Segments in this Video

Today on "Camera Three" (03:02)


James Macandrew explains that Pia Lindstrom will interview Alfred Hitchcock on his aesthetics and technique in the first part and William Everson will discuss Hitchcock's early influences during the second. The director performs a cameo appearance in each of his films.

Method Actors Are Like Children (04:12)

Hitchcock describes how he wants to make the audience scream and recounts his scariest personal moment. If James Stewart were a method actor, "Rear Window" could not have been made. Hitchcock recalls working with Montgomery Cliff in "I Confess."

Working with Actors (03:17)

It took an entire morning to get one close-up in "Jamaica Inn." Hitchcock explains that the toughest things to film are dogs, babies, motorboats, and Laughton. He prefers using Northern European blonde women as leading ladies because their sexuality is more subtle.

Film Genres (03:21)

Hitchcock explains that fetishes do not relate to suspense and examines the difference between suspense, mystery, thriller and who done it. Suspense is created in "Notorious" when Claude Rains confesses to his mother that Ingrid Bergman is an American agent. Watch the excerpt of the film.

Ideal Villains (02:08)

Hitchcock explains that villains must be charming and acceptable members of society or no women would be murdered. Watch a clip from "Frenzy."

Humor Deflates Suspense (03:52)

Watch a clip from "The 39 Steps" where Madeleine Carroll refuses to return Robert Donat's embrace to humorous effect. Hitchcock compares heavy-handed filmmaking to a woman watching a film about washing dishes. Watch a clip from "North by Northwest."

"Spellbound" (02:07)

"The House of Doctor Edwards" inspired the movie, but Hitchcock did not end up using it. Ben Hecht wrote the screenplay about a man who starts having weird outbursts to lines. Hitchcock explains it serves as a metaphor for a psychiatrist examining his or her patient.

"Strangers in the Train" (04:58)

The audience wondering how the hero will get out of his predicament creates suspense. Hitchcock shot the tennis match at Forrest Hills during a Davis Cup match. Watch an excerpt of the film of the tennis match intercut with Bruno accidentally dropping Guy's lighter down a storm drain.

Fame and Success (01:37)

Hitchcock recalls how pleased he felt at reactions to strangers in Tel Aviv and Copenhagen. (Credits)

"Number 17" (04:04)

Influenced by German styles of cinematography, Hitchcock used sight and sound to create shock and surprise. William Everson wants to concentrate Hitchcock's earlier films in his interview. Hitchcock discusses working at Babelsberg Studios with F. W. Murnau and Graham Cutts. "The Last Laugh" was the first film created without titles, sound, or description.

"The Lodger" (03:52)

British filmmakers of the period borrowed German technique and talent to film their movies. Hitchcock shot his first two films in Munich, but returned to Britain to shoot "The Lodger." The director discusses how he demonstrated sound pictorially and explains why he felt the opening montage was so successful.

"The Man Who Knew Too Much" (03:52)

Watch an excerpt of the film where Pierre Fresnay is fatally shot. Hitchcock describes why he changed the climax of the film in the remake with James Stewart.

Directing the Audience (02:04)

Hitchcock feels that he learned how to manipulate the audience during his time in America. Wanting to avoid the cliché of having the actor pick up the poisonous glass multiple times, he shot the scene through it in "The Lady Vanishes." The film director has never shot a purely physical chase scene.

Chase Sequences (04:12)

Hitchcock always avoids crosscutting in a chase scene and explains his technique in "The Birds." Watch an excerpt of the scene where the teacher informs the students how to leave the schoolhouse. Everson and Hitchcock discuss the chase sequence in "Number 17."

Moving to Hollywood (03:44)

Hitchcock wanted a challenge and thought Hollywood would give him that. Originally he was supposed to shoot "Titanic" and the producer wanted to purchase the Leviathan and sink it in Santa Monica bay. Everson and Hitchcock discuss how "The Saboteur" was a remake of "The 39 Steps" and similar shots in "Young and Innocent" and "Notorious."

Specific Shots (02:59)

Hitchcock and Everson discuss why the film director included establishing shots in "Foreign Correspondent" and "Life Boat." Hitchcock explains how he created the visual effect of the plane falling out of the sky and the water rushing in.

Filmmaking is Fun (03:07)

Hitchcock does not want to remake his films or only create storyboards for a film and allow another to direct. Everson describes how film students after their second year produce films akin to Hitchcock's style.

Credits: Alfred Hitchcock (00:27)

Credits: Alfred Hitchcock

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Alfred Hitchcock

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Film director Hitchcock discusses his life and career in long talks with (1) Pia Lindstrom (newscaster and daughter of Hitchcock star Ingrid Berman) and with (2) film historian William Everson. Excerpts from several films iillustrate these interviews.

Length: 58 minutes

Item#: BVL128495

ISBN: 978-1-64023-327-0

Copyright date: ©1972

Closed Captioned

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