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.”

Reviews.org Wants to Pay You $1000 to Watch 30 Disney Movies

Razvan/iStock via Getty Images
Razvan/iStock via Getty Images

Fairy tales do come true. CBR reports that Reviews.org is currently hiring five people to watch 30 Disney movies (or 30 TV show episodes) for 30 days on the new Disney+ platform. In addition to $1000 apiece, each of the chosen Disney fanatics will receive a free year-long subscription to Disney+ and some Disney-themed movie-watching swag that includes a blanket, cups, and a popcorn popper.

The films include oldies but goodies, like Fantasia, Bambi, and A Goofy Movie, as well as Star Wars Episodes 1-7 and even the highly-anticipated series The Mandalorian. Needless to say, there are plenty of options for 30 days of feel-good entertainment.

In terms of qualifications: applicants must be over the age of 18, a U.S. resident, have the ability to make a video reviewing the films, as well as a semi-strong social media presence. On the more fantastical side, they are looking for applicants who “really, really lov[e] Disney” and joke that the perfect candidate, “Must be as swift as a coursing river, with all the force of a great typhoon.” You can check out the details in the video below.

Want to put yourself in the running? Be sure to submit your application by Thursday, November 7 at 11:59 p.m. at the link here. And keep an eye out for Disney+, which will be available November 12.

16 Biting Facts About Fright Night

William Ragsdale stars in Fright Night (1985).
William Ragsdale stars in Fright Night (1985).
Columbia Pictures

Charley Brewster is your typical teen: he’s got a doting mom, a girlfriend whom he loves, a wacky best friend … and an enigmatic vampire living next door.

For more than 30 years, Tom Holland’s critically acclaimed directorial debut has been a staple of Halloween movie marathons everywhere. To celebrate the season, we dug through the coffins of the horror classic in order to discover some things you might not have known about Fright Night.

1. Fright Night was based on "The Boy Who Cried Wolf."

Or, in this case, "The Boy Who Cried Vampire." “I started to kick around the idea about how hilarious it would be if a horror movie fan thought that a vampire was living next door to him,” Holland told TVStoreOnline of the film’s genesis. “I thought that would be an interesting take on the whole Boy Who Cried Wolf thing. It really tickled my funny bone. I thought it was a charming idea, but I really didn't have a story for it.”

2. Peter Vincent made Fright Night click.

It wasn’t until Holland conceived of the character of Peter Vincent, the late-night horror movie host played by Roddy McDowall, that he really found the story. While discussing the idea with a department head at Columbia Pictures, Holland realized what The Boy Who Cried Vampire would do: “Of course, he's gonna go to Vincent Price!” Which is when the screenplay clicked. “The minute I had Peter Vincent, I had the story,” Holland told Dread Central. “Charley Brewster was the engine, but Peter Vincent was the heart.”

3. Peter Vincent is named after two horror icons.

Peter Cushing and Vincent Price.

4. The Peter Vincent role was intended for Vincent Price.

Roddy McDowall in Fright Night (1985)
Roddy McDowall as Peter Vincent in Fright Night (1985).
Columbia Pictures

“Now the truth is that when I first went out with it, I was thinking of Vincent Price, but Vincent Price was not physically well at the time,” Holland said.

5. Roddy McDowall did not want to play the part like Vincent Price.

Once he was cast, Roddy McDowall made the decision that Peter Vincent was nothing like Vincent Price—specifically: he was a terrible actor. “My part is that of an old ham actor,” McDowall told Monster Land magazine in 1985. “I mean a dreadful actor. He had a moderate success in an isolated film here and there, but all very bad product. Basically, he played one character for eight or 10 films, for which he probably got paid next to nothing. Unlike stars of horror films who are very good actors and played lots of different roles, such as Peter Lorre and Vincent Price or Boris Karloff, this poor sonofabitch just played the same character all the time, which was awful.”

6. It took Holland just three weeks to write the Fright Night script.

And he had a helluva good time doing it, too. “I couldn’t stop writing,” Holland said in 2008, during a Fright Night reunion at Fright Fest. “I wrote it in about three weeks. And I was laughing the entire time, literally on the floor, kicking my feet in the air in hysterics. Because there’s something so intrinsically humorous in the basic concept. So it was always, along with the thrills and chills, something there that tickled your funny bone. It wasn’t broad comedy, but it’s a grin all the way through.”

7. Tom Holland directed Fright Night out of "self-defense."

By the time Fright Night came around, Holland was already a Hollywood veteran—just not as a director. He had spent the past two decades as an actor and writer and he told the crowd at Fright Fest that “this was the first film where I had sufficient credibility in Hollywood to be able to direct ... I had a film after Psycho 2 and before Fright Night called Scream For Help, which … I thought was so badly directed that [directing Fright Night] was self-defense. In self-defense, I wanted to protect the material, and that’s why I started directing with Fright Night."

8. Chris Sarandon had a number of reasons for not wanting to make Fright Night.

Chris Sarandon stars in 'Fright Night' (1985)
Chris Sarandon stars in Fright Night (1985).
Columbia Pictures

At the Fright Night reunion, Chris Sarandon recalled his initial reaction to being approached about playing vampire Jerry Dandrige. "I was living in New York and I got the script,” he explained. “My agent said that someone was interested in the possibility of my doing the movie, and I said to myself, ‘There’s no way I can do a horror movie. I can’t do a vampire movie. I can’t do a movie with a first-time director.’ Not a first-time screenwriter, but first-time director. And I sat down and read the script, and I remember very vividly sitting at my desk, looked over at my then wife and said, ‘This is amazing. I don’t know. I have to meet this guy.’ And so, I came out to L.A. And I met with Tom [Holland] and our producer. And we just hit it off, and that was it.”

9. Jerry Dandridge is part fruit bat.

After doing some research into the history of vampires and the legends surrounding them, Sarandon decided that Jerry had some fruit bat in him, which is why he’s often seen snacking on fruit in the film. When asked about the 2011 remake with Colin Farrell, Sarandon commented on how much he appreciated that that specific tradition continued. “In this one, it's an apple, but in the original, Jerry ate all kinds of fruit because it was just sort of something I discovered by searching it—that most bats are not blood-sucking, but they're fruit bats,” Sarandon told io9. “And I thought well maybe somewhere in Jerry's genealogy, there's fruit bat in him, so that's why I did it.”

10. William Ragsdale learned he had booked the part of Charley Brewster on Halloween.

William Ragsdale had only ever appeared in one film before Fright Night (in a bit part). He had recently been considered for the role of Rocky Dennis in Mask, which “didn’t work out,” Ragsdale recalled. “But a few months later, [casting director] Jackie Burch tells me, ‘There’s this movie I’m casting. You might be really right for it.’ So, I had this 1976 Toyota Celica and I drove that through the San Joaquin valley desert for four or five trips down for auditioning. And in the last one, Stephen [Geoffreys] was there, Amanda [Bearse] was there and that’s when it happened. I had read the script and at the time I had been doing Shakespeare and Greek drama, so I read this thing and thought, ‘Well, God, this looks like a lot of fun. There’s no … iambic pentameter, there’s no rhymes. You know? Where’s the catharsis? Where’s the tragedy?’ … I ended up getting a call on Halloween that they had decided to use me, and I was delighted.”

11. Not being Anthony Michael Hall worked in Stephen Geoffreys's favor.

In a weird way, it was by not being Anthony Michael Hall that Stephen Geoffreys was cast as Evil Ed. “I actually met Jackie Burch, the casting director, by mistake in New York months before this movie was cast and she remembered me,” Geoffreys shared at Fright Fest. “My agent sent me for an audition for Weird Science. And Anthony Michael Hall was with the same agent that I was with, and she sent me by mistake. And Jackie looked at me when I walked into the office and said, ‘You’re not Anthony Michael Hall!’ and I’m like ‘No!’ But anyway, I sat down and I talked to Jackie for a half hour and she remembered me from that interview and called my agent, and my agent sent me the script while I was with Amanda [Bearse] in Palm Springs doing Fraternity Vacation, and I read it. It was awesome. The writing was incredible.”

12. Evil Ed wanted to be Charley Brewster.

Stephen Geoffreys stars in 'Fright Night' (1985).
Stephen Geoffreys stars in Fright Night (1985).
Columbia Pictures

Geoffreys loved the script for Fright Night. “I just got this really awesome feeling about it,” he said. “I read it and thought I’ve got to do this. I called my agent and said ‘I would love to audition for the part of Charley Brewster!’ [And he said] ‘No, Steve, you’re wanted for the part of Evil Ed.’ And I went, ‘Are you kidding me? Why? I couldn’t… What do they see in me that they think I should be this?' Well anyway, it worked out. It was awesome and I had a great time.”

13. Fright Night's original ending was much different.

The film’s original ending saw Peter Vincent transform into a vampire—while hosting “Fright Night” in front of a live television audience.

14. A ghost from Ghostbusters made a cameo in Fright Night.

Visual effects producer Richard Edlund had recently finished up work on Ghostbusters when he and his team began work on Fright Night. And the movie gave them a great reason to recycle one of the library ghosts they had created for Ghostbusters—which was deemed too scary for Ivan Reitman's PG-rated classic—and use it as a vampire bat for Fright Night.

15. Fright Night's cast and crew took it upon themselves to record some DVD commentaries.

Because the earliest DVD versions of Fright Night contained no commentary tracks, in 2008 the cast and crew partnered with Icons of Fright to record a handful of downloadable “pirate” commentary tracks about the making of the film. The tracks ended up on a limited-edition 30th anniversary Blu-ray of the film, which sold out in hours.

16. Vincent Price loved Fright Night.


Columbia Pictures

Holland had the chance to meet Vincent Price one night at a dinner party at McDowall’s. And the actor was well aware that McDowall’s character was based on him. “I was a little bit embarrassed by it,” Holland admitted. “He said it was wonderful and he thought Roddy did a wonderful job. Thank God he didn’t ask why he wasn’t cast in it.”

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