the walls to create suspense and tension (e.g., the "Glowing Milk" scene in Suspicion (1941) or the ominous shadow during the opening credits of Saboteur (1942)). Inspired the adjective "Hitchcockian" for suspense thrillers His "MacGuffins" were objects or devices which drove the plot and were of great interest to the film's characters, but which to the audience were otherwise inconsequential and could be forgotten once they had served their purpose. The most notable examples include bottled uranium in Notorious (1946), the wedding ring in Rear Window (1954), the microfilm in North by Northwest (1959) and the $40,000 in the envelope in Psycho (1960). He hated to shoot on location. He preferred to shoot at the studio where he could have full control of lighting and other factors. This is why even his later films contain special effects composite and rear screen shots. Distinctively slow way of speaking, dark humor and dry wit, especially regarding murder Frequent collaborators: actors 'James Stewart' and 'Cary Grant', editor George Tomasini, composer Bernard Herrmann, costume designer Edith Head and director of photography Robert Burks. [Attribution] Name often appears before the film titles, as in "Alfred Hitchcock's Psycho". Liked to use major stars in his films that the audience was familiar with, so he could dispense with character development and focus more on the plot. Often makes the audience empathizes with the villain's plight, usually in a sequence where the villain is in danger of being caught. Unusual subjective point of view shots

Source:https://www.imdb.com/name/nm0000033/