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Alfred Hitchcock Net Worth

Alfred Hitchcock Net Worth is
$10 Million

Alfred Hitchcock Bio/Wiki 2018

A youthful Alfred Hitchcock:
This would help him make his first steps into the universe of imagination. The firm’s inhouse publication The Henley Telegraph, was founded in the year 1919, to which he’d regularly provide brief posts. Eventually, he became one among its most prolific contributors. His first bit was “Gasoline” and it was printed in the first issue of the business’s publication. The story narrates the encounter of a young woman who pictures she will be attacked one night in Paris- just for this to afterwards be shown that it was a hallucination at the dentist’s seat, due to an anesthetic he used.

Alfred Hitchcock Net Worth $10 Million

He led a lonely and sheltered youth that has been made worse by his obesity. This would continue to profoundly influence his mind as he grew old. In addition, it led to him being rejected by the military at the age 15 during the First World War. Nevertheless, he failed to allow this to discourage him and as a young man, he signed up to some cadet regiment of the Royal Engineers in 1917.

Hitchcock’s first experiment in film was when he shot thee 1948 thriller Rope. It wasn’t well received by the critics, but it went on to be among his most celebrated films. During the class offilming Rope, Hitchcock meant for the movie to have the effect of one long continuous shoot, but the cameras at that point in time are not so improved. They could hold no more than 1000 feet of 35 millimeter movie. Consequently, each take used up to an entire roll of film and continues up to 10 minutes. This induced the film to go at a slow rate, causing the crowd to develop remorse and share the feelings of the antagonist until the film brings to an end. Many takes end with a dolly shot into a featureless surface (like the rear of a character’s coat), with the following take starting at the exact same point by zooming out. The whole movie contains just 11 shots.

Hitchcock was also renowned for the creative special effects used throughout his films. His experiments were largely successful, though some of them weren’t well received by the critics of that time. It was one of these trysts with experiment that led him to create his most iconic movie Psycho (1960). By now, Hitchcock had started to comfortably work with colour picture and audio, but Psycho was a movie he purposefully selected to shoot in black and white. The theories he centred his film around were really, contentious- so contentious that Paramount pictures were appalled at the notion of a film being according to the real-life narrative of Wisconsin killer Ed Gein. Paramount pictures refused to supply the budget they ordinarily would have (His previous film, North by Northwest [1959] was allowed a generous funding of $3,101,000.) Hitchcock nevertheless, was adamant upon pursuing this job and he determined to fund 60% of the funds himself with the aid of his own Shamley studios, shooting the film in Universal studios.

During his stint at Henley’s, he started to take interest in the nuances of photography. He started his work in the area of film production as a title card designer for the London division of what later would be more famously called Paramount pictures. Then he received a full time occupation at Islington Studios, designing names for silent films. It was from here on wards, that his rise started, from name designer, to film director, producer and editor in an interval of five years.

Notably, he produced pictures that would continue to become epics in their own right in each classification. Hitchcock considered that silent film was the purest kind of picture. Only at that point in time onwards, he started pursuing themes like sexual fixation and characters who were wrongly persecuted for others’ offenses. These themes would hold throughout his career, with Hitchcock experimenting with various specialized aspects of movies that would later be used often in film.

In 1925, Hitchcock went on to direct his first movie, making pictures that belong to the thriller genre which would shortly be understood world over. He went to make many more such silent films. Though “Blackmail” was initially made as a silent film, it was copied as a talkie movie.

The film is centred around technical strengths in the kind of special effects that don’t distract the audience from your storyline or the film itself, yet adds extreme shock value to the film. The closing shot of the film calls for the lead characters driving away from Bodega Bay (where it was shot; in San Francisco) as they’re being carefully observed by a flock of fowl. This is the movie’s craftiest shot as it was done with a mix of live trained fowl, puppet fowl and animated fowl; with the automobile going towards an incredibly in-depth matte painting as a backdrop. It was the catchiest shot in the film as it was shot in a composite manner that combined 32 different exposures, leading Hitchcock to call it “The hardest single shot I Have ever done.

A vintage film poster advertisements Hitchcock’s Psycho. It was the very first time a toilet had been shown in American film. This shower murder scene is not any less. This took a week to shoot; the whole film itself took just 6 weeks to finish. A film poster advertisements Hitchcock’s masterpiece ‘The Birds.’ A behind the scenes look into the shooting of the closing scene of ‘The Birds’ In his next movie, Vertigo (1959), Hitchcock used what would later be an extremely strong effect which would later come to be popularly called the Dolly zoom system. It was reached by zooming in on a zoom lens so that you can attain the desirable effect- a successful portrayal of James Stewart’s supposed Vertigo- fear of heights. The Vertigo effect, shown with the aid of dolly zoom, in Hitchcock’s well-known movie, ‘Vertigo’

Hitchcock was a frugal guy, likely due to his strict breeding. Years after(2012 to be precise), well-known pencil maker Mont Blanc determined to pay a homage to the iconic filmmaker with assistance from their pencils.

1. As a homage to the critically acclaimed filmmaker, this unique pencil features 925 sterling silver rings with 53 hatch marks that signify the years he spent as part of his filmmaking profession. It’s accessible at Mont Blanc boutiques through the world and is priced at 2,325. The Montblanc 80- paying a homage to Alfred Hitchcock’s first technicolor film “Rope”

2. This pencil is created entirely with 750 white gold and only 80 of these pencils were generated. They retail at17,900 per bit. It features a sensational swirls, said to be a homage to the renowned Alfred Hitchcock occurrence ‘The Vertigo effect’, complete with re; reminiscent of blood stains. The clip of the pencil is formed like the knife used by the killer of his well-known film Psychoand it’s encrusted with diamonds.



Full NameAlfred Hitchcock
Net Worth$10 Million
Date Of Birth1899-08-13
Died1980-04-29
Place Of BirthLeytonstone, East London, England
Height1.7 m
ProfessionFilm director, producer, screenwriter
EducationSalesian College, Battersea, Jesuit grammar school St Ignatius' College in Stamford Hill, London, London County Council School of Engineering and Navigation in Poplar, London, Cadet regiment of the Royal Engineers
NationalityBritish, American
SpouseAlma Reville (m. 1926-1980)
ChildrenPat Hitchcock
ParentsWilliam Hitchcock, Emma Jane Hitchcock
SiblingsWilliam Hitchcock, Eileen Hitchcock
NicknamesAlfred Joseph Hitchcock , Hitch , The Master of Suspense , Sir Alfred Hitchcock , Sir Alfred Joseph Hitchcock , Mr. Alfred Hitchcock , Sir Alfred Joseph Hitchcock, KBE , A. Hitchcock
AwardsIrving G. Thalberg Memorial Award, American Film Institute Award, British Academy Film Award, Directors Guild of America Award, Academy Award for Best Picture of 1940, two Golden Globes, eight Laurel Awards, five Lifetime Achievement Awards, BAFTA Academy Fellowship Award, Knight Commander of the Mo...
NominationsHollywood Walk of Fame (For contribution to television and for his work in motion pictures), English Heritage blue plaque (1999)
Movies“Always Tell Your Wife” (1923), “The Pleasure Garden” (1925), “The Lodger: A Story of the London Fog” (1927), “Blackmail” (1929), “ The Lady Vanishes” (1938), "Foreign Correspondent", "The Murder of Monty Woolley" (1943), "Notorious" (1946), "North by Northwest" (1959), "Family P...
TV Shows"Alfred Hitchcock Presents", "The Alfred Hitchcock Hour" (1962)
#Trademark
1Unusual subjective point of view shots
2Often makes the audience empathizes with the villain's plight, usually in a sequence where the villain is in danger of being caught.
3Liked 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.
4[Attribution] Name often appears before the film titles, as in "Alfred Hitchcock's Psycho".
5Frequent collaborators: actors 'James Stewart' and 'Cary Grant', editor George Tomasini, composer Bernard Herrmann, costume designer Edith Head and director of photography Robert Burks.
6Distinctively slow way of speaking, dark humor and dry wit, especially regarding murder
7He 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.
8His "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).
9Inspired the adjective "Hitchcockian" for suspense thrillers
10In 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)).
11[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.
12In 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.
13Always formally dressed, wearing a suit on film sets
14There 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.
15[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.
16Often 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)).
17[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".
18[Hair] Likes to insert shots of a woman's hairstyle, frequently in close-ups.
19[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), The Girl Was Young (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 (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.
TitleSalary
Psycho (1960)60% of the net profits (salary deferred)
North by Northwest (1959)$250,000 + 10% of the net profits.
Vertigo (1958)$150,000 + 10% of the profits +film negative ownership
The Man Who Knew Too Much (1956)$150,000 + 10% of the profits +film negative ownership
Rear Window (1954)$150,000 + 10% of the profits +film negative ownership
Notorious (1946)$7,000 /week
Suspicion (1941)$2,500 /week
The Lady Vanishes (1938)$50,000
#Quote
1If you've designed a picture correctly, the Japanese audience should scream at the same time as the Indian audience.
2I deny I ever said that actors are cattle. What I said was, "Actors should be treated like cattle.".
3[1955, as host of his television series Alfred Hitchcock Presents (1955)] For those of you watching this show in the year 2000, write us a letter and tell us how things are going where you are.
4[1972] Puns are the highest form of literature.
5[to an interviewer on why he does not make comedies] But every film I made IS a comedy!
6[on Michelangelo Antonioni and Federico Fellini] Those Italian fellows are a hundred years ahead of us. Blow-Up (1966) and (1963) are bloody masterpieces. [1978]
7[on how to properly build suspense] Four people are sitting around a table talking about baseball or whatever you like. Five minutes of it. Very dull. Suddenly, a bomb goes off. Blows the people to smithereens. What does the audience have? Ten seconds of shock. Now take the same scene and tell the audience there is a bomb under that table and will go off in five minutes. The whole emotion of the audience is totally different because you've given them that information. In five minutes time that bomb will go off. Now the conversation about baseball becomes very vital. Because they're saying to you, "Don't be ridiculous. Stop talking about baseball. There's a bomb under there." You've got the audience working.
8The length of a film should be directly related to the endurance of the human bladder.
9Cartoonists have the best casting system. If they don't like an actor, they just tear him up.
10Everything's perverted in a different way.
11I like stories with lots of psychology.
12Reality is something that none of us can stand, at any time.
13[A portion of his AFI Lifetime Achievement Award acceptance speech] Had the beautiful Ms. Reville [his wife Alma Reville] not accepted a lifetime contract without options as Mrs. Alfred Hitchcock some 53 years ago, Mr. Alfred Hitchcock might be in this room tonight, not at this table but as one of the slower waiters on the floor.
14I wanted once to do a scene, for North by Northwest (1959) by the way, and I couldn't get it in there. I wanted it to be in Detroit, and two men walking along in front of an assembly line. And behind them you see the automobile being put together. It starts with a frame, and you just take the camera along, the two men are talking. And you know all those cars are eventually driven off the line, they load them with gas and everything. And one of the men goes forward, mind you you've seen a car from nothing, just a frame, opens the door and a dead body falls out.
15[on the making of Psycho (1960) and a fake torso made by the special effects department that spurted blood when stabbed with a knife] But I never used it. It was all unnecessary because the cocking of the knife, the girl's face and the feet and everything was so rapid that there were 78 separate pieces of film in 45 seconds.
16[on his history as a practical joker] I once gave a dinner party, oh many years ago, where all the food was blue.
17All love scenes started on the set are continued in the dressing room.
18[Part of his publicity campaign prior to the release of Psycho (1960)] It has been rumored that Psycho is so terrifying that it will scare some people speechless. Some of my men hopefully sent their wives to a screening. The women emerged badly shaken but still vigorously vocal.
19[When asked by a member of the press why, at his advanced age, it took so long for the British government to grant him the title of Knight] I think it's just a matter of carelessness.
20Fear isn't so difficult to understand. After all, weren't we all frightened as children? Nothing has changed since Little Red Riding Hood faced the big bad wolf. What frightens us today is exactly the same sort of thing that frightened us yesterday. It's just a different wolf. This fright complex is rooted in every individual.
21[on his lifelong fear of eggs ("ovophobia")] I'm frightened of eggs, worse than frightened, they revolt me. That white round thing without any holes... have you ever seen anything more revolting than an egg yolk breaking and spilling its yellow liquid? Blood is jolly, red. But egg yolk is yellow, revolting. I've never tasted it.
22I made a remark a long time ago. I said I was very pleased that television was now showing murder stories, because it's bringing murder back into its rightful setting - in the home.
23[on North by Northwest (1959)] Our original title, you know, was "The Man in Lincoln's Nose". Couldn't use it, though. They also wouldn't let us shoot people on Mount Rushmore. Can't deface a national monument. And it's a pity, too, because I had a wonderful shot in mind of Cary Grant hiding in Lincon's nose and having a sneezing fit.
24To make a great film you need three things - the script, the script and the script.
25I don't understand why we have to experiment with film. I think everything should be done on paper. A musician has to do it, a composer. He puts a lot of dots down and beautiful music comes out. And I think that students should be taught to visualize. That's the one thing missing in all this. The one thing that the student has got to do is to learn that there is a rectangle up there - a white rectangle in a theater - and it has to be filled.
26When an actor comes to me and wants to discuss his character, I say, "It's in the script". If he says, "But what's my motivation?", I say, "Your salary".
27I am scared easily, here is a list of my adrenaline-production: 1: small children, 2: policemen, 3: high places, 4: that my next movie will not be as good as the last one.
28Blondes make the best victims. They're like virgin snow that shows up the bloody footprints.
29[Walt Disney] has the best casting. If he doesn't like an actor he just tears him up.
30Cary Grant is the only actor I ever loved in my whole life.
31[on The Birds (1963)] You know, I've often wondered what the Audubon Society's attitude might be to this picture.
32In feature films the director is God; in documentary films God is the director.
33A good film is when the price of the dinner, the theatre admission and the babysitter were worth it.
34If it's a good movie, the sound could go off and the audience would still have a perfectly clear idea of what was going on.
35I am a typed director. If I made Cinderella (1937), the audience would immediately be looking for a body in the coach.
36Film your murders like love scenes, and film your love scenes like murders.
37The paperback is very interesting but I find it will never replace the hardcover book -- it makes a very poor doorstop.
38[on directing Charles Laughton] You can't direct a Laughton picture. The best you can hope for is to referee.
39[on Claude Jade, who starred in Topaz (1969)] Claude Jade is a brave nice young lady. But I don't give any guarantee what she will do on a taxi's back seat.
40Man does not live by murder alone. He needs affection, approval, encouragement and, occasionally, a hearty meal.
41There is nothing quite so good as a burial at sea. It is simple, tidy, and not very incriminating.
42It's only a movie, and, after all, we're all grossly overpaid.
43I was an uncommonly unattractive young man.
44[to Ingrid Bergman when she told him that she couldn't play a certain character the way he wanted because "I don't feel like that, I don't think I can give you that kind of emotion."] Ingrid - fake it!
45I enjoy playing the audience like a piano.
46Some films are slices of life, mine are slices of cake.
47[on Michelangelo Antonioni and his film Blow-Up (1966)] This young Italian guy is starting to worry me.
48[when accepting the American Film Institute Life Achievement award] I beg permission to mention by name only four people who have given me the most affection, appreciation, and encouragement, and constant collaboration. The first of the four is a film editor, the second is a scriptwriter, the third is the mother of my daughter Pat [Patricia Hitchcock], and the fourth is as fine a cook as ever performed miracles in a domestic kitchen. And their names are Alma Reville.
49[His entire acceptance speech for the Irving Thalberg Memorial Award] Thank you.
50Drama is life with the dull bits left out.
51Always make the audience suffer as much as possible.
52Even my failures make money and become classics a year after I make them.
53To me, Psycho (1960) was a big comedy. Had to be.
54There is no terror in the bang, only in the anticipation of it.
55The length of a film should be directly related to the endurance of the human bladder.
56[on his cameos] One of the earliest of these was in The Lodger (1927), the story of Jack the Ripper. My appearance called for me to walk up the stairs of the rooming house. Since my walk-ons in subsequent pictures would be equally strenuous - boarding buses, playing chess, etc. - I asked for a stunt man. Casting, with an unusual lack of perception, hired this fat man!
57There is a dreadful story that I hate actors. Imagine anyone hating James Stewart... Jack L. Warner. I can't imagine how such a rumor began. Of course it may possibly be because I was once quoted as saying that actors are cattle. My actor friends know I would never be capable of such a thoughtless, rude and unfeeling remark, that I would never call them cattle... What I probably said was that actors should be treated like cattle.
#Fact
1He directed Edmund Gwenn in four films: The Skin Game (1931), Strauss' Great Waltz (1934), Foreign Correspondent (1940) and The Trouble with Harry (1955).
2He directed Leonard Carey in four films: Rebecca (1940), Suspicion (1941), The Paradine Case (1947) and Strangers on a Train (1951).
3Along with Ernst Lubitsch, Jack Conway, Michael Curtiz, Victor Fleming, John Ford, Sam Wood, Francis Ford Coppola, Herbert Ross and Steven Soderbergh, he is one of ten directors to have more than one film nominated for Best Picture in the same year. Rebecca (1940) and Foreign Correspondent (1940) were both so nominated at the 13th Academy Award in 1941 while the former won the award.
4He appeared in all but 18 of the 56 films that he directed: the unfinished Number 13 (1922), The Pleasure Garden (1925), The Mountain Eagle (1926), When Boys Leave Home (1927), The Farmer's Wife (1928), Champagne (1928), The Manxman (1929), The Shame of Mary Boyle (1929), Elstree Calling (1930), The Skin Game (1931), Mary (1931), East of Shanghai (1931), Number 17 (1932), Strauss' Great Waltz (1934), Secret Agent (1936), Jamaica Inn (1939), Lifeboat (1944) and Dial M for Murder (1954). However, in both Lifeboat (1944) and Dial M for Murder (1954), he can be seen in photographs.
5He directed James Stewart in four films: Rope (1948), Rear Window (1954), The Man Who Knew Too Much (1956) and Vertigo (1958).
6He directed Clare Greet in seven films: the unfinished Number 13 (1922), The Ring (1927/I)_, The Manxman (1929), Murder! (1930), The Man Who Knew Too Much (1934), Sabotage (1936) and Jamaica Inn (1939). Greet appeared in more Hitchcock films than anyone other than Hitchcock himself.
7He directed Leo G. Carroll in six films: Rebecca (1940), Suspicion (1941), Spellbound (1945), The Paradine Case (1947), Strangers on a Train (1951) and North by Northwest (1959).
8He directed Cary Grant in four films: Suspicion (1941), Notorious (1946), To Catch a Thief (1955) and North by Northwest (1959).
9Hitchcock bought the rights to the 1960 novel Village of Stars by David Beaty (written under the pen name Paul Stanton) after The Blind Man project was cancelled. The book follows a RAF V bomber crew given an order to drop a nuclear bomb, only to have the order aborted. Unfortunately, the bomb is resisting attempts to defuse it and the plane can only stay in flight for a limited time.
10In 1945, Hitchcock was brought in as a supervising director for a documentary film about Nazi crimes and Nazi concentration camps. The film was originally to include segments produced by military film units from the UK, US, France, and the USSR. Cold War developments meant that the USSR segment was withdrawn, and the film remained uncompleted, with some footage kept in the collection of the Imperial War Museum.However, a reconstruction of the film was aired as Memory of the Camps in 1984-85 in the UK and the US. The US version was shown on the PBS series Frontline (1983) on May 7, 1985. In October 2014, a new documentary about the unfinished film, Night Will Fall (2014), premiered at the BFI London Film Festival.
11Hitchcock desperately wanted to direct Norma Shearer, Robert Taylor, and Conrad Veidt in one of the first World War II dramas, Escape (1940). Hitchcock, a long-time admirer of Shearer's acting, had sought for years to find a suitable project for her. However, Hitchcock was shut out of the project when the novel Escape by Ethel Vance (pen name of Grace Zaring Stone) was purchased by Metro-Goldwyn-Mayer. Hitchcock knew he could never work for the notorious MGM studio head Louis B. Mayer, who selected Mervyn LeRoy to produce the film. Years later, Hitchcock made the statement about the lack of true Hollywood leading ladies with the quote, "Where are the Norma Shearers?".
12Hitchcock had long desired to turn J.M. Barrie's 1920 play Mary Rose into a film. In 1964, after working together on Marnie (1964), Hitchcock asked Jay Presson Allen to adapt the play into a screenplay. Hitchcock would later tell interviewers that his contract with Universal allowed him to make any film, so long as the budget was under $3 million, and so long as it was not Mary Rose. Whether or not this was actually true, Lew Wasserman was not keen on the project, though Hitchcock never gave up hope of one day filming it.
13Hitchcock approached Italian comedy-thriller writers Agenore Incrocci and Furio Scarpelli (Age & Scarpelli), writers of Big Deal on Madonna Street (1958), to write a screenplay around an original idea Hitchcock had carried in his head since the late 1930s. A New York City hotel run by an Italian immigrant and his family who, unknown to him, are using the hotel as cover for crimes, including the theft of a valuable coin from a guest of the hotel. (R.R.R.R. is the highest value of coin.)The Italian screenwriters struggled with the story, and were not helped by the language barrier. Universal Studios were not keen on the idea and persuaded Hitchcock to move on to something else.
14In the late 1940s, Hitchcock had plans to make a modernized version of Hamlet. Hitchcock's Shakespearean vision was of a "psychological melodrama" (set in contemporary England, and starring Cary Grant in the title role). The project was scrapped when Hitchcock's studio caught wind of a potential lawsuit from a professor who had already written a modern-day version of Hamlet.
15In 1964, Hitchcock re-read another Richard Hannay novel by John Buchan, The Three Hostages, with a mind to adapting it. As with Greenmantle a quarter of a century earlier, the rights were elusive. But also the story was dated, very much rooted in the 1930s, and the plot involved a villain whose blind mother hypnotizes the hero. Hitchcock, in interviews, said that he felt that the portrayal of hypnosis did not work on film, and that films that attempted this portrayal, in Hitchcock's opinion, turned out poorly.
16In 1963, he was scheduled to direct Trap for a Solitary Man in widescreen by Twentieth Century-Fox. The story, based on the French play Piege Pour un Homme Seul by M. Robert Thomas, follows a young married couple on holiday in the Alps. The wife disappears, and after a prolonged search the police bring back someone they claim to be her; she even says she is the man's wife, but the man has never seen her before.
17Although Hitchcock made Frenzy (1972), that film's title and some plot points came from an idea Hitchcock had a few years earlier for a prequel to Shadow of a Doubt (1943). Hitchcock approached many writers including Samuel A. Taylor and Alec Coppel, but in the end engaged an old friend, Benn W. Levy to flesh out his sketchy idea.The story would have revolved around a young, handsome bodybuilder (inspired by Neville Heath) who lures young women to their deaths, a version of the character known as 'Merry Widow Murderer' in Shadow of a Doubt (1943). The New York police set a trap for him, with a policewoman posing as a potential victim. The script was based around three crescendos dictated by Hitchcock: the first was a murder by a waterfall; the second murder would take place on a mothballed warship; and the finale, which would take place at an oil refinery with brightly coloured drums.Hitchcock showed his script to his friend François Truffaut. Though Truffaut admired the script, he felt uneasy about its relentless sex and violence. Unlike Psycho (1960), these elements would not be hidden behind the respectable veneer of murder mystery and psychological suspense, and the killer would be the main character, the hero, the eyes of the audience.Universal vetoed the film, despite Hitchcock's assurances that he would make the film for under $1 million with a cast of unknowns, although David Hemmings, Robert Redford, and Michael Caine had all been suggested as leads. The film - alternatively known as Frenzy or the more "sixties"-esque Kaleidoscope - was not made.
18In the late 1950s, he planned an adaptation of Henry Cecil's novel No Bail for the Judge, about a London barrister who, with the assistance of a gentleman thief, has to defend her father, a High Court judge, when he is accused of murdering a prostitute. In a change of pace from his usual blonde actresses, Audrey Hepburn would have played the barrister, with Laurence Harvey as the thief, and John Williams as the Hepburn character's father. Some sources, including Writing with Hitchcock author Steven DeRosa say that Hitchcock's interest in the novel started in the summer of 1954 while filming To Catch a Thief (1955), and that Hitchcock hoped to have John Michael Hayes write the screenplay. Hepburn was an admirer of Hitchcock's work and had long wanted to appear in one of his films.Samuel A. Taylor, scenarist for Vertigo (1958) and Topaz (1969), wrote the screenplay after Ernest Lehman rejected it. The Taylor screenplay included a scene, not in the original novel, where the heroine disguises herself as a prostitute and has to fend off a rapist. Hepburn left the film, partly because of the near-rape scene, but primarily due to a pregnancy. (Hepburn suffered a miscarriage during the filming of The Unforgiven (1960) then gave birth to son Sean Ferrer in July 1960.) Harvey still ended up working with Hitchcock in 1959, however, on an episode that Hitchcock directed of Alfred Hitchcock Presents (1955).Without Hepburn, the project didn't have the same appeal for Hitchcock. Changes in British law concerning prostitution and entrapment - changes which took place after the novel was published - made some aspects of the screenplay implausible. Hitchcock told Paramount Pictures it was better to write off $200,000 already spent on the film's development than to spend another $3 million for a film he no longer cared for. In the fall of 1959, a Paramount publicity brochure titled "Success in the Sixties!" had touted No Bail for the Judge as an upcoming feature film starring Hepburn, to be filmed in Technicolor and VistaVision.
19Hitchcock very much wanted to direct a follow-up to The 39 Steps (1935), and he felt that Greenmantle by John Buchan was a superior book. He proposed that the film would star Cary Grant and Ingrid Bergman, but the rights from the Buchan estate proved too expensive.
20Hitchcock's last, unfinished project was The Short Night, an adaptation of the spy thriller of the same name by Ronald Kirkbride. A British double agent (loosely based on George Blake) escapes from prison and flees to Moscow via Finland, where his wife and children are waiting. An American agent - whose brother was one of the traitor's victims - heads to Finland to intercept him but ends up falling for the wife. It was Hitchcock's third attempt - after Torn Curtain (1966) and Topaz (1969) - to produce a "realistic Bond film". Clint Eastwood, and Sean Connery were possible male leads. Liv Ullman was asked to play the double agent's wife. Catherine Deneuve was also asked to star. Walter Matthau was considered for the villain role. Ed Lauter was also discussed for a role as one of Matthau's prison mates.The first writer assigned to the picture, James Costigan, quarreled with the director, who asked for him to be paid off. Then Ernest Lehman agreed to work on the script. Lehman felt the story should focus on the American spy, and left out the double agent's jailbreak. Lehman left the film too, and Hitchcock asked old friend Norman Lloyd to help him write a long treatment. Lloyd, like Universal, was concerned that Hitchcock's failing health meant that the movie might not get made. When Hitchcock suggested moving straight on to the screenplay, Lloyd objected saying they were unprepared. Hitchcock reacted angrily, fired Lloyd, and worked on the treatment himself.After a while, Hitchcock accepted that he needed another writer to work with him, and Universal suggested Dave Freeman, helped Hitchcock complete the treatment and wrote the screenplay. He wrote about his experiences in the 1999 book The Last Days of Alfred Hitchcock, which includes his completed screenplay. The circumstances surrounding Hitchcock's retirement were given by producer Hilton A. Green during the documentary Plotting "Family Plot". According to Green, during pre-production for The Short Night Hitchcock met Green to tell him that his poor health would prevent him from making the film that was to be the follow-up to Family Plot. After trying to talk Hitchcock out of his decision, Green agreed to Hitchcock's request to bring the news of his decision to retire to studio head Lew Wasserman, a long-time friend of Hitchcock.
21In 1956, he planned a big-budget adaptation of Laurens van der Post's novel Flamingo Feather, a story of political intrigue in Southern Africa. James Stewart was expected to take the lead role of an adventurer who discovers a concentration camp for Communist agents; Hitchcock wanted Grace Kelly to play the love interest.After a disappointing research trip to South Africa where he concluded that he would have difficulty filming, especially on a budget - and with confusion of the story's politics and the seeming impossibility of casting Kelly, Hitchcock deferred the project and instead cast Stewart in The Man Who Knew Too Much (1956). Hitchcock travelled to Livingstone at The Victoria Falls and was a guest of Harry Sossen one of the prominent inhabitants of this pioneer town. Hitchcock and Sossen were photographed together at the newly opened Livingstone Airport and the event was recorded in the local papers. Sossen was also in communication with Laurens van der Post who gave him a signed copy of the book Flamingo Feather during a visit to the Falls (staying at the Victoria Falls Hotel). Sossen's daughter Marion is in possession of the book today and a number of letters between her father and van der Post.
22Following Psycho (1960), Hitchcock re-united with Ernest Lehman for an original screenplay idea: A blind pianist, Jimmy Shearing (a role for James Stewart), regains his sight after receiving the eyes of a dead man. Watching a Wild West show at Disneyland with his family, Shearing would have visions of being shot and would come to realize that the dead man was in fact murdered and the image of the murderer is still imprinted on the retina of his eyes. The story would end with a chase around the ocean liner RMS Queen Mary. Walt Disney reputedly barred Hitchcock from shooting at Disneyland after seeing Psycho (1960). Stewart left the project, Lehman argued with Hitchcock, and the script was never shot.
23Hitchcock remarked in a British film journal interview just before leaving for Hollywood that he hoped to make a film about the tragic loss of RMS Titanic, as the inherent drama of the ocean liner's sinking appealed to him. He went on to make Rebecca (1940) instead.
24British thriller writer Dennis Wheatley had been a guest on the set of many of the early Hitchcock movies, and when The Forbidden Territory was published in January 1933, he presented the director with a copy. Hitchcock so enjoyed the book that he wanted to make a film of it, but he was just in the process of moving to Gaumont-British studios to work for Michael Balcon; he asked Wheatley to hold onto the rights until he could persuade his new employer to purchase them. When the time came, however, Balcon wasn't interested and instead insisted that Hitchcock direct the musical Waltzes from Vienna. Hitchcock then approached Richard Wainwright, a distinguished producer who had been head of UFA films in Germany, and had recently relocated to Britain. Wainwright was keen to pick up a promising subject for his first British film, and immediately bought the rights. Although there was a verbal understanding that Hitchcock was to direct, Balcon refused to release him, and instead began production of The Man Who Knew Too Much (1934). Wainwright, committed to studio space, technicians and actors, had no alternative but to proceed without him, and placed the film into the hands of American director Phil Rosen. In 1936, at Hitchcock's instigation, Wheatley wrote a screenplay The Bombing of London, but the controversial project could find no backer and was shelved.
25The Hammond Innes novel The Wreck of the Mary Deare was optioned by MGM with the intention of having Hitchcock direct and Gary Cooper star. Hitchcock had long wanted to work with Cooper, but after developing the script with Ernest Lehman for several weeks, they concluded that it couldn't be done without turning the movie into "a boring courtroom drama".Hitchcock and Lehman made an appearance before MGM executives telling the story of North by Northwest (1959), and said that MGM would get two films out of Hitchcock under his contract with MGM. However, eventually Hitchcock abandoned the idea of Mary Deare and went ahead with that film instead.
26In the early 1950s, he planned an adaption of David Duncan's novel The Bramble Bush about a disaffected Communist agitator who, on the run from the police, is forced to adopt the identity of a murder suspect. The story would be adapted to take place in Mexico and San Francisco. The project, originally to come after I Confess (1953) as a Transatlantic Pictures production to be released by Warner Brothers, had a high budget which made it a difficult project. Hitchcock did not feel that any of the scripts lifted the movie beyond an ordinary chase story, and Warner Brothers allowed him to kill the project and move on to Dial M for Murder (1954).
27In 1964, he visited the set of Coronation Street (1960) and had a drink at the Rovers Return.
28If you watch his films closely noting the endings or portrayal of cops, you will see that if a cop is required to die, the death will be slow, gruesome or uncompromisingly grisly. If cops survive they are nearly always portrayed as baddies, though in reality they are the good guys. This is because Hitchcock had a life-long phobia of policemen.
29British author Anthony Horowitz is a huge fan of Hitchcock and will often pay homage to his work.
30Director Alexander Payne could not imagine Hitchcock's Psycho (1960) in color because it's more chilling in black and white, but it was later remade in color as Psycho (1998), to universal disapproval.
31Deliberately shot much of the setups in Rear Window (1954) so they would appear voyeuristic.
32His Dial M for Murder (1954) was re-released in 3D in 1980.
33(April 27, 2014) Most successful director in IMDB Top 250 movies ever made with 9 entries - Rear Window (1954) (no 31.), Psycho (1960) (no. 32), North by Northwest (1959) (no. 61), Vertigo (1958) (no. 66), Rebecca (1940) (no. 138), Dial M for Murder (1954) (no. 163), Strangers on a Train (1951) (no. 194), Notorious (1946) (no. 198) and Rope (1948) (no. 242).
34From 1942 until his death, the Hitchcocks lived at 10957 Bellagio Road, Bel Air, California. They had been living at 609 St. Cloud Road in Bel Air in a home leased from friends Carole Lombard and Clark Gable.
35In the Press Conference for Family Plot (1976), Alfred Hitchcock revealed that his least favorite film out of all the films he directed was Champagne (1928).
36He was portrayed by Anthony Hopkins in Hitchcock (2012).
37Donald Spoto wrote that Hitchcock hid behind the door when Bernard Herrmann went to see him after Torn Curtain (1966) break up. Herrmann's third wife Norma denied this in an interview with Gunther Kogebehn in June 2006. In June 2006 interview with Kogebehn, Norma Herrmann states that she and Bernard Herrmann "together" visited Alfred Hitchcock.
38Many of Hitchcock's films have one-word titles: Blackmail (1929), Rebecca (1940), Suspicion (1941), Saboteur (1942), Lifeboat (1944), Spellbound (1945), Notorious (1946), Rope (1948), Vertigo (1958), Psycho (1960), Marnie (1964), Topaz (1969) and Frenzy (1972). He favored one-word titles because he felt that it was uncluttered, clean and easily remembered by the audience.
39Hitchcock's wife, Alma Reville, was one day younger than him. They were born on August 13 and August 14, 1899.
40He appears momentarily in a trademark/cameo role in all of his movies. In addition the neon silhouette in Rope (1948), he is seen walking down the street during the opening credits. During the movie, the characters of Mrs. Atwater and Janet are discussing a movie whose one-word title they can not remember. It was a plug for one of Hitchcock's other movies, Notorious (1946).
41He directed nine of the American Film Institute's 100 Most Heart-Pounding Movies: Psycho (1960) at #1, North by Northwest (1959) at #4, The Birds (1963) at #7, Rear Window (1954) at #14, Vertigo (1958) at #18, Strangers on a Train (1951) at #32, Notorious (1946) at #38, Dial M for Murder (1954) at #48 and Rebecca (1940) at #80.
42Appears on a 44¢ USA commemorative postage stamp, issued 11 August 2009, in the Early TV Memories issue honoring Alfred Hitchcock Presents (1955).
43During production of Alfred Hitchcock Presents (1955) he was said to have hid from producer Joan Harrison every time there was a problem with production. His favorite hiding place was behind the couch in his office.
44At five, he received more Academy Award nominations for Best Picture without a win than anyone other than Clarence Brown. He was nominated for Rebecca (1940), Lifeboat (1944), Spellbound (1945), Rear Window (1954) and Psycho (1960).
45As a long-time friend of Sidney Bernstein (the pair had formed production company Transatlantic Pictures together in the 1940s), Hitch was the first celebrity visitor to the set of long-running British soap opera Coronation Street (1960), during a June 1964 visit to the Manchester studios of Granada Television which Bernstein co-founded with his brother Cecil.
46As of the 5th edition of 1001 Movies You Must See Before You Die (edited by Steven Jay Schneider), Hitchcock is the most represented director, with 18 films. Included are his films Blackmail (1929), The 39 Steps (1935), Sabotage (1936), Rebecca (1940), Shadow of a Doubt (1943), Spellbound (1945), Notorious (1946), Rope (1948), Strangers on a Train (1951), Rear Window (1954), The Man Who Knew Too Much (1956), The Wrong Man (1956), Vertigo (1958), North by Northwest (1959), Psycho (1960), The Birds (1963), Marnie (1964) and Frenzy (1972).
47In addition to his fear of the police, Hitchcock possessed one other phobia: eggs.
48Walt Disney refused to allow him to film at Disneyland in the early 1960s because Hitchcock had made "that disgusting movie Psycho (1960)".
49He was naturalized as a United States citizen in 1956.
50He suggested some improvements to a scene in Gone with the Wind (1939) but the shots integrating his improvements were not used.
51Though he was Oscar-nominated five times as best director, DGA-nominated six times as best director, and received three nominations from Cannes, he never won in any of these competitive categories, a fact that surprises fans and film critics to this day.
52A statistical survey he did among audiences revealed that according to moviegoers the most frightening noise in films was the siren of a police patrol-car, followed by the crash of a road accident, cracklings of a burning forest, far galloping horses, howling dogs, the scream of a stabbed woman and the steps of a lame person in the dark.
53He was awarded 2 Stars on the Hollywood Walk of Fame for Motion Pictures at 6506 Hollywood Boulevard; and for Television at 7013 Hollywood Boulevard in Hollywood, California.
54On August 2, 1968, he visited Finland to look filming locations for his next film "The Short Night". Of course, the film was never made. In the airport, he was interviewed by Finnish reporters. He was asked why his films were so popular. His answer was: "Everybody likes to be scared".
55Is the "voice" of the "Jaws" ride at Universal Studios.
56For Psycho (1960), he deferred his standard $250,000 salary in lieu of 60% of the film's net profits. His personal earnings from the film exceeded $15 million. Adjusted for inflation, that amount would now top $150 million in 2006 terms.
57Although some of the movie going public knew him, his fame really took off after 1955. That was when Alfred Hitchcock Presents (1955) started. When the show was broadcast in homes week after week, it gave him a much bigger exposure in the public eye. He also became quite rich from the show when it was syndicated in the United States and overseas.
58He was reportedly furious when Brian De Palma decided to make Obsession (1976), because he thought it was a virtual remake of Vertigo (1958). Ironically, De Palma stopped making mystery/adventure films after Hitchcock's death in 1980, with the possible exception of Body Double (1984).
59Grandfather of Mary Stone, Tere Carrubba and Katie Fiala.
60Due to his death in 1980, he never got to see Psycho II (1983). It remains unsure as to whether or not he was approached regarding the second movie, or any other "Psycho (1960) - Expansion" motion picture.
61Told François Truffaut that although he had made two films prior to The Lodger (1927), he considered that to be his first real film.
62Education: St. Ignatius College, London, School of Engineering and Navigation (Studied mechanics, electricity, acoustics and navigation); University of London (Studied art).
63Ranked #2 in Empire (UK) magazine's "The Greatest Directors Ever!" in 2005.
64As with W.C. Fields and Arthur Godfrey before him, he was legendary for gently tweaking his sponsors during the run of his television show. One typical example runs, "We now interrupt our story for an important announcement. I needn't tell you to whom it will be most important of all.".
65Praised Luis Buñuel as the best director ever.
66Directed eight different actors in Oscar-nominated performances: Laurence Olivier, Joan Fontaine, Judith Anderson, Albert Bassermann, Michael Chekhov, Claude Rains, Ethel Barrymore and Janet Leigh. Fontaine won an Oscar for Suspicion (1941).
67He would work closely with screenwriters, giving them a series of scenes that he wanted in the films, thus closely controlling what he considered the most important aspect of the filmmaking process. Although the screenwriter would write the actual dialogue and blocking, many of the scripts for his films were rigidly based on his ideas.
68Directed the pilot episode of the radio series "Suspense" (1942-1962), and made a brief appearance at the end. It was an adaptation of his film The Lodger (1927) and starred Herbert Marshall and Edmund Gwenn, who reprised his brother Arthur Chesney 's role as Mr. Bunting.
69He almost never socialized when not shooting films, and spent most of his evenings quietly at home with his wife Alma Reville and daughter Patricia Hitchcock.
70He was infamous with cast and crews for his practical jokes. While some inspired laughs, such as suddenly showing up in a dress, most were said to have been a bit more scar than funny. Usually, he found out about somebody's phobias, such as mice or spiders, and in turn sent them a box full of them.
71Steven Spielberg, Brian De Palma, John Carpenter, Sam Raimi, M. Night Shyamalan, Martin Scorsese, George A. Romero, Peter Bogdanovich, Dario Argento, William Friedkin, David Cronenberg and Quentin Tarantino have named him as an influence.
72Was a supporter of West Ham United Football Club. He told colleagues in Hollywood that he subscribed to English newspapers in order to keep track of their results.
73Often said that Shadow of a Doubt (1943) was his favorite film among those he had directed.
74Had a hard time devising one of his signature walk-ons for Lifeboat (1944), a film about a small group of people trying to survive on a small boat. What he eventually came up with was to have his picture in a newspaper advertisement for weight loss that floated among some debris around the boat. He had happened to have lost a considerable amount of weight from dieting around that time, so he was seen in both the "Before" and the "After" pictures.
75Was at his heaviest in the late 1930s, when he weighed over 300 pounds. Although always overweight, he dieted and lost a considerable amount of weight in the early 1950s, with pictures from sets like To Catch a Thief (1955) showing a surprisingly thin Hitchcock. His weight continued to fluctuate throughout his life.
76Was voted the Greatest Director of all time by Entertainment Weekly. The same magazine's list of the 100 Greatest Films of all time includes more films directed by Hitchcock than by any other director, with four. On the list were his masterworks Psycho (1960) (#11), Vertigo (1958) (#19), North by Northwest (1959) (#44) and Notorious (1946) (#66).
77When he won his Lifetime Achievement award in 1979, he joked with friends that he must be about to die soon. He died a year later.
78He allegedly refused the British honour of CBE (Commander of the Order of the British Empire) in 1962.
79One of the most successful Hitchcock tie-ins is a pulp publication titled "Alfred Hitchcock's Mystery Magazine". The publication is highly respected and has become one of the longest running mystery anthologies. It continues to be published almost a quarter century after Hitchock's death.
80He was listed as the editor of a series of anthologies containing mysteries and thillers. However, he had little to do with them. Even the introductions, credited to him, were, like the introductions on his television series, written by others.
81Lent his name and character to a series of adolescent books entitled "Alfred Hitchcock and the Three Investigators" (circa late 1960s - early 1970s). The premise was that main character and crime-solver Jupiter Jones won the use of Mr. Hitchcock's limousine in a contest. Hitch also wrote forewords to this series of books. After his death, his famous silhouette was taken off the spine of the books, and the forewords (obviously) stopped appearing as well.
82In a recent USC class on Hitchcock (fall 2000), guest speaker Patricia Hitchcock revealed that two guilty pleasures of Hitch's were Smokey and the Bandit (1977) and Benji (1974).
83Der müde Tod (1921) by Fritz Lang was his declared favorite movie.
84He delivered the shortest acceptance speech in Academy Award history: while accepting the Irving Thalberg Memorial Award at the 1967 Academy Awards, he simply said "Thank you".
85Asked writers Pierre Boileau and Thomas Narcejac to write a novel for him after Henri-Georges Clouzot had been faster in buying the rights for "Celle qui n'était plus" which became Diabolique (1955). The novel they wrote, "From Among the Dead", was shot as Vertigo (1958).
86He was director William Girdler's idol. Girdler made Day of the Animals (1977) borrowing elements from Hitchcock's The Birds (1963).
87When finishing a cup of tea while on the set, he would often non-discriminatingly toss the cup and saucer over his shoulder, letting it fall (or break) wherever it may.
88First visited Hollywood in the late 1930s, but was turned down by virtually all major motion picture studios because they thought he could not make a Hollywood-style picture. He was finally offered a seven-year directing contract by producer David O. Selznick. His first project was supposed to be a film about the Titanic, but Selznick scrapped the project because he "couldn't find a boat to sink." Selznick assigned Hitch to direct Rebecca (1940) instead, which later won the best picture Oscar.
89His bridling under the heavy hand of producer David O. Selznick was exemplified by the final scene of Rebecca (1940). Selznick wanted his director to show smoke coming out of the burning house's chimney forming the letter 'R'. Hitchcock thought the touch lacked any subtlety; instead, he showed flames licking at a pillow embroidered with the letter 'R'.
90From 1977 until his death, he worked with a succession of writers on a film to be known as "The Short Night". The majority of the writing was done by David Freeman, who published the final screenplay after Hitchcock's death.
91In the 1980 Queen's New Year's Honours list (only a few months before his death), he was named an Honorary (as he was a United States citizen) Knight Commander of the Order of the British Empire.
92Alma Reville and Hitchcock had one daughter, Patricia Hitchcock, who appeared in three of his movies: Stage Fright (1950), Strangers on a Train (1951) and Psycho (1960).
93He never won a best director Academy Award in competition, although he was awarded the Irving Thalberg Memorial Award at the 1967 Academy Awards.
94On April 29, 1974, the Film Society of Lincoln Center in New York sponsored a gala homage to Alfred Hitchcock and his contributions to the cinema. Three hours of film excerpts were shown that night. François Truffaut who had published a book of interviews with Hitchcock a few years earlier, was there that night to present "two brilliant sequences: the clash of the cymbals in the second version of The Man Who Knew Too Much (1956) , and the plane attack on Cary Grant in North by Northwest (1959)." After the gala, Truffaut reflected again on what made Hitchcock unique and concluded: "It was impossible not to see that the love scenes were filmed like murder scenes, and the murder scenes like love scenes...It occurred to me that in Hitchcock's cinema...to make love and to die are one and the same.".
95As a child, Hitchcock was sent to the local police station with a letter from his father. The desk sergeant read the letter and immediately locked the boy up for ten minutes. After that, the sergeant let young Alfred go, explaining, "This is what happens to people who do bad things." Hitchcock had a morbid fear of police from that day on. He also cited this phobia as the reason he never learned to drive (as a person who doesn't drive can never be pulled over and given a ticket). It was also cited as the reason for the recurring "wrong man" themes in his films.
96He appears on a 32-cent U.S. postage stamp, in the "Legends of Hollywood" series, that was released 8/3/98 in Los Angeles, California.
97Was close friends with Albert R. Broccoli, well known as the producer of the James Bond - 007 franchise. Hitchcock's North by Northwest (1959) was the influence for the helicopter scene in From Russia with Love (1963). Actors Sean Connery, Karin Dor, Louis Jourdan and Anthony Dawson have appeared in both a Hitchcock film and a Bond film.
98According to Hitchcock himself, he was required to stand at the foot of his mother's bed, and tell her what happened to him each day.
99He once dressed up in drag for a party he threw. Footage of this was kept in his office, but after his death, his office was cleaned out and the footage not found. It is not known if the footage still exists.
100According to many people who knew Hitchcock, he could not stand to even look at his wife, Alma Reville, while she was pregnant.

Actor

TitleYearStatusCharacter
Family Plot1976Silhouette at Office of Vital Statistics (uncredited)
Frenzy1972Spectator at Opening Rally (uncredited)
Topaz1969Man in Wheelchair at Airport (uncredited)
Torn Curtain1966Man in Hotel Lobby with Baby (uncredited)
The Alfred Hitchcock Hour1962-1965TV SeriesAlfred Hitchcock - Host
Marnie1964Man Leaving Hotel Room (uncredited)
The Birds1963Man Walking Dogs Out of Pet Shop (uncredited)
Alfred Hitchcock Presents1955-1962TV SeriesAlfred Hitchcock - Host / Alfred's Brother / Man on the Book Cover / ...
Psycho1960Man Outside Real Estate Office (uncredited)
North by Northwest1959Man Who Misses Bus (uncredited)
Vertigo1958Man Walking Past Elster's Office (uncredited)
The Wrong Man1956Prologue Narrator (uncredited)
Lux Video Theatre1954-1956TV SeriesLux Video Theatre Intermission Guest / Lux Video Theatre Guest
The Man Who Knew Too Much1956Man in Morocco Marketplace (uncredited)
The Trouble with Harry1955Man Walking Past Sam's Outdoor Exhibition (uncredited)
To Catch a Thief1955Man Sitting Next to John Robie on Bus (uncredited)
Rear Window1954Songwriter's Clock-winder (uncredited)
I Confess1953Man Crossing the Top of Long Staircase (uncredited)
Strangers on a Train1951Man Boarding Train Carrying a Double Bass (uncredited)
Stage Fright1950Man Staring at Eve on Street (uncredited)
Under Capricorn1949Man at Governor's Reception (uncredited)
Rope1948Man Walking in Street After Opening Credits (uncredited)
The Paradine Case1947Man Carrying Cello Case (uncredited)
Notorious1946Man Drinking Champagne at Party (uncredited)
Spellbound1945Man Leaving Elevator (uncredited)
Shadow of a Doubt1943Man on Train Playing Cards (uncredited)
Saboteur1942Man in Front of NY Drugstore (uncredited)
Suspicion1941Man Mailing Letter (uncredited)
Mr. & Mrs. Smith1941Man Passing David Smith on Street (uncredited)
Foreign Correspondent1940Man with Newspaper on Street (uncredited)
Rebecca1940Man Outside Phone Booth (uncredited)
The Lady Vanishes1938Man in London Railway Station (uncredited)
The Girl Was Young1937Photographer Outside Courthouse (uncredited)
Sabotage1936Man Walking Past The Cinema as the Light is Renewed (uncredited)
The 39 Steps1935Passerby Near the Bus (uncredited)
The Man Who Knew Too Much1934Man in the Raincoat Passing The Bus (uncredited)
Murder!1930Man on Street (uncredited)
Blackmail1929Man on Subway (uncredited)
Easy Virtue1928Man with Stick Near Tennis Court (uncredited)
The Ring1927/IMan-Dipping Attraction Worker (uncredited)
The Lodger1927Extra in Newspaper Office (uncredited)

Director

TitleYearStatusCharacter
Memory of the Camps2014TV Movie documentary
Frontline1985TV Series documentary 1 episode
Family Plot1976
Frenzy1972
Topaz1969
Torn Curtain1966
Marnie1964
The Birds1963
The Alfred Hitchcock Hour1962TV Series 1 episode
Alfred Hitchcock Presents1955-1961TV Series 17 episodes
Psycho1960
Startime1960TV Series 1 episode
North by Northwest1959
Vertigo1958
Suspicion1957TV Series 1 episode
The Wrong Man1956
The Man Who Knew Too Much1956
The Trouble with Harry1955
To Catch a Thief1955
Rear Window1954
Dial M for Murder1954
I Confess1953
Strangers on a Train1951
Stage Fright1950
Under Capricorn1949
Rope1948
The Paradine Case1947
Notorious1946
Spellbound1945
Watchtower Over Tomorrow1945Documentary short uncredited
The Fighting Generation1944Short uncredited
Aventure malgache1944Short
Bon Voyage1944Short
Lifeboat1944
Shadow of a Doubt1943
Saboteur1942
Suspicion1941
Mr. & Mrs. Smith1941
Foreign Correspondent1940
Rebecca1940
Jamaica Inn1939
The Lady Vanishes1938
The Girl Was Young1937
Sabotage1936
Secret Agent1936
The 39 Steps1935
The Man Who Knew Too Much1934
Strauss' Great Waltz1934
Number 171932
East of Shanghai1931
Mary1931
The Skin Game1931
Murder!1930
The Shame of Mary Boyle1930
Elstree Calling1930some sketches
An Elastic Affair1930Short
Sound Test for Blackmail1929Short documentary
Blackmail1929
The Manxman1929
Champagne1928
Easy Virtue1928
The Farmer's Wife1928
When Boys Leave Home1927
The Ring1927/I
The Lodger1927
The Mountain Eagle1926
The Pleasure Garden1925
Always Tell Your Wife1923Short uncredited
Number 131922unfinished

Producer

TitleYearStatusCharacter
Family Plot1976producer - uncredited
Frenzy1972producer - uncredited
Topaz1969producer - uncredited
Torn Curtain1966producer - uncredited
Marnie1964producer - uncredited
The Alfred Hitchcock Hour1964TV Series executive producer - 1 episode
The Birds1963producer - uncredited
Alcoa Premiere1962TV Series executive producer - 1 episode
Alfred Hitchcock PresentsTV Series producer - 7 episodes, 1955 - 1962 executive producer - 1 episode, 1956
Psycho1960producer - uncredited
North by Northwest1959producer - uncredited
Suspicion1957-1958TV Series executive producer - 25 episodes
Vertigo1958producer - uncredited
The Wrong Man1956producer - uncredited
The Man Who Knew Too Much1956producer - uncredited
The Trouble with Harry1955producer - uncredited
To Catch a Thief1955producer - uncredited
Rear Window1954producer - uncredited
Dial M for Murder1954producer - uncredited
I Confess1953producer - uncredited
Strangers on a Train1951producer - uncredited
Stage Fright1950producer - uncredited
Under Capricorn1949producer - uncredited
Rope1948producer - uncredited
Notorious1946producer - uncredited
Lifeboat1944producer - uncredited
Lord Camber's Ladies1932producer
Number 131922producer - uncredited

Writer

TitleYearStatusCharacter
Memory of the Camps2014TV Movie documentary treatment adviser
Gas2006Short story
Don't Give Me the Finger2005Short play - as Sir Alfred Hitchcock
Lifepod1993TV Movie short story
Alfred Hitchcock Presents1993Video Game original series
Notorious1946screenplay contributor - uncredited
Lifeboat1944story idea - uncredited
Forever and a Day1943uncredited
Saboteur1942story - uncredited
Round the Film Studios1937TV Series narrative script - 1 episode
Number 171932scenario
East of Shanghai1931adaptation
The Skin Game1931adaptation
Murder!1930adapted by
The Shame of Mary Boyle1930adaptation
Blackmail1929adapted by
Champagne1928writer
The Farmer's Wife1928uncredited
The Ring1927/Iwritten by
The Lodger1927uncredited
Dangerous Virtue1925
Die Prinzessin und der Geiger1925
The Passionate Adventure1924
White Shadows1924
Woman to Woman1923writer

Miscellaneous

TitleYearStatusCharacter
Tell Your Children1922title designer
The Man from Home1922title designer
The Spanish Jade1922title designer
Love's Boomerang1922title designer
Three Live Ghosts1922title designer - uncredited
The Call of Youth1921Short title designer
The Bonnie Brier Bush1921title designer
Dangerous Lies1921title designer
The Mystery Road1921title designer
Appearances1921title designer
The Princess of New York1921title designer
The Great Day1920title designer

Art Director

TitleYearStatusCharacter
Dangerous Virtue1925
Die Prinzessin und der Geiger1925
The Passionate Adventure1924
White Shadows1924
Woman to Woman1923
Tell Your Children1922
The Man from Home1922
The Spanish Jade1922
Three Live Ghosts1922

Assistant Director

TitleYearStatusCharacter
Dangerous Virtue1925assistant director
Die Prinzessin und der Geiger1925assistant director
The Passionate Adventure1924assistant director
White Shadows1924assistant director
Woman to Woman1923assistant director

Soundtrack

TitleYearStatusCharacter
Alfred Hitchcock Presents1993Video Game "Funeral March of a Marionette"
Volere volare1991"Funeral March of a Marionette"
The Magic of David Copperfield VII: Familiares1985TV Special "Funeral March of a Marionette"
The Magic of David Copperfield1978TV Special "Funeral March of a Marionette"
The Magic of ABC1977TV Special "Funeral March of a Marionette"

Editor

TitleYearStatusCharacter
Target for Tonight1941Documentary US version, uncredited
Men of the Lightship1941Documentary short US version, uncredited
White Shadows1924

Production Designer

TitleYearStatusCharacter
White Shadows1924

Set Decorator

TitleYearStatusCharacter
White Shadows1924

Thanks

TitleYearStatusCharacter
Variations on a High School Romance2010inspirational thanks
Adjusted2009Short special thanks
Indigo2009/IShort in memory of
Evocator2009Short grateful acknowledgment
Artists of the Roundtable2008Video documentary special thanks
Creature Story2008Short special thanks
Wingrave2007Video dedicatee
S1ngles2004TV Series dedicatee - 1 episode
Julie and Jack2003special thanks - as Mr. Alfred Hitchcock
Blyustiteli poroka2001TV Series dedicated to - 1 episode
As Long as He Lives1998Short dedicatee
Running Time1997special thanks
Psycho II1983the producers acknowledge the debt owed to - as Sir Alfred Hitchcock
High Anxiety1977dedicated to: the Master of Suspense
Dark Creekspecial thanks announced
Mysteria2016Short dedicatee
At Granny's House2015thanks
The Giant Deer2014Short special thanks
Lazarus: Apocalypse2014original inspiration
Intoxicated2013Short dedicatee
Dying 2 Meet U2012inspirational thanks
Tráiganme la Cabeza de la Mujer Metralleta2012acknowledgment
Him Indoors2012Short special thanks
The Circle of Men2011Short special thanks
The Waiting Room2011/IVShort special thanks
Edición Especial Coleccionista2011TV Series in memory of - 1 episode
Satisfied2011thanks
Tru Luv2010Short special thanks

Self

TitleYearStatusCharacter
AFI Life Achievement Award: A Tribute to James Stewart1980TV Special documentaryHimself / Speaker (uncredited)
AFI Life Achievement Award: A Tribute to Alfred Hitchcock1979TV Movie documentaryHimself
CBS: On the Air1978TV Mini-Series documentaryHimself
NBC: The First Fifty Years - A Closer Look, Part Two1978TV Movie documentaryHimself
The 29th Annual Primetime Emmy Awards1977TV SpecialHimself - Presenter
La nuit des Césars1977TV Series documentaryHimself
The Tonight Show Starring Johnny Carson1969-1976TV SeriesHimself - Guest
The Elstree Story1976TV Movie documentaryHimself
The World of Alfred Hitchcock1976TV Movie documentaryHimself
The 46th Annual Academy Awards1974TV SpecialHimself - Presenter: Jean Hersholt Humanitarian Award
The Men Who Made the Movies: Alfred Hitchcock1973TV Movie documentaryHimself
Tomorrow Coast to Coast1973TV SeriesHimself
V.I.P.-Schaukel1972TV Series documentaryHimself
Aquarius1972TV Series documentaryHimself
Camera Three1972TV SeriesHimself
The Dick Cavett Show1970-1972TV SeriesHimself
Film Night1972TV SeriesHimself
The 29th Annual Golden Globe Awards1972TV SpecialHimself
Yesterday's Witness1971TV SeriesHimself - Interviewee
Samedi soir1971TV SeriesHimself
Was haben Sie mit Jeffersen gemacht, Alfred?1970TV Movie documentaryHimself
Hollywood: The Selznick Years1969TV Movie documentaryHimself (uncredited)
The Mike Douglas Show1969TV SeriesHimself - Guest
Today1966-1969TV SeriesHimself
London aktuell1969TV Series documentaryHimself
The 40th Annual Academy Awards1968TV SpecialHimself (Thalberg Award Recipient)
Hinter der Leinwand1966TV Series documentaryHimself
Rezepte aus der Gruselküche - Alfred Hitchcock zu Gast beim Frankfurter Stammtisch1966TV MovieHimself
Film Preview1966TV SeriesHimself
Cinema1966TV Series documentaryHimself
Hitchcock on Grierson1965TV Movie documentaryHimself
Monitor1964TV Series documentaryHimself - Interviewee
Telescope1964TV Series documentaryHimself
CBS: The Stars' Address1963TV MovieHimself
Picture Parade1960TV Series documentaryHimself
Tactic1959TV SeriesHimself
Cinépanorama1956TV Series documentaryHimself
The Red Skelton Hour1955TV SeriesHimself / Award for Best Director
What's My Line?1954TV SeriesHimself - Mystery Guest #2
Ship's Reporter1948TV SeriesHimself
Show-Business at War1943Documentary shortHimself (uncredited)
Picture People No. 10: Hollywood at Home1942Documentary shortHimself
Round the Film Studios1937TV SeriesHimself - Director
Sound Test for Blackmail1929Short documentaryHimself

Archive Footage

TitleYearStatusCharacter
National Endowment for the Arts: United States of Arts2017TV Series documentary shortHimself
Stupéfiant!2016TV SeriesHimself
La otra sala: Clásicos2016TV Series documentary
Extra2015TV SeriesHimself
Pop Culture Beast's Halloween Horror Picks2015TV Series documentaryHimself
Hitchcock/Truffaut2015DocumentaryHimself
Talking Pictures2015TV Series documentaryHimself
Die Ringstraße - Trilogie eines Boulevards2015TV Mini-Series documentaryHimself
Reel Herstory: The Real Story of Reel Women2014DocumentaryHimself
Night Will Fall2014DocumentaryHimself
Top 40 Ultimate Action Movies2014TV Movie documentaryHimself
Missing Reel2014TV Mini-Series documentaryHimself
Memory of the Camps2014TV Movie documentaryHimself (uncredited)
Alfred Hitchcock: Master of Suspense2013DocumentaryHimself
What Is Cinema?2013DocumentaryHimself
Stars of the Silver Screen2013TV SeriesHimself
Perspectives2013TV Series documentaryHimself
Planeta Globalizado2013DocumentaryHimself
The One Show2013TV SeriesHimself
Amateur Night2011DocumentaryHimself
The Story of Film: An Odyssey2011TV Mini-Series documentaryHimself
Edición Especial Coleccionista2011TV SeriesHimself
Moguls & Movie Stars: A History of Hollywood2010TV Mini-Series documentaryHimself
The Psycho Legacy2010Video documentaryHimself
Fasten Your Seatbelt: The Thrilling Art of Alfred Hitchcock2009Video documentary shortHimself
Coming Attractions: The History of the Movie Trailer2009DocumentaryHimself
The Master's Touch: Hitchcock's Signature Style2009Video documentaryHimself
A Night at the Movies: The Suspenseful World of Thrillers2009TV Movie documentaryHimself
Dans le labyrinthe de Marienbad2009Video documentary short
Hollywood sul Tevere2009DocumentaryHimself
Legenden2009TV Series documentaryHimself
Il était une fois...2009TV Series documentaryHimself
Alfred Hitchcock in East London2009DocumentaryHimself
London Tonight2009TV SeriesHimself
Paul Merton Looks at Alfred Hitchcock2009TV Movie documentaryHimself
Made at Elstree: 80 Years of Making Movies, 20 Movie Memories2008Video documentary
American Masters1998-2008TV Series documentaryHimself / Himself - Interviewee
Mike Douglas: Moments & Memories2008VideoHimself
Spine Tingler! The William Castle Story2007DocumentaryHimself
Cinemassacre's Monster Madness2007TV Series documentaryHimself
Cámara negra. Teatro Victoria Eugenia2007TV Short documentaryHimself
Who Is Norman Lloyd?2007Documentary
British Film Forever2007TV Mini-Series documentaryHimself
Cannes, 60 ans d'histoires2007TV Movie documentaryHimself
Rick Stein in du Maurier Country2007TV Movie documentaryHimself (uncredited)
Hoge bomen: Pioniers2007TV Series documentaryHimself
Going to Pieces: The Rise and Fall of the Slasher Film2006DocumentaryHimself
Hitchcocked!2006TV Movie documentaryHimself
Billy Wilder Speaks2006TV Movie documentaryHimself
Silent Britain2006TV Movie documentaryHimself
Un écran nommé désir2006TV Movie documentaryHimself
Multilingual Murder: A Conversation Between Alfred Hitchcock and François Truffaut2006Video documentary shortHimself
Filmmakers in Action2005DocumentaryHimself (uncredited)
Shepperton Babylon2005TV Movie documentaryHimself
Fantástico 30 Anos - Grandes Reportagens2004Video documentaryHimself
Hitchcock and Dial M2004Video documentary shortHimself (uncredited)
Personal History: Foreign Hitchcock2004Video documentary shortHimself
The Hitchcocks on Hitch2004Video documentary shortHimself
Le fantôme d'Henri Langlois2004Documentary
Épreuves d'artistes2004TV Movie documentaryHimself
101 Biggest Celebrity Oops2004TV Special documentaryHimself - #85: Psycho: The Remake
The 100 Greatest Scary Moments2003TV Movie documentaryHimself
Living Famously2003TV Series documentaryHimself
Sendung ohne Namen2002TV Series documentaryHimself
Alfred Hitchcok and To Catch a Thief: An Appreciation2002Video shortHimself
Making of 'To Catch a Thief'2002Video documentaryHimself
Reel Radicals: The Sixties Revolution in Film2002TV Movie documentaryHimself (Psycho (1960) trailer footage) (uncredited)
Who Is Alan Smithee?2002TV Movie documentaryHimself (uncredited)
Biography1998-2001TV Series documentaryHimself / Himself - Director
Legends2001TV Series documentaryHimself
Cinéma, de notre temps2001TV Series documentaryHimself
Plotting 'Family Plot'2001Video documentaryHimself
Screenwriter John Michael Hayes on 'Rear Window'2001Video documentary shortHimself (uncredited)
The Story of 'Frenzy'2001Video documentaryHimself - Director, Frenzy
'Rear Window' Ethics: Remembering and Restoring a Hitchcock Classic2000Video documentaryHimself
All About 'The Birds'2000Video documentaryHimself
Destination Hitchcock: The Making of 'North by Northwest'2000Video documentary shortHimself
The Trouble with Marnie2000TV Movie documentaryHimself
Inside 'Dr. No'2000Video documentary shortHimself
Hitchcock: Shadow of a Genius1999TV Movie documentaryHimself
Reputations1999TV Series documentaryHimself
Hitchcock: The Early Years1999Video documentary shortHimself
The 20th Century: A Moving Visual History1999TV Mini-Series documentaryHimself
The Best of Hollywood1998TV Movie documentaryHimself
François Chalais, la vie comme un roman1997TV Movie documentaryHimself
The Making of 'Psycho'1997Video documentaryHimself
François Truffaut: The Man Who Loved Cinema - Love & Death1996TV Movie documentaryHimself
Lights, Camera, Action!: A Century of the Cinema1996TV Mini-Series documentaryHimself
The Universal Story1995TV Movie documentaryHimself
Citizen Langlois1995TV Movie documentaryHimself
Tales from the Crypt1995TV SeriesHimself
Cinema Europe: The Other Hollywood1995TV Mini-Series documentaryHimself
Family Portraits1995TV Mini-Series documentaryHimself
Hitchcock: Alfred the Great1994TV Movie documentaryHimself (uncredited)
François Truffaut: Portraits volés1993DocumentaryHimself
Alfred Hitchcock Presents1993Video GameAlfred Hitchcock
Alfred Hitchcock: The Art of Making Movies1990ShortHimself
Alfred Hitchcock Presents1985-1989TV SeriesHimself - Host / Himself
AFI Life Achievement Award: A Tribute to Jack Lemmon1988TV Special documentaryHimself
Frontline1985TV Series documentaryHimself
Terror in the Aisles1984DocumentaryHimself (uncredited)
Ingrid1984DocumentaryHimself
Margret Dünser, auf der Suche nach den Besonderen1981TV Movie documentaryHimself
The 53rd Annual Academy Awards1981TV SpecialHimself
Midi Trente1972TV SeriesHimself
Mondo Hollywood1967DocumentaryHimself (uncredited)

Won Awards

YearAwardCeremonyNominationMovie
1994Posthumous AwardAcademy of Science Fiction, Fantasy & Horror Films, USA
1984JussiJussi AwardsBest Foreign Filmmaker
1979Life Achievement AwardAmerican Film Institute, USA
1974Gala TributeFilm Society of Lincoln Center
1972Cecil B. DeMille AwardGolden Globes, USA
1971Academy FellowshipBAFTA Awards
1971Golden LaurelLaurel AwardsBest Producer-Director
1970Golden LaurelLaurel AwardsProducer-Director
1970NBR AwardNational Board of Review, USABest DirectorTopaz (1969)
1968Irving G. Thalberg Memorial AwardAcademy Awards, USA
1968Lifetime Achievement AwardDirectors Guild of America, USA
1966Golden LaurelLaurel AwardsProducer-Director
1964Golden LaurelLaurel AwardsTop Producer/Director
1962Golden LaurelLaurel AwardsTop Producer/Director
1961Golden LaurelLaurel AwardsTop Producer/Director
1960Golden LaurelLaurel AwardsTop Producer/Director
1960Star on the Walk of FameWalk of FameMotion PictureOn 8 February 1960. At 6506 Hollywood Blvd.
1960Star on the Walk of FameWalk of FameTelevisionOn 8 February 1960. At 7013 Hollywood Blvd.
1959Golden LaurelLaurel AwardsTop Producer/Director
1959Silver SeashellSan Sebastián International Film FestivalNorth by Northwest (1959)
1958Golden GlobeGolden Globes, USABest TV ShowAlfred Hitchcock Presents (1955)
1958Silver SeashellSan Sebastián International Film FestivalVertigo (1958)
1950MentionLocarno International Film FestivalStage Fright (1950)
1948Kinema Junpo AwardKinema Junpo AwardsBest Foreign Language FilmSuspicion (1941)
1939NYFCC AwardNew York Film Critics Circle AwardsBest DirectorThe Lady Vanishes (1938)

Nominated Awards

YearAwardCeremonyNominationMovie
1973Golden GlobeGolden Globes, USABest Director - Motion PictureFrenzy (1972)
1968Golden LaurelLaurel AwardsProducer-Director6th place.
1961OscarAcademy Awards, USABest DirectorPsycho (1960)
1961DGA AwardDirectors Guild of America, USAOutstanding Directorial Achievement in Motion PicturesPsycho (1960)
1960DGA AwardDirectors Guild of America, USAOutstanding Directorial Achievement in Motion PicturesNorth by Northwest (1959)
1959Primetime EmmyPrimetime Emmy AwardsBest Direction of a Single Program of a Dramatic Series - Less Than One HourAlfred Hitchcock Presents (1955)
1959DGA AwardDirectors Guild of America, USAOutstanding Directorial Achievement in Motion PicturesVertigo (1958)
1957Primetime EmmyPrimetime Emmy AwardsBest Male Personality - Continuing Performance
1957DGA AwardDirectors Guild of America, USAOutstanding Directorial Achievement in Motion PicturesThe Trouble with Harry (1955)
1957DGA AwardDirectors Guild of America, USAOutstanding Directorial Achievement in Motion PicturesThe Man Who Knew Too Much (1956)
1956Primetime EmmyPrimetime Emmy AwardsBest MC or Program Host - Male or Female
1956Primetime EmmyPrimetime Emmy AwardsBest Director - Film SeriesAlfred Hitchcock Presents (1955)
1956Palme d'OrCannes Film FestivalThe Man Who Knew Too Much (1956)
1955OscarAcademy Awards, USABest DirectorRear Window (1954)
1955DGA AwardDirectors Guild of America, USAOutstanding Directorial Achievement in Motion PicturesRear Window (1954)
1955DGA AwardDirectors Guild of America, USAOutstanding Directorial Achievement in Motion PicturesDial M for Murder (1954)
1955Golden LionVenice Film FestivalTo Catch a Thief (1955)
1954Golden LionVenice Film FestivalRear Window (1954)
1953Grand Prize of the FestivalCannes Film FestivalI Confess (1953)
1952DGA AwardDirectors Guild of America, USAOutstanding Directorial Achievement in Motion PicturesStrangers on a Train (1951)
1947Grand International AwardVenice Film FestivalSpellbound (1945)
1946OscarAcademy Awards, USABest DirectorSpellbound (1945)
1946Grand Prize of the FestivalCannes Film FestivalNotorious (1946)
1945OscarAcademy Awards, USABest DirectorLifeboat (1944)
1941OscarAcademy Awards, USABest DirectorRebecca (1940)

2nd Place Awards

YearAwardCeremonyNominationMovie
1967Golden LaurelLaurel AwardsProducer-Director
1965Golden LaurelLaurel AwardsProducer-Director
1963Golden LaurelLaurel AwardsTop Producer/Director
1958Golden LaurelLaurel AwardsTop Producer/Director
1954NYFCC AwardNew York Film Critics Circle AwardsBest DirectorRear Window (1954)
1936NYFCC AwardNew York Film Critics Circle AwardsBest DirectorThe Man Who Knew Too Much (1934)

Known for movies

Source
IMDB Wikipedia

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