Hitchcock once said that he migrated to the US as a kind of cultural exchange, only nobody knows what was sent in return because, said Hitch "they are afraid to open it"
On actors and actreses:
Ingrid Bergman, triying to make Hitchcock help her understand the motivation for the feelings of her character told Hitchcock:
I dont feel like that, I dont think
I can give you that kind of emotion
and Hitchcock replied:
Ingrid -- Fake It
To anthony Perkins: Don't wory Tony, it's only a movie
When an actress asked Hitchcock if her right or left profile was better, he told her, "My dear, you're sitting on your best profile."
"Actors are cattle"
"I didn't say actors are cattle. What I said was, actors should be treated like cattle."
To crew complaints that Tallulah Bankhead's habit of not wearing underpants was creating camera angle problems in shooting Lifeboat:
I don't know if this is a matter for the costume department or the hairdresser.
"When 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.'"
"Disney has the best casting. If he doesn't like an actor he just tears him up."
"The best way to do it is with scissors"
On the relationship with his audiences:
To a woman who complained that the shower scene so frightened her daughter that the girl would no longer shower:
"Then Madam I suggest you have her dry cleaned."
On why people were fond of his thrillers:
"they like to put their toe in the cold water of fear."
"Always make the audience suffer as much as possible"
"The length of a film should be directly related to the endurance of the human bladder"
On murder on TV:
"Seeing a murder on television can help work off one's antagonisms. And if you haven't any antagonisms, the commercials will give you some."
"Television has brought murder back into the home - where it belongs"
On his movies and his method:
Reporter: What is the deepest logic of your films?
Hitchcock: To put the audience through them
On his mission in life:
"to simply scare the hell out of people."
"To me Psycho was a big comedy. Had to be."
"Even my failures make money and become classics a year after I make them."
"If I were to make another picture set in Australia I'd have a policeman hop into the pocket of a kangaroo and yell, Follow that car!"
"We try to tell a good story and develop a hefty plot. Themes emerge as we go along"
"Drama is life with the dull bits left out"
On violence:
"Some of our most exquisite murders have been domestic, performed with tenderness in simple, homey places like the kitchen table"
"There are several differences between a footballl game and a revolution. For one thing, a football game usually lasts longer and the participants wear uniforms. Also there are more injuries at a football game."
"There is no terror in the bang, only in the anticipation of it."
His dry wit:
"This paperback is very interesting, but I find it will never replace a hardcover book -- it makes a very poor doorstop."
"I understand the inventor of the bagpipes was inspired when he saw a man carrying an indignant, asthmatic pig under his arm. Unfortunately, the manmade sound never equalled the purity of the sound achieved by the pig."
Even with our most trusted friends we feel reluctant to talk about complex meanings or complex kinds of responses because we feel our language is not adequate ..(concept, terminology..etc) Perhaps education gives us a language to articulate what we know and experience but we cannot adequately communicate. If we are determined though we will acquire this language...A "film language", drawback though, film language "any" language in fact, does "our thinking for us".
Tuesday, October 9, 2007
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- Food and Mood
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- like a rolling stone
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The discourse of "Film Culture" requires us to conceive of cinema in its own terms.
The discourse of film research will lead us to particular descriptions, " limited" kinds of analysis determined by the categories cinema provides.
Discourse is a complex concept. It refers to the way in which something is told not just in terms of its specific language (whether verbal or visual) but also in terms of what it prioritizes. Discourses are both general and specific. Narrative "realist" cinema is a discursive form, a particular kind of human expression which represents the world in a certain way, employs a particular kind of a time-visual "language". Within narrative "realist" cinema as a whole, particular genres have their own more specific discourses. i.e. The Sci-Fi film is preoccupied with themata (idea-themes) of science and control. the romance is preoccupied with themata of sexuality, gender and often property relations. These ideas are either implicit -taken for granted within the way the story is conceived or explicit - in that the film actively promoted certain values, attitudes and beliefs.
The concept of Discourse is closely connected with another key concept HEGEMONY "taken-for-granted" a "common sense" outlook on some aspect of human reality shared by the vast majority of people within the society. Hegemony helps us to understand the illusion that commonly shared attitudes and values, ways of making sense of our world, appear to come from nowhere. Narrative "realist" cinema has this characteristic, it disguises its discursiveness by pretending to be simply "there". Discourses about law and order and sexuality, for example - are themselves seen as non-discursive, as natural, as taken for granted. These core values of society appear to come from nowhere- they simply are ! This leads to a compounding of a criticism leveled against popular cinema (and other popular media) that not only does it disguise its own discursive form, but it also "naturalizes" these profoundly significant social and political discourses. THINK CRITICALLY ABOUT THEIR "CONSTRUCTED" REALITY AND THE VALUE SYSTEMS THAT FUNDAMENTALLY INFLUENCE OUR LIVES. “being indoctrinated with a political spin.” From a commercial perspective, however, the very opposite may appear to be the case. People do not want to think critically about their "constructed" reality. They pay for their entertainment, so they can be released from the concerns of their lives. They may well want the security of hegemonic values within familiar discourses. The point is that it has less to do with questions of an active/passive audience. It has to do either with the choices we make or the level of (a)Competence - (b)Education and (c) CineNoesis we bring to cinema and the screening events we attend
The discourse of film research will lead us to particular descriptions, " limited" kinds of analysis determined by the categories cinema provides.
Discourse is a complex concept. It refers to the way in which something is told not just in terms of its specific language (whether verbal or visual) but also in terms of what it prioritizes. Discourses are both general and specific. Narrative "realist" cinema is a discursive form, a particular kind of human expression which represents the world in a certain way, employs a particular kind of a time-visual "language". Within narrative "realist" cinema as a whole, particular genres have their own more specific discourses. i.e. The Sci-Fi film is preoccupied with themata (idea-themes) of science and control. the romance is preoccupied with themata of sexuality, gender and often property relations. These ideas are either implicit -taken for granted within the way the story is conceived or explicit - in that the film actively promoted certain values, attitudes and beliefs.
The concept of Discourse is closely connected with another key concept HEGEMONY "taken-for-granted" a "common sense" outlook on some aspect of human reality shared by the vast majority of people within the society. Hegemony helps us to understand the illusion that commonly shared attitudes and values, ways of making sense of our world, appear to come from nowhere. Narrative "realist" cinema has this characteristic, it disguises its discursiveness by pretending to be simply "there". Discourses about law and order and sexuality, for example - are themselves seen as non-discursive, as natural, as taken for granted. These core values of society appear to come from nowhere- they simply are ! This leads to a compounding of a criticism leveled against popular cinema (and other popular media) that not only does it disguise its own discursive form, but it also "naturalizes" these profoundly significant social and political discourses. THINK CRITICALLY ABOUT THEIR "CONSTRUCTED" REALITY AND THE VALUE SYSTEMS THAT FUNDAMENTALLY INFLUENCE OUR LIVES. “being indoctrinated with a political spin.” From a commercial perspective, however, the very opposite may appear to be the case. People do not want to think critically about their "constructed" reality. They pay for their entertainment, so they can be released from the concerns of their lives. They may well want the security of hegemonic values within familiar discourses. The point is that it has less to do with questions of an active/passive audience. It has to do either with the choices we make or the level of (a)Competence - (b)Education and (c) CineNoesis we bring to cinema and the screening events we attend
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