[[ books pdf ]] Hitchcock/Truffaut: édition définitiveAuthor François Truffaut – Multi-channel.co

Any Book Length Interview With Alfred Hitchcock Is Valuable, But Considering That This Volume S Interlocutor Is Fran Ois Truffaut, The Conversation Is Remarkable Indeed Here Is A Rare Opportunity To Eavesdrop On Two Cinematic Masters From Very Different Backgrounds As They Cover Each Of Hitch S Films In Succession Though This Book Was Initially Published In When Hitchcock Was Still Active, Truffaut Later Prepared A Revised Edition That Covered The Final Stages Of His Career It S Difficult To Think Of A Informative Or Entertaining Introduction To Hitchcock S Art, Interests, And Peculiar Sense Of Humor The Book Is A Storehouse Of Insight And Witticism, Including The Master S Impressions Of A Classic Like Rear Window I Was Feeling Very Creative At The Time, The Batteries Were Well Charged , His Technical Insight Into Psycho S Shower Scene The Knife Never Touched The Body It Was All Done In The Editing , And His Ruminations On Flops Such As Under Capricorn If I Were To Make Another Picture In Australia Today, I D Have A Policeman Hop Into The Pocket Of A Kangaroo And Yell Follow That Car This Is One Of The Most Delightful Film Books In PrintRaphael Shargel

10 thoughts on “Hitchcock/Truffaut: édition définitive

  1. says:

    To reproach Hitchcock for specializing in suspense is to accuse him of being the least boring of film makers it is also tantamount to blaming a lover who instead of concentrating on his own pleasure insists on sharing it with his partner The nature of Hitchcock s cinema is to absorb the audience so completely that the Arab viewer will forget to shell his peanuts, the Frenchman will ignore the girl in the next seat, the Italian will suspend his chain smoking, the compulsive cougher will refrain from coughing, and the Swedes will interrupt their love making in the aisles Francois Truffaut and Alfred HitchcockFrancois Truffaut, a renown filmmaker in his own right, convinced Alfred Hitchcock to sit down for an interview that would cover the span of his career up to 1966 They recorded over fifty hours of tape over several days and the result is this book It is written in interview form lending it a tennis match feel of the reader actually being there swiveling our head from one person talking to the next person replying It is absurdly good I lost sleep on than one night because I just couldn t bear to put it downjust one chapter I would reassure the part of brain that was wanting to go to bed The book is brimming with photographs of his films and also of Hitchcock working on set Even if someone didn t want to read the book, which would be a shame, the pictures alone are worth owning this book During a Hollywood press conference in 1947, Alfred Hitchcock stated I aim to provide the public with beneficial shocks Civilization has become so protective that we re no longer able to get our goose bumps instinctively The only way to remove the numbness and revive our moral equilibrium is to use artificial means to bring about the shock The best way to achieve that, it seems to me, is through a movie My son is getting ready to start, in a few short weeks, at the University of Kansas majoring in History, and minoring in film He has always been interested in movies, but mostly recent movies so this summer under the guise of well of course if you are going to study film you can t show up to class not having seen at least the most important Hitchcock films I convinced him to go on a tour of suspense films with me It turns out he is a chip off the old block The first Hitchcock film I ever remembering seeing was The Birds.It scared the crap out of me I don t know how old I was, but probably the perfect age to have my mind warped ever so slightly by experiencing this terrifying spectacle of birds, these creatures we see everyday that decided for no definable reason to start attacking people I thought that Tippi Hedren was the most beautiful woman in the world until I saw Grace Kelly in Rear Window Sigh Did anyone else feel the urge to boink Jimmy Stewart on the head every time he was dismissive of Grace Kelly The joy for me was watching my son watch these movies That famous scene when Grace Kelly is over at the murderer s apartment searching for clues and we can see the murderer returning is probably still one of the most tension filled moments in cinematic history My son pulled one leg up and pressed his face against his knee and put a hand to the other side of his face as if he were shielding himself from a blow His eyes were of course riveted to the screen Joseph Cotten s wife had a similar reaction Alfred Hitchcock Of course, when the character is attractive, as for instance Grace Kelly in Rear Window, the public s emotion is greatly intensified As a matter of fact, I happened to be sitting next to Joseph Cotten s wife at the premiere of Rear Window, and during the scene where Grace Kelly is going through the killer s room and he appears in the hall, she was so upset that she turned to her husband and whispered Do something, do something I can t think of a better compliment to a director than to see an audience so caught up in your movie that they feel they are IN the movie Hitchcock was famous for his blondes I mentioned already Tippi Hedren, and Grace Kelly, but there was also Janet Leigh in Psycho There was discussions about filming that movie in color instead of black and white, but lucky for us Hitchcock decided to stick with black and white He filmed a scene that made the whole world afraid to take a shower The details are spectacular and would have been lost in the garish splash of blood if color had been present His leading ladies were elegant and sophisticated which lent tension to the plot as their circumstances became perilous Hitchcock explains his views of his leading ladies Hitchcock Sex on the screen should be suspenseful, I feel If sex is too blatant or obvious, there s no suspense You know why I favor sophisticated blondes in my films We re after the drawing room type, the real ladies, who become whores once they re in the bedroom Poor Marilyn Monroe had sex written all over her face, and Brigitte Bardot isn t very subtle either Truffaut In other words what intrigues you is the paradox between the inner fire and the cool surface.Hitchcock Definitely, I think the most interesting women, sexually, are the English women I feel that the English women, the Swedes, the northern Germans, and Scandinavians are a great deal exciting than the Latin, the Italian, and the French women Sex should not be advertised An English girl, looking like a schoolteacher, is apt to get into a cab with you and, to your surprise, she ll probably pull a man s pants open.Hitchcock and Truffaut discuss every film One point in one film moves them to another point in another film Hitchcock is very candid about what he did wrong and when he was right and when everyone else was wrong They discuss nuances that even though I ve watched a film several times I ve never noticed For instance in Shadow of a Doubt when Joseph Cotten is arriving in town on the train, the smokestack is boiling out black smoke as if to herald the arriving of the Devil At the end of the film when the train is leaving the station the smoke is white Reading this book will increase your enjoyment when you rewatch his films If you have not seen many of his films be sure to avoid the footnotes discussing the plots of the films being discussed Watching these films with my son has been to quote the Mastercard commercialspriceless TCM is devoting the month of September to Hitchcock and I wish that Caleb was still going to be at home to watch them with me, but we will be coordinating what films to be sure to watch with his school schedule and my work schedule and the discussions we have afterward will still bepriceless If you wish to see of my most recent book and movie reviews, visit also have a Facebook blogger page at

  2. says:

    SOGNI AL BUIOQuando Hitch morto lo ricordo bene.E non avevo ancora letto questo libro.Il giorno che morto era un marted Marted 29 aprile 1980 Io vivevo a Palo Alto da qualche mese e stavo lavorando alla ristrutturazione di una casa attaccata dalle termiti Quello che dovevo fare ricordava molto quello che nella pubblicit della Plasmon faceva l uomo che scolpiva la scritta con un martellone data la mia scarsa esperienza in materia, continuavo a sbagliare la mira, e la mano che reggeva lo scalpello era gonfia come una zampogna Oltre l inesperienza, direi che ero anche indotto a sbagliare mira da quanto avevamo trovato nel capanno degli attrezzi, un bel ramo pieno di foglie lasciate a essiccare Tra le altre cose che ricordo c che dovevo incunearmi sotto le fondamenta per fare non ricordo cosa ma ricordo bene che il mio boss, Pavel, mi disse di stare attento ai procioni, avrei potuto imbattermi in qualcuno di loro, hanno unghioni e possono essere aggressivi sui procioni raccoons potrei aprire un capitolo a parte, ma mi sembra d aver gi divagato abbastanza.Cos , quel marted 29 aprile 1980, all ora di pausa, apro il giornale e apprendo della morte di Hitch.Sono stato fortunato qualche suo film sono riuscito a vederlo al cinema, uno o due freschi d uscita, altri recuperati nei cineclub e cineforum e sale d essai e terze visioni e circuiti Arci e Pochi giorni fa, al Pacific Film Archive, maestosamente rinnovato, ho visto in una sala gremita il documentario di Kent Jones intitolato Hitchcock Truffaut che racconta la nascita di questo libro Sono andato con un amico e suo figlio diciassettenne, che sono riuscito a convincere a seguirci ed rimasto molto contento d essere venuto con noi Prima di entrare ci siamo guardati un po di collezione dell annesso museo d arte moderna.Nel 1962, Truffaut and a Los Angeles e per una settimana incontr Hitchcock nel suo ufficio agli Universal Studios Erano presente agli incontri solo un interprete e un fotografo.Truffaut era un critico dei Cahiers du Cin ma, aveva gi diretto solo tre capolavori I quattrocento colpi, Tirate sul pianista, Jules e Jim , mentre Hitchcock aveva un curriculum lungo un paio di quaresime.Si trovarono bene, andarono d accordo, erano entrambi dotati di buona ironia Truffaut faceva domande intelligenti e Hitch dava risposte altrettanto intelligenti Il regista inglese gongolava per l ammirazione del pi giovane collega francese finalmente i suoi film venivano considerati non solo successi commerciali, ma anche opere d arte.Nel documentario si vedono interviste a James Gray, Martin Scorsese, Paul Schrader, Wes Anderson, David Fincher, Arnaud Desplechin, Olivier Assayas, Peter Bogdanovich, Kiyoshi Kurosawa e Richard Linklater.Il libro usc nel 1966 ed un opera fondamentale per chiunque voglia fare cinema E non solo una lettura piacevole divertente scorrevole istruttiva per tutti Anche per quelli che hanno smesso di andare in una sala, sedersi ad aspettare che le luci si spengano, e godersi il sogno che incomincia quando si accende il proiettore.Senza parole Senza respiro.

  3. says:

    Le Cin ma selon Alfred Hitchcock Hitchcock Truffaut dition d finitive, Fran ois TruffautHitchcock Truffaut is a 1966 book by Fran ois Truffaut about Alfred Hitchcock, originally released in French as Le Cin ma selon Alfred Hitchcock It is based on a 1962 exchange between Hitchcock and Truffaut, in which the two directors spent a week in a room at Universal Studios talking about movies After Hitchcock s death, Truffaut updated the book with a new preface and final chapter on Hitchcock s later films 2007 1365 277 9644351886 9789643769369 1385 1389 1899 1980 20 1962

  4. says:

    This book will teach you about the art of film making than 4 years and 200,000 at NYU will.

  5. says:

    Loved this.I didn t know this book existed It s actually a transcript of a fifty hour interview done over several days which Truffaut conducted with Hitchcock The historical appeal alone was enough to make me WANT the thing, let alone read it Some critics of this book have indicated that Truffaut was too kind to Hitchcock, that he agreed too readily with his opinions, that he couched his questions gently, but what the heck I disagree Because they two often DO disagree on certain points of film making and story telling, but they do so respectfully, without rancor, I mean like gentlemen But the great thing about this record of Hitchcock s opinions, ideas, and thoughts on both the stories he told through film and HOW he did this, including mistakes he felt he made and how he d fix them, if he could, was the fact it even exists at all What a record This was a totally unprecedented and totally unexpected thing Truffaut did, and done at a time when Hitchcock still wasn t given a lot of respect for his work His critics complained he was a mere director of thriller movies, not serious film But Truffaut did take Hitchcock seriously and methodically went through all the films, good and bad, which Hitchcock directed By doing so he created a permanent record of Hitchcock s personal thoughts, ideas, and so on taken directly from the most primary of primary sources, the master of the modern thriller himself Hitchcock died before special effects, computer generated images and sequences, etc came on board, but what he did with what he had was truly remarkable AND influenced and affected directors and writers to this day The way he used the camera, the way he pulled in or back, or shot around shadows or got a lot out of a tiny gesture or movement it s all there There s also a good deal about how he handled dialogue less is and the fact he continually was trying to show the story, not tell it He disdained nothing than people standing around talking or explaining, and this is something that writers struggle to do today as well SHOW the story Don t TELL it to us We know Hitch s favorite films and the ones he hated He was even quite indifferent about a few We know how he was limited by the film making techniques of his day and how he often overcame those limits We know what he thought and felt about his cold leading ladies, the parade of blondes who came to be so important in his films He thought the perfect and most sensual of women were the English girls who d appear to be so correct on the surface, but could turn into a tiger in, of all places, a taxicab As I already said, Truffaut didn t agree with Hitch on everything, but I enjoyed reading about two men who obviously liked and respected one another, and yet could disagree on certain points and just keep on going talking, discussing, arguing, digressing, etc Anyhow, I loved this book I want to own it, and right now I don t This was a library borrow But I shall get my hands on a copy of my ownsomehow, some way.Five huge big stars

  6. says:

    Hitchcock Truffaut .

  7. says:

    Excepcional, un libro muy importante y necesario en la vida del que quiere aprender o saber m s sobre cine, sobre todo del cine de este maravilloso director Hitchcock, siempre en mi coraz n.

  8. says:

    _ 1964 16 50 8 2014

  9. says:

    This book is about the two film directors Hitchcock and Truffaut It is a wonderful book and Jeffrey has written a superb review today on this.So my advice is to read Jeffrey s review and then purchase this book It is an historical document of the film world.A gem to have.

  10. says:

    Hitch as Hitch CanMeine erste Bekanntschaft mit den Filmen Alfred Hitchcocks machte ich im Alter von 12 oder 13 Jahren, als ich an einem Samstagabend im Haus meiner Gro eltern einem betr gerischen Medium dabei zusah, wie es einer alten Dame dabei half, ihren zur Adoption freigegebenen Neffen wieder ausfindig zu machen Damals konnte ich nat rlich mit dem Namen eines Regisseurs wenig anfangen und war deshalb auch kaum geneigt, ber das F r und Wider der Auteur Theorie nachzudenken Ich f rchte sogar fast, da der Name Hitchcock f r mich zun chst im Zusammenhang mit den drei klugschei erischen Fragezeichen von Bedeutung war, doch hatte dieser Film mir so gefallen, da ich auch heute noch recht genau wei , wo und wann ich ihn zum ersten Mal sah Einige Jahre sp ter dann las ich zum ersten Mal Fran ois Truffauts Interviews mit Alfred Hitchcock ber das Buch war ich in der Stadtbibliothek gestolpert und freue mich nun, es endlich in meinem eigenen B cherregal zu haben Der Plauderton, in dem sich Truffaut und Hitchcock ber des Meisters Filme unterhalten, ohne dabei freilich auf der Ebene substanzloser Plauderei zu verharren, macht diesen Klassiker zu einer leicht verst ndlichen Lekt re, die sich gut eignet, einen ersten theoretischen Zugang zu Hitchcock sowie zum Spannungsfilm berhaupt zu erlangen Jeder einzelne Film Hitchcocks die letzten seiner Werke in einem summierenden Essay Truffauts, das die Form des Dialoges aufgibt findet Erw hnung, wobei einige z.B The Lodger, Strangers on a Train, Psycho oder The Birds mehr im Vordergrund stehen als andere, die eher kursorisch abgehandelt werden Was ich ziemlich ungew hnlich f r einen Regisseur, der ber sein Werk spricht, finde, ist, da Hitchcock einen gro en Teil seiner Aufmerksamkeit der technischen Seite seiner Filmsprache widmet und sich nicht nur in einer sthetischen Einsch tzung seiner Filme ersch pft Dies war f r eine Zeit, in der man nicht mal eben per Computeranimation Tausende von Orks auf die Leinwand zaubern konnte, mit gro en Herausforderungen und genialer Alltagst ftelei verbunden So ging es nicht nur darum, Gr enunterschiede zwischen einem kleineren Protagonisten und seinem weiblichen Gegenst ck zu kaschieren, sondern man mu te auch Mittel und Wege finden, Kulissen ger uschlos zu verschieben, um die von Hitch gew nschte Kamerafahrt realisieren zu k nnen In Strangers on a Train gar ging Hitchcocks Perfektionismus so weit, da der Schauspieler, der unter das in voller Fahrt befindliche Karussell kroch, wirklich in Lebensgefahr geriet Truffauts Interviewpartner berichtet denn auch mit merklichem Stolz von Tricks wie dem, in dem ein nachgemachtes Cockpit f r Foreign Correspondent sich auf eine Leinwand zubewegte, auf der per R ckprojektion ein Ozean zu sehen war Hinter der Leinwand befand sich ein Wassertank, und durch einen Knopfdruck wurde der Tank zum Bersten gebracht, so da das Wasser direkt ins Cockpit schwappte, als es die scheinbare Wasseroberfl che durchschlug Dies erm glichte es Hitchcock, das Flugzeug aus Sicht des Piloten ohne Schnitt ins Wasser eintauchen zu lassen Noch ein anderes Hitchcock berichtet im Zusammenhang mit Vertigo auch, da die ber hmte Kamerafahrt in der Turmszene aus Kostengr nden in einem horizontal gelagerten Modell stattfand.Neben diesen technischen Aspekten spricht Hitchcock aber auch ber f r ihn typische Konzepte wie das des Suspense, das er vom berraschungseffekt abgrenzte, oder ber die liebe Not, die er bisweilen hatte, geeignete Besetzungen f r seine Rollen zu finden In diesem Zusammenhang wird brigens auch deutlich, wie sein uncharmanter Satz, Schauspieler seien Vieh, wirklich gemeint war.Truffaut als Interviewpartner auf Augenh he versteht es, dem Altmeister geschickte Fragen zu stellen, wobei er auch eigene Gedanken zu den Filmen einflicht und mit zunehmender Dauer des Interviews an Selbstbewu tsein gewinnt Am kritischsten ist freilich das abschlie ende Essay, das mehrere Jahre nach Abschlu des Gespr chs entstand und auch Truffauts Rolle als Interviewer mit den ihr eigenen Begrenzungen kurz anspricht.Die Heyne Ausgabe enth lt weniger Photos als die deutsche Erstver ffentlichung die wiederum weniger luxuri s ausgestattet war als das franz sische Original , doch gibt es einen abschlie enden Aufsatz von Robert Fischer, in dem die von mannigfaltigen Schwierigkeiten begleitete Entstehungsgeschichte des Buches nachgezeichnet wird.Truffauts Hitchcock Buch ist beileibe keine systematische Analyse des Filmschaffens Alfred Hitchcocks, und so wird der interessierte Leser denn auch nicht unbedingt zu jedem Film gleich ausf hrlich informiert Doch wer Fachsimpelei auf hohem Niveau zu sch tzen wei , die dann und wann durch eine komische Anekdote vom Meister des Understatements unterbrochen wird, der sollte dieses Buch unbedingt in seine Kinobibliothek aufnehmen.