15 Fascinating Facts About Alfred Hitchcock

Peter Dunne, Express/Getty Images
Peter Dunne, Express/Getty Images

The shower scene in Psycho. The biplane chase in North by Northwest. The gas station attack in The Birds. They’re some of the most memorable and terrifying scenes in cinema history—and they came from the mind of one man: Alfred Hitchcock. The Master of Suspense, who went by the nickname “Hitch,” is also one of the most recognizable Hollywood icons, and his life was as fascinating as his films. Here are 15 things you might not have known about the legendary filmmaker.

1. HE WAS AFRAID OF LAW ENFORCEMENT ... AND BREAKFAST.

Hitchcock’s mastery of thrillers may have earned him the nickname the “Master of Suspense,” but the plucky filmmaker had phobias of his own.

His lifelong fear of police stemmed from an incident in his childhood when his strict father, William, punished him by sending him to the local Leytonstone police station on the outskirts of his family's home in east London. “I was just sent along with a note, I must have been four or five years of age, and the head of the police read it and then put me into the cell and said, ‘That’s what we do to naughty boys,’” Hitchcock later recalled of the experience.

Also, omelettes were decidedly not his favorite breakfast food. "I'm frightened of eggs, worse than frightened, they revolt me," he once said in an interview. "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."

2. HIS BEGAN HIS WORK IN SILENT FILMS.

Known for the complex title sequences in his own films, Hitchcock began his career in cinema in the early 1920s, designing the art title cards featured in silent films. The gig was at an American company based in London called the Famous Players-Lasky Company (it would later become Paramount Pictures, which produced five Hitchcock-directed films). As Hitchcock later told French filmmaker François Truffaut in their infamous Hitchcock/Truffaut conversations, “It was while I was in this department, you see, that I got acquainted with the writers and was able to study the scripts. And, out of that, I learned the writing of scripts.” The experience also led Hitch to try his hand at actual filmmaking. “If an extra scene was wanted, I used to be sent out to shoot it,” he told Truffaut.

3. HE LEARNED FROM ANOTHER CINEMA MASTER.

In 1924, Hitchcock and his wife Alma were sent to Germany by Gainsborough Pictures—the British production company where he was under contract—to work on two Anglo-German films called The Prude’s Fall and The Blackguard. While working in Neubabelsberg, Hitchcock was taken under the wing of expressionist filmmaker F.W. Murnau, who created the chilling Dracula adaptation Nosferatu, and was shooting a silent film called The Last Laugh. “From Murnau,” Hitchcock later said, “I learned how to tell a story without words.”

4. MOST OF HIS EARLY FILMS ARE LOST, BUT A 1923 SILENT MELODRAMA WAS FOUND IN NEW ZEALAND.

Only nine of Hitchcock’s earliest silent films still exist. The earliest surviving film he worked on, a 1923 melodrama titled The White Shadow—about twin sisters, one good, one evil—was thought lost until three of the film’s six reels were found sitting unmarked in the New Zealand Film Archive in 2011. The film reels were originally donated to the Archive in 1989 by the grandson of a Kiwi projectionist and collector.

While the film was technically directed by leading 1920s filmmaker Graham Cutts, the 24-year-old Hitchcock served as the film’s screenwriter, assistant director, and art director.

5. HE BROUGHT SOUND TO BRITISH MOVIES.

The 1929 movie Blackmail, about a murder investigation headed up by the murderer’s fiance, was Hitchcock’s first hit film, and also the first “talkie” film released in Britain. (The first full-length talkie, The Jazz Singer, was released in the U.S. in 1927.)

While Blackmail was originally conceived and created as a silent film, the final cut was dubbed with synchronized sound added in post-production using then-state of the art audio equipment imported from the U.S.

6. HE POPPED UP ON SCREEN ALL THE TIME.

The most constant image in Hitchcock’s films seem to be Hitchcock himself. The filmmaker perfected the art of the cameo, making blink-and-you’ll-miss-them appearances in 39 of his own films.

His trickier appearances include the single-location film Lifeboat, where he appears in a weight-loss advertisement in a newspaper read by one of the film’s characters. The only film he actually speaks in is 1956’s The Wrong Man; his traditional cameo is replaced by a silhouetted narration in the introduction. That replaced a scrapped cameo of the director exiting a cab in the opening of the film.

7. HE WAS AS SUCCESSFUL IN FRONT OF THE CAMERA ON THE SMALL SCREEN AS HE WAS BEHIND THE CAMERA ON THE BIG SCREEN.

By 1965, Hitchcock was a household name. That was the same year his long-running anthology TV series, Alfred Hitchcock Presents—which began in 1955 and was later renamed The Alfred Hitchcock Hour after episode lengths were stretched from 25- to 50-minute runtimes—came to an end.

The series was known for its title sequence featuring a caricature of Hitchcock's distinctive profile, which was replaced by Hitchcock himself in silhouette. But Hitchcock also appeared after the title sequence to introduce each new story. At least two versions of the opening were shot for every episode: An American opening specifically poked fun at the show’s network advertisers, while Hitchcock usually used the European opening to poke fun at American audiences in general.

7. HE LITERALLY WROTE THE ENCYCLOPEDIA ENTRY ON HOW TO MAKE MOVIES.

The filmmaker would write (at least part of) the book on the medium that made him famous.

Hitchcock personally contributed to writing a portion of the “Motion Pictures, Film Production” entry in the 14th edition of the Encyclopedia Britannica, giving typically cheeky first-hand insight into the fundamentals and technical aspects of filmmaking.

On the practice of moving the camera during a shot, Hitchcock wrote, “it is wrong to suppose, as is all too commonly the case, that the screen of the motion picture lies in the fact that the camera can roam abroad, can go out of the room, for example, to show a taxi arriving. This is not necessarily an advantage and it can so easily be merely dull.”

8. HE POPULARIZED THE MACGUFFIN.

Even if you don’t know it by name, you know what it is. The MacGuffin is the so-called motivating element that drives a movie’s plot forward. Think: the eponymous statue in The Maltese Falcon, or the briefcase in Pulp Fiction, or the airplane engine plans in Hitch’s own The 39 Steps.

The term was coined by Angus MacPhail (note the prefix in his surname), Hitchcock’s screenwriting collaborator on films like Spellbound and The Man Who Knew Too Much. Even though such plot details were supposed to be important, Hitchcock didn’t seem to think they truly mattered. “The main thing I've learned over the years is that the MacGuffin is nothing. I'm convinced of this, but I find it very difficult to prove it to others,” Hitchcock told Truffaut in 1962, highlighting how the audience never finds out why the government secrets (a.k.a. the MacGuffin) in North by Northwest truly matter. “Here, you see,” Hitchcock said, “the MacGuffin has been boiled down to its purest expression: nothing at all!”

9. HE SCRAPPED HIS OWN DOCUMENTARY ABOUT THE HOLOCAUST.

Hitch’s films flirted with mentioning the escalating tensions in Europe that would spark World War II, like in the shocking plane crash climax of 1940’s Foreign Correspondent. But the film Hitchcock collaborated on about the explicit horrors of the war would go unseen for decades.

Memory of the Camps, a 1945 documentary filmed by crews who accompanied the Allied armies that liberated those in the Nazi death camps at the end of the war, was stored in a vault in the Imperial War Museum in London until 1985. Originally commissioned by the British Ministry of Information and the American Office of War Information, Hitchcock served as a “treatment advisor” at the behest of his friend Sidney Bernstein, who is the credited director of the film. But the final film was scrapped because it was deemed counterproductive to German postwar reconstruction.

The film was put eventually together as an episode of PBS’s FRONTLINE, and aired on May 7, 1985 to mark the 40th anniversary of the liberation of the camps.

10. HE DIDN’T WANT YOU TO SEE FIVE OF HIS MOST FAMOUS FILMS FOR DECADES.

Vertigo may have topped many best-of movie polls, but for over 20 years, between 1961 and 1983, it and four other Hitchcock classics were almost virtually impossible to see. It turns out it was Hitchcock’s fault that Vertigo, Rear Window, Rope, The Trouble with Harry, and The Man Who Knew Too Much were purposefully unavailable to the general public.

The filmmaker personally secured full ownership to the rights of the five films per a contingency clause in the multi-film deal he made with Paramount Pictures in 1953. Eight years after the release of each film, the rights reverted back to Hitchcock, which, in the years before Blu-ray and DVD, seemed like a financially savvy move on Paramount’s part. Three years after Hitch’s death in 1980, Universal Pictures acquired the film rights to all five classics, making them available once again.

11. HE DIDN’T WANT TO WORK WITH JIMMY STEWART AFTER VERTIGO.

Everyman actor Jimmy Stewart worked with Hitchcock a number of times, including as the nosy, wheelchair-bound photographer in Rear Window, and as the dastardly murderer in the “one-take” film Rope. After Stewart appeared in Vertigo in 1958, the actor prepared to appear in Hitchcock’s follow-up a year later, North by Northwest. But Hitch had other plans.

The director felt that one of the main reasons Vertigo wasn’t more of a smash hit was because of its aging star, and vowed to never use Stewart in any film ever again. Hitch wanted actor Cary Grant instead, and, according to author Marc Eliot’s book, Jimmy Stewart: A Biography, “Hitchcock, as was his nature, did not tell Jimmy there was no way he was going to get North by Northwest.” But when Stewart grew tired of waiting, and took a part in the movie Bell Book and Candle instead, “Hitchcock used that as his excuse, allowing him to diplomatically avoid confronting Jimmy and maintaining their personal friendship, which both valued.”

12. HE PERSONALLY FUNDED PSYCHO.

When Hitchcock approached Paramount Pictures—where he was under contract—to put up the money to make Psycho, the studio balked at the salacious story. So Hitchcock financed the movie himself, foregoing his normal salary in exchange for 60 percent ownership of the rights to the film; Paramount agreed to distribute the film. To cut costs even more, the filmmaker enlisted his relatively cheaper Alfred Hitchcock Presents TV crew and shot the film on less pricey black and white film. Hitch’s gamble worked: He reportedly personally earned $6 million from Psycho—about $50 million in today's dollars.

13. HE WOULDN'T ALLOW THEATERS TO LET ANYONE—NOT EVEN THE QUEEN OF ENGLAND—IN TO SEE PSYCHO ONCE IT HAD STARTED.

Psycho (1960) has one of the best twists in movie history—and Hitchcock went to great lengths to not only make sure audiences didn’t spoil that twist, but to make sure they enjoyed the entire movie before the twist.

Hitchcock attempted to buy all copies of author Robert Bloch’s source novel to keep the twist under wraps in cities where the movie opened. The promotional rollout of the film was controlled by Hitchcock himself, and he barred stars Janet Leigh and Anthony Perkins from doing interviews about the movie. He also demanded that theaters in New York, Chicago, Boston, and Philadelphia adhere to strict theatrical showtimes and not allow admittance after the movie had started.

Marketing materials for Psycho included lobby cards meant to be prominently displayed with the message, “We won't allow you to cheat yourself. You must see PSYCHO from the very beginning. Therefore, do not expect to be admitted into the theatre after the start of each performance of the picture. We say no one—and we mean no one—not even the manager's brother, the President of the United States, or the Queen of England (God bless her)!”

14. HE LOVED MOVIES THAT WERE NOT "HITCHCOCKIAN."

The filmmaker had a habit of screening films in his studio lot office every Wednesday, and his daughter Patricia revealed that one of his favorite films—and, in fact, the last movie he personally screened before his death—was the 1977 Burt Reynolds movie Smokey and the Bandit.

15. HE NEVER WON AN OSCAR.

Hitchcock is in the bittersweet class of venerable filmmakers like Stanley Kubrick, Orson Welles, Charlie Chaplin, Ingmar Bergman, and more who never received their industry’s highest honor as Best Director. Hitchcock did get Oscar nominations for directing Rebecca (which took home Best Picture), Lifeboat, Spellbound, Rear Window, and Psycho. But he personally went home empty-handed every time.

When the Academy finally honored him with the Irving G. Thalberg Memorial Award in 1967, his long-time-coming speech was only five words long: “Thank you, very much indeed.”

All 73 Game of Thrones Episodes Ranked, According to IMDb Users

Kit Harington in "The Battle of the Bastards" episode of Game of Thrones
Kit Harington in "The Battle of the Bastards" episode of Game of Thrones
HBO

Next time you're in the middle of a large gathering of Game of Thrones fans, try this little experiment: Ask them to rattle of their five favorite episodes of the series, in order of preference. While you'll likely hear some of the same titles—"The Rains of Castamere" and "Battle of the Bastards" are practically givens—the order in which each person's favorite episodes rank will surely vary, as entertainment is a subjective thing.

Though it may be impossible to create a definitive ranking of the best Game of Thrones episodes, you can find a general consensus—just like IMDb has. And according to the online movie database's users, "The Rains of Castamere" (a.k.a. The Red Wedding episode), "Hardhome," "Battle of the Bastards," and "The Winds of Winter" each score a near-perfect 9.9 out of 10.

At the bottom of the list for these same users? "The Iron Throne," the series finale that has audiences divided and only managed to score a 4.6 rating on the site so far (though that's according to more than 100,000 people—and growing).

Where does your favorite episode rank? Check out IMDb's ranking of all 73 episodes of the series below to find out.

  1. “The Rains of Castamere,” Season 3, Episode 9 // 9.9
  2. “Hardhome,” Season 5, Episode 8 // 9.9
  3. “Battle of the Bastards,” Season 6, Episode 9 // 9.9
  4. “The Winds of Winter,” Season 6, Episode 10 // 9.9
  5. “The Spoils of War,” Season 7, Episode 4 // 9.8
  6. “Blackwater,” Season 2, Episode 9 // 9.7
  7. “The Children,” Season 4, Episode 10 // 9.7
  8. “The Laws of Gods and Men,” Season 4, Episode 6 // 9.7
  9. “The Mountain and the Viper,” Season 4, Episode 8 // 9.7
  10. “The Lion and the Rose,” Season 5, Episode 2 // 9.7
  11. “The Door,” Season 6, Episode 5 // 9.7
  12. “Baelor,” Season 1, Episode 9 // 9.6
  13. “And Now His Watch Is Ended,” Season 3, Episode 4 // 9.6
  14. “The Watchers on the Wall,” Season 4, Episode 9 // 9.6
  15. “Fire and Blood,” Season 1, Episode 10 // 9.5
  16. “The Dance of Dragons,” Season 5, Episode 9 // 9.5
  17. “The Dragon and the Wolf,” Season 7, Episode 7 // 9.5
  18. “Valar Morghulis,” Season 2, Episode 10 // 9.4
  19. “Home,” Season 6, Episode 2 // 9.4
  20. “You Win or You Die,” Season 1, Episode 8 // 9.3
  21. “The Queen’s Justice,” Season 7, Episode 3 // 9.3
  22. “A Golden Crown,” Season 1, Episode 6 // 9.2
  23. “Mhysa,” Season 3, Episode 10 // 9.2
  24. “Mockingbird,” Season 4, Episode 7 // 9.2
  25. “Book of the Stranger,” Season 6, Episode 4 // 9.2
  26. “Winter is Coming,” Season 1, Episode 1 // 9.1
  27. “The Wolf and the Lion,” Season 1, Episode 5 // 9.1
  28. “The Pointy End,” Season 1, Episode 8 // 9.1
  29. “The Old Gods and the New,” Season 2, Episode 6 // 9.1
  30. “Kissed by Fire,” Season 3, Episode 5 // 9.1
  31. “Second Songs,” Season 3, Episode 8 // 9.1
  32. “Two Swords,” Season 4, Episode 1 // 9.1
  33. “The Gift,” Season 5, Episode 7 // 9.1
  34. “Mother’s Mercy,” Season 5, Episode 10 // 9.1
  35. “Beyond the Wall,” Season 7, Episode 6 // 9.1
  36. “A Man Without Honor,” Season 2, Episode 7 // 9.0
  37. “Stormborn,” Season 7, Episode 2 // 9.0
  38. “The North Remembers,” Season 2, Episode 1 // 8.9
  39. “What Is Dead May Never Die,” Season 2, Episode 3 // 8.9
  40. “Garden of Bones,” Season 2, Episode 4 // 8.9
  41. “The Ghost of Harrenhal,” Season 2, Episode 5 // 8.9
  42. “The Prince of Winterfell,” Season 2, Episode 8 // 8.9
  43. “The Climb,” Season 3, Episode 6 // 8.9
  44. “Valar Dohaeris,” Season 3, Episode 1 // 8.9
  45. “Walk of Punishment,” Season 3, Episode 3 // 8.9
  46. “Breaker of Chains,” Season 4, Episode 3 // 8.9
  47. “Oathkeeper,” Season 4, Episode 4 // 8.9
  48. “Eastwatch,” Season 7, Episode 5 // 8.9
  49. “The Kingsroad,” Season 1, Episode 2 // 8.8
  50. “Cripples, Bastards, and Broken Things,” Season 1, Episode 4 // 8.8
  51. “The Bear and the Maiden Fair,” Season 3, Episode 7 // 8.8
  52. “First of His Name,” Season 5, Episode 5 // 8.8
  53. “Sons of the Harpy,” Season 5, Episode 4 // 8.8
  54. “Oathbreaker,” Season 6, Episode 3 // 8.8
  55. “Lord Snow,” Season 1, Episode 3 // 8.7
  56. “Dark Wings, Dark Words,” Season 5, Episode 2 // 8.7
  57. “Kill the Boy,” Season 5, Episode 5 // 8.7
  58. “The Broken Man,” Season 6, Episode 7 // 8.7
  59. “Dragonstone,” Season 7, Episode 1 // 8.7
  60. “The Night Lands,” Season 2, Episode 2 // 8.6
  61. “The Wars to Come,” Season 5, Episode 1 // 8.6
  62. “The House of Black and White,” Season 5, Episode 2 // 8.6
  63. “High Sparrow,” Season 5, Episode 3 // 8.6
  64. “The Red Woman,” Season 6, Episode 1 // 8.6
  65. “Blood of My Blood,” Season 6, Episode 6 // 8.5
  66. “No One,” Season 6, Episode 8 // 8.5
  67. “A Knight of the Seven Kingdoms,” Season 8, Episode 2 // 8.2
  68. “Unbowed, Unbent, Unbroken,” Season 5, Episode 6 // 8.1
  69. “Winterfell,” Season 8, Episode 1 // 7.9
  70. “The Long Night,” Season 8, Episode 3 // 7.8
  71. “The Bells,” Season 8, Episode 5 // 6.5
  72. “The Last of the Starks,” Season 8, Episode 4 // 5.9
  73. “The Iron Throne,” Season 8, Episode 6 // 4.6

6 Things You Might Have Missed in 'The Iron Throne,' Game of Thrones's Series Finale

Gwendoline Christie in "The Iron Throne," Game of Thrones's series finale
Gwendoline Christie in "The Iron Throne," Game of Thrones's series finale
Helen Sloan, HBO

No matter how you feel about "The Iron Throne," Game of Thrones's series finale, it goes without saying that many fans of the show are in a state of mourning right now. One of the greatest shows in television history has come to an end. And while the ending, unsurprisingly, didn't please everyone, we're still sad to see the series go.

You can, of course, re-watch Game of Thrones at any time—and a repeat viewing of the finale might be a good idea. Emotions were running high during the final episode, which means that you might have missed a few small-but-important details.

1. The Opening Sequence Tweak that Signified the End of the Lannisters' Reign

Game of Thrones's opening credits are regularly tweaked to illustrate changes within the Seven Kingdoms. So it would make sense that the finale’s opening credits contained a few adjustments to account for the destruction of King’s Landing in "The Bells." One change that might have gone unnoticed by many was that above the Iron Throne, the lion head representing House Lannister was absent, signaling that Cersei Lannister was no longer the queen.

2. Daenerys's Depiction as the Angel of Death

Many fans on social media were quick to point out how beautiful the shot of Drogon flying up behind Daenerys was toward the beginning of the episode, which momentarily made it look as if the Mother of Dragons had her own wings. But it also made her look like an angel of death, with the dark lighting and considering the darker tone of the scene. This, of course, seemed to foreshadow her death, which came shortly thereafter at the hands of Jon Snow.

3. An Obvious Nod to The Lord of the Rings

There are multiple references to The Lord of the Rings throughout Game of Thrones, but the finale saw one major parallel between the two fantasy franchises. As Vanity Fair predicted, Game of Thrones's Iron Throne basically became the ring from The Lord of the Rings. And unfortunately, that brings up a comparison between Daenerys and Gollum.

“Like Tolkien’s Ring of Power, the Iron Throne seems to corrupt and breaks all who touch it and all that would possess it. You win the game of thrones, or you die. Daenerys may want the throne the most, and, arguably, has done the most to get it,” Vanity Fair wrote.

Ultimately, the final episode showed the Iron Throne being destroyed—just as the ring was in The Lord of the Rings—and Daenerys was brought down with it. While it’s difficult to see similarities between Dany and a character like Gollum, they did meet very similar fates.

4. Brienne’s Callback to Season 4

Although Brienne of Tarth had her heart broken by Jaime Lannister, she still took it upon herself to fill out his history in the White Book during the finale. We saw the pair discuss this “duty of the Lord Commander” back in season 4, as Vanity Fair pointed out. In the scene, Jaime told Brienne that there was “still plenty of room” on his page. So after his death, Brienne, now the head of the Kingsguard, respectfully recorded all of Jaime’s heroic acts, concluding with how he “died protecting his queen.”

5. Tormund's Prediction of Jon’s Fate

As a fan on Reddit had theorized earlier in the season, it seems Tormund knew that Jon would be back at Castle Black after the battle at King’s Landing. During their farewell at Winterfell, the wildling was not convinced the two would never see each other again. After embracing, Tormund told Jon, “You got the north in you, the real north.” Some thought the conversation hinted at Jon’s fate in the finale, and they were spot-on.

6. The Series' Final Scene Mirroring the Series' First Scene

While countless events have happened between the show’s pilot and its finale—events that changed Westeros forever—the final moments of "The Iron Throne" were almost identical to the opening scene in Game of Thrones's pilot episode. As the finale saw Jon going back up north with the wildlings, we get a scene of them traveling beyond the wall. This is similar to how the series started, which showed a few members of the Night’s Watch treading into the same unknown territory.

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