23 de octubre de 2013
Lectura
A Definitive Study
of Alfred Hitchcock
F. Truffaut
Cine
Vertigo
Alfred Hitchcock
Transcripción
In the
Master’s
Shadow!
Entrevistas
Alfred
Hitchcock
Música
All of my life
Phil Collins
Documental
Cinephilia
and
Beyond
A Definitive Study
of Alfred Hitchcock
François Truffaut
One is ravished by the density of
insights into cinematic questions...
Truffaut performed a tour de force
of tact in getting this ordinarily
guarded man to open up as he
had never done before (and
never would again)...If the 1967
Hitchcock/Truffaut can now be
seen as something of a classic,
this revised version is even
better.
Author: François Truffaut.
Collaborator: Helen G. Scott.
Publisher: Simon and Schuster.
In: Amazon
Hitchcock’s Films Revisited (1989)
Robin Wood
When Hitchcock’s Films was first published,
it quickly became known as a
new kind of book on film and as a
necessary text in the growing body of
Hitchcock criticism. This revised edition
of Hitchcock’s Films Revisited includes a
substantial new preface in which Wood
reveals his personal history as a critic,
including his coming out as a gay man, his
views on his previous critical work, and how
his writings, his love of film, and his personal
life and have remained deeply intertwined
through the years. This revised edition also
includes a new chapter on Marnie.
In: Amazon
A Hitchcock Reader (1992)
Marshall Deutelbaum
and Leland Poaque
This new edition of A Hitchcock Reader
aims to preserve what has been so
satisfying and successful in the first
edition: a comprehensive anthology
that may be used as a critical text in
introductory or advanced film courses,
while also satisfying Hitchcock scholars
by representing the rich variety of
critical responses to the director’s films
over the years..
In: Amazon
Film (and Script)
Vertigo (1958)
Alfred
Hitchcok
Director: Alfred Hitchcock
Stars: James Stewart, Kim Novak,
Barbara Bel Geddes, Tom Helmore.
Price: 7,50 € (DVD); 19,99 € (Blu-ray).
In: FNAC.
Vertigo is a 1958 psychological thriller film directed and produced by Alfred Hitchcock. The story
was based on the 1954 novel D’entre les morts by Boileau-Narcejac. The screenplay was written by
Alec Coppel and Samuel A. Taylor.
The film stars James Stewart as former police detective John “Scottie” Ferguson. Scottie is forced
into early retirement because an incident in the line of duty has caused him to develop acrophobia
(an extreme fear of heights) and vertigo (a sensation of false, rotational, movement). Scottie is hired
by an acquaintance, Gavin Elster, as a private investigator to follow Gavin’s wife Madeleine (Kim
Novak), who is behaving strangely.
The film was shot on location in San Francisco, California, and at Paramount Studios in Hollywood.
It popularized the dolly zoom, an in-camera effect that distorts perspective to create disorientation,
to convey Scottie’s acrophobia. As a result of its use in this film, the effect is often referred to as “the
Vertigo effect”.
The film received mixed reviews upon initial release, but has garnered acclaim since and is now
often cited as a classic Hitchcock film and one of the defining works of his career. Attracting
significant scholarly criticism, it replaced Citizen Kane as the best film of all time in the 2012 Sight &
Sound critics’ poll and has appeared repeatedly in best film polls by the American Film Institute. In
1996, Vertigo underwent a major restoration to create a new 70mm print and DTS soundtrack.
Alec Coppel and Samuel Taylor
Draft 9-12-1957
EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - CLOSE SHOT
We see a close view of a roof parapet and the curved rail of
a fire escape. In the bag, are large skyscrapers with all
their windows fully lit in the late winter afternoon. This
background is used for the CREDIT TITLES of the picture.
After the last card has FADED OUT, we HOLD on to the empty
parapet, when suddenly a man’s hand reaches and grips the
top of the rail. It is followed by another hand and, after a
beat, we see the face of a man in his early 30’s. He is an
Italian type, with rough features. He turns quickly and looks
below him and then turning back, springs up over the empty
parapet and is lost from view. We STAY on the EMPTY SCENE
for a second or two as we HEAR the scraping of boots on the
iron ladder. Someone else is coming up. Presently, two more
hands and the head of a uniformed policeman with cap and
badge starts to climb over the parapet. The CAMERA PULLS
BACK so that by the time he has completed his climb, he is
in full figure. He dashes out of the picture drawing his
gun. Immediately following him over the parapet, a detective
in plain clothes climbs over. This is JOHN FERGUSON, known
as SCOTTIE. He too pulls a gun and dashes out of the picture.
(…)
Cinephilia and Beyond
All the essential documentaries on Alfred Hitchcock, including Hitchcock:
Shadow of a Genius (1999), The Men Who Made the Movies: Alfred
Hitchcock (1973), Reputations: Alfred Hitchcock (1999), In the Master’s
Shadow: Hitchcock’s Legacy (2008), Paul Merton Looks at Alfred Hitchcock
(2009), American Masters: Hitchcock, Selznick and the End of Hollywood
(1999), Alfred Hitchcock Directs ‘Frenzy’ in 1972, Hitchcock: Alfred the
Great (1994), Alfred Hitchcock — Masters of Cinema (Complete Interview
in 1972), A Talk with Hitchcock (1964), and The Making of ‘Psycho’ (1997).
Dial H for Hitchcok (1999)
Duration: 101 minutes
This documentary is a fascinating look at the cinematic genius of Alfred
Hitchcock. Briefly covering much of his early British works, the film
primarily focuses on his American classics, such as Shadow of a Doubt,
Notorious, Rear Window, Vertigo, Psycho and The Birds. The movie also
covers his television years and neatly examines the Hitchcock signature
touches, from his inevitable brief cameo to his famous MacGuffin. Kevin Spacey narrates,
and there are interviews with his delightful daughter Pat as well as such film directors as
Brian De Palma, Jonathan Demme, Curtis Hanson, Robert Altman, Ronald Neame and Peter
Bogdanovich, along with cast and crew members Tippi Hedren, Joseph Stefano, Norman
Lloyd, Robert F. Boyle, Teresa Wright and Janet Leigh.
The Men Who Made the Movies: Hitchcock (1973)
Duration: 57 minutes
A look at Alfred Hitchcock’s films. The Master of Suspense himself, who
is interviewed extensively here, shares stories including his deep-seated
fear of policemen, elaborates on the difference between shock and
suspense, defines the meaning of “MacGuffin,” and discusses his use of
storyboarding in designing a film. Clips from many of his greatest films
(including North by Northwest, Shadow of a Doubt, The Birds, and the legendary shower
scene from Psycho) illustrate his points, often to Hitchcock’s own voice-over observations,
with narrator Cliff Robertson offering other critical insights.
In the Master’s Shadow
Hitchcock’s Legacy (2008) - Transcript
Transcript for the documentary “In the Master’s Shadow: Hitchcock’s Legacy (2008)”,
based on the subtitle track from a DVD.
The following people appear in the transcript:
• Donald Spoto.
• Martin Scorsese.
• Mark Goldblatt.
• Eli Roth.
• John Murphy.
• John Carpenter.
• Gary Rydstrom.
• Bill Pankow.
• Craig McKay.
• David Sterritt.
• Jack Sullivan.
• William Friedkin.
• Joe Carnahan.
• Guillermo del Toro.
• Ruth Myers.
William Friedkin
Films beget films. Filmmakers influence other filmmakers
constantly. But the most influential filmmaker of all time is
Alfred Hitchcock.
Guillermo del Toro
Hitchcock is cinema.
John Carpenter
Anybody who attempts a thriller owes a great debt to him.
Martin Scorsese
I knew DeMille’s name, I knew John Ford, too, but Hitchcock’s
name was synonymous with something that was gonna be
very special.
John Carpenter
To talk about Hitchcock’s influence is to really talk about the
history of movies.
Donald Spoto
In 1951, when I was 10 years old, I went to the local theater and
saw Strangers on a Train.
Martin Scorsese
The audience reaction was like a communal rollercoaster.
Mark Goldblatt
When you watch something like that, it doesn’t matter what
you know or don’t know about the person who made it, you
know that you’re watching something unique that just grabs
you by the collar and never lets go until it’s over.
Eli Roth
I remember when I was a kid, The Birds was on television, and
it was an event when that movie was on. But I remember just
waiting to get to that scene with the eye pecked out.
John Murphy
At the time we had this parrot, and I was kind of watching this
film... I was literally about five or six, and I’m, like, looking over
my shoulder at this parrot in the cage, you know.
John Carpenter
My first Hitchcock film memory would be back in the ‘50s,
probably Rear Window.
Gary Rydstrom
Rear Window must have been on television when I was a kid. I
remember for years, remember this image of a little dog. The
dead dog in a garden.
Bill Pankow
The first Hitchcock memory I have is actually watching Alfred
Hitchcock Presents. I remember watching that with my family,
and particularly my grandmother, who had a heavy Russian
accent, and it was amusing when she would pronounce his
name. Let’s go watch Hitchka.
Craig McKay
I was probably around nine years old and I saw The Trouble
with Harry. I really became fascinated with this morbid sense of
humour.
More in: hitchcockwiki.com
David Sterritt
The first Hitchcock experience that I had was seeing Vertigo
when it first came out in 1958, when I would have been 14,
15 years old. I remember to this day that the movie starts, and
the first thing you see after the credits is this horizontal line
going across the screen. And I thought, What is that? and then,
a hand appears. And then the camera pulls back, and you see
that it was a rung on a ladder. I’d never seen a movie before
where the first shot of it, you didn’t know what it was.
Jack Sullivan
The music just knocked me out of my chair. And then shortly
after that, North by Northwest came out, and I saw that and I
was blown out of my chair yet again. And then Psycho came
out and just freaked me out for years.
William Friedkin
Psycho is the film that made me feel that film could be an
extremely powerful medium. And it scared the hell out of me.
Joe Carnahan
When I saw it as a kid, it was just this... It was like a Victorian
freak show. I think it was the first time I was really cognizant of
the fact I was being manipulated.
Guillermo del Toro
The first Hitchcock film I saw was I Confess. It was very
important for me because at that time I was still Catholic. The
way Montgomery Clift portraying this priest almost like a
beatific, beautiful entity, and the way Hitchcock handled the
moral dilemma in an expressionistic way, it affected me deeply,
and I wanted to know more about this filmmaker.
David Sterritt
Hitchcock is one of maybe two or three directors where his
name has become a term. If you say something is Hitchcockian,
you know exactly what that means.
Ruth Myers
The thing about Hitchcock is that at the same time as being
frightening, mysterious, the plot is so absorbing, and the look
is always so immaculate that you are completely carried away
by what you’re seeing in front of you.
Guillermo del Toro
Normally he creates incredibly polished suspense melodramas.
With a few exceptions, including the brilliant exception
of Frenzy where he just dispenses with any appearance of
pulchritude or decency and he just portrays the world as a
brutal place.
William Friedkin
You knew when you went into a Hitchcock film that you
were going to be entertained. You might be scared, on a few
occasions, you might be horrified. You’re going to have a lot of
laughs, ‘cause he was a master of humour as well.
Joe Carnahan
Nothing is happenstance in a Hitchcock film. You don’t just
throw handheld cameras on your shoulder and let ‘er rip. It’s
all very, very specific. He was able to really, like a puppeteer
would... You just pull this string, you get this reaction, you pull
this string, you get this reaction.
Alfred Hitchcock - Masters of Cinema (complete interview in 1972)
Duration: 33:40 minutes
Alfred Hitchcock (UK, 1899-1980) is undeniably the world’s most famous film
director. His name has become synonymous with the cinema, and each new
generation takes the same pleasure in rediscovering his films, which are now
treasures of our artistic heritage. Hitchcock started out in the British silent cinema
of the 1920s, which reached its peak with successful thrillers such as “The Man
Who Knew Too Much” (1934), “Sabotage” (1936) and “The Lady Vanishes” (1938).
Recognized as a ‘young genius’, Hitchcock moved to Hollywood and set about
reinventing cinematic tradition, combining the modern with the classic in films
such as “Vertigo” (1957), “North by Northwest” (1959)and “The Birds” (1963).
Hitchcock gave talented actors such as James Stewart and Cary Grant the chance
to play enduring antiheroes and imprinted the public imagination with the myth
of the ‘blonde’, as embodied by Grace Kelly, Kim Novak and Tippi Hedren.
A Talk With Hitchcock (Part One)
Duration: 26:15 minutes
Alfred Hitchcock takes us inside his creative process in this
fascinating 1964 program from the Canadian Broadcasting
Corporation. “A Talk with Alfred Hitchcock” is part interview,
part master class in the craft of telling stories on film.
A Talk With Hitchcock (Part Two)
Duration: 25:33 minutes
A few highlights: Hitch’s view of the future of theatre (some
virtual reality/hypnotism hybrid), his reasoning for making
realistic fantasies, and his excellent answer to the awful
question “What is happiness to you?”
Alfred Hitchcock was traumatized by his mother
Duration: 8:43 minutes
Alfred Hitchcock said: “I think my mother scared me
when I was 3 months old. You see, she said Boo. It gave
me the hiccups. And she apparently was very satisfied.”
All of my life
Phil Collins (1989)
Philip David Charles “Phil” Collins (born 30
January 1951) is an English musician, singersongwriter, multi-instrumentalist, actor and
writer, best known both as drummer and
vocalist for English rock group Genesis and
as a solo artist. He sang the lead vocals on
dozens of hit albums and singles in the UK
and the US between 1976 and 2010, either as
a solo artist or with Genesis. His solo singles,
sometimes dealing with lost love and often
featuring his distinctive gated reverb drum
sound, ranged from the atmospheric “In the
Air Tonight”, dance pop of “Sussudio”, pianodriven power ballad “Against All Odds”, to
the political statements of “Another Day in
Paradise”.
Collins joined Genesis in 1970 as the group’s
drummer and became their vocalist in 1975
following the departure of their original front
man Peter Gabriel. His solo career, which was
launched in 1981 and was heavily influenced
by his personal life, brought both himself and
Genesis greater commercial success. Collins’s
total worldwide sales as a solo artist are
150 million. Collins has won numerous music
awards throughout his career, including
seven Grammy Awards, six Brit Awards—
winning Best British Male three times, three
American Music Awards, an Academy Award,
two Golden Globe Awards and a Disney
Legend Award in 2002 for his solo work. He
was inducted to the Hollywood Walk of Fame
in 1999, into the Songwriters Hall of Fame in
2003 and into the Rock and Roll Hall of Fame
as a member of Genesis in 2010.
Collins is one of only three recording artists
(along with Paul McCartney and Michael
Jackson) who have sold over 100 million
albums worldwide both as solo artists and
(separately) as principal members of a
band. When his work with Genesis, his work
with other artists, as well as his solo career
is totaled, Collins had more top 40 hits
on the Billboard Hot 100 chart during the
1980s than any other artist. In 2008, Collins
was ranked the 22nd most successful artist
on the “The Billboard Hot 100 Top All-Time
Artists”.
Although one of the world’s best-selling
music artists, Collins concedes his status
as a figure of contempt for music critics
and much of the public, and he has been
dubbed “the most hated man in rock” by
the UK’s Daily Telegraph. In 2000, the BBC
noted that “critics sneer at him” and “bad
publicity also caused problems” which
“damaged his public profile”. In 2009,
broadcaster Mark Lawson commented:
“Collins has had to endure two very
different profiles in the media. Originally
pop’s Mr. Nice Guy, patron saint of ordinary
blokes, he has more recently been accused
of blandness, tax exile and ending a
marriage by sending a fax.” However, Collins
denied speculation that his retirement from
music in 2011 was “because of the bad
press over the years”.
All of my life (English lyrics)
Toda mi vida (traducción al castellano)
All of my life I’ve been searching
for the words to say how I feel.
I spend my time thinking too much,
and leave too little to say what I mean.
I’ve tried to understand the best I can,
all of my life.
Toda mi vida he estado buscando
las palabras para decir cómo me siento.
Paso el tiempo pensando demasiado,
y dejo muy poco para expresar lo que quiero decir.
He intentado entender lo mejor que puedo,
toda mi vida.
All of my life I’ve been saying sorry
for the things I know I should have done,
all the things I could have said come back to me.
Sometimes I wish that it had just begun.
Seems I’m always that little too late,
All of my life.
Toda mi vida he pedido perdón
por las cosas que sé que debería haber hecho,
todas las cosas que podría haber dicho vuelven a mí.
A veces deseo que todo comenzara de nuevo.
Parece que siempre llego demasiado tarde,
toda mi vida.
Set them up, I’ll take a drink with you.
Pull up a chair, I think I’ll stay,
Set them up, ‘cos I’m going nowhere.
There’s too much I need to remember,
too much I need to say.
Prepáralos, tomaré un trago contigo.
Trae una silla, creo que me quedaré.
Prepáralos, porque no voy a ninguna parte:
hay demasiadas cosas que necesito recordar,
demasiadas cosas que necesito decir.
All of my life I’ve been looking
but it’s hard to find the way.
Reaching past the goal in front of me
while what’s important just slips away.
It doesn’t come back but I’ll be looking,
all of my life.
Toda mi vida he estado buscando
pero es difícil encontrar el camino.
Llegar más allá del objetivo frente a mí
mientras lo importante, simplemente, desaparece.
Ya no vuelve, pero estaré buscando
toda mi vida.
Set them up...
Prepáralos...
All of my life there have been regrets
that I didn’t do all I could,
making records upstairs,
while he watched TV.
I didn’t spend the time I should.
It’s a memory I will live with
all of my life.
Toda mi vida hubo arrepentimientos
por no haber hecho todo lo que pude,
grabando discos en el piso de arriba
mientras él veía la televisión.
No pasé el tiempo que debería.
Es un recuerdo con el que viviré
toda mi vida.
Official website:
http://www.philcollins.co.uk/
Comedy
Murder on the dis-orient express
Theater in English. Ages 7 and up.
Face 2 face brings the Agatha Christie novel to
the stage.
This work is aimed at families with children
over seven who want to practice English
or simply enjoy this work, adapted and
performed in the language of Shakespeare by
the company a Face 2 Face.
A train is the setting for a mysterious crime. A
murder has been committed, and the culprit
is nowhere to be found. Will Inspector Cluelez
be able to figure out his identity? The trouble
is, the detective is a little bit inept, so he might
need a little help from the audience...
Face 2 Face Theatre
Paolo Abbate, Lisa Krosnicki, Stephane
Shaw, Andrew Glayser.
70 minutes.
Production: Face2Face Theatre S.L.
A motley crew of characters share the stage in
this madcap version, in English, of the famous
Agatha Christie novel. They’re all suspects, and
if the inspector doesn’t find the murderer soon,
he might end up dead himself, splayed across
the railroad tracks.
Where: Teatro Alcázar-Cofidis
Ticket sales: El Corte Inglés and www.entradas.com
Times: Saturdays at 16:30 pm.
Price: Starting at €16
Bus: 3, 5, 9, 15, 20, 51, 52, 53 y 150
Metro: Sevilla (L2)