Authors: Patrick McGilligan
Taylor, Rod, 622, 626, 740
Taylor, Sam, 545, 546, 547–48, 553, 554, 573, 576, 657, 672, 676, 677, 688–89, 690, 691, 693, 746
Taylor, Suzanne, 676
Tearle, Godfrey, 172
Technicolor, 411, 414, 424
television, influence of, 414, 464, 514
Television Bill (1954), 514
Tell Your Children
(film), 753
Tennyson, Penrose, 162
Tester, Desmond, 187, 189
Tetzlaff, Ted, 377
Tey, Josephine, 192, 193–94
Thau, Benny, 265, 697
Thiess, Ursula, 458
Thinnes, Roy, 723, 725–26
Thirty-nine Steps, The
(Buchan), 169–71, 172, 173, 175, 184
39 Steps, The
(film), 18, 24, 35, 67, 141, 144, 158, 168, 169–79, 182, 184, 191, 201, 203, 209, 226, 247, 257, 292, 293, 297, 576, 592, 616, 657, 748
n
, 750, 764
Thomas, Jameson, 100, 132, 133
Thomas, M. Robert, 609
Thompson, Avis, 37, 38
Thompson, Dorothy, 334, 350
Thompson, Edith, 37–38, 128, 326, 385, 390
n
, 546
Thompson, Herbert, 221–22
Thomson, David, 238, 240, 241, 253, 294, 298, 356, 390, 395, 396
Thomson, Virgil, 295
Thorndike, Sybil, 435
Thorpe, J. A., 101
Three Hostages, The
(Buchan), 657
Three Live Ghosts
(film), 50–51, 54, 752–53 3-D, 464, 467–69, 495
Thurber, James, 205
Tiffin, Pamela, 614
Tiomkin, Dimitri, 318, 460 “Titanic” (film proposal), 213, 216, 221, 228–29
To Catch a Thief
(
film
), 88, 286, 321, 463, 467–68, 470, 475, 479, 490–503, 505, 506, 508, 512, 513, 515, 526, 528, 529, 530–31, 542, 550, 559
n
, 566, 568, 573, 615, 634, 655, 691, 692, 727, 750, 777
Todd, Ann, 391, 394, 395–96
Todd, Richard, 431, 435–36
Toland, Gregg, 378
Tomasini, George, 484, 495, 501, 506, 536, 538, 561–62, 586, 597, 606
n
, 621, 643, 655, 657, 682–83
Topaz
(film), 203, 234, 449
n
, 683–86, 688–95, 697, 698, 713, 715, 716, 730, 731, 746, 783–84
Torn Curtain
(film), 73, 662–65, 667–76, 678, 679, 680, 683, 694, 697, 715, 716, 730, 731, 783
Toubiana, Serge, 631, 634
Touch of Evil
(film), 607
Toumanova, Tamara, 671
Tourneur, Maurice, 234
Tracy, Spencer, 215, 433
Transatlantic Pictures, 365–66, 371, 381–84, 385, 386, 387, 392, 395, 399–402, 405–7, 411–17, 421, 425, 432, 437–38, 441, 443, 455–59, 463, 465, 467, 468, 478, 487, 490, 508
Trap for a Solitary Man
(Thomas), 609
Trautonium, 622
Trautwein, Friedrich, 622
Travers, Henry, 317
Travers, Linden, 209
Tree, Viola, 336
Trewin, J. C., 175
Triesault, Ivan, 377
Trouble with Harry, The
(film), 321, 463, 479, 484, 502–8, 513, 515, 525, 530–31, 547, 561, 607, 620, 674, 691, 731, 747, 777–78
Truffaut, François, 116, 120, 133, 138, 143, 145, 148, 149, 151, 158, 161, 169, 177, 187, 190, 196, 201, 205, 224, 235, 259, 260,
261, 276, 288, 300, 301, 306, 326, 327, 334, 339, 379–80, 391, 392, 412, 414, 416, 422, 425, 438, 444, 449, 452, 460, 462, 487, 488, 489, 507, 513, 514, 522, 535, 538, 540, 558, 560, 565, 585, 589, 594, 607, 611, 616, 620, 626, 630–32, 633–34, 635, 638, 648, 654, 668, 671, 674, 676–77, 681, 687, 693, 694, 706, 712, 713, 721, 725, 728, 730, 740, 745, 747
interview with, 9, 10, 22, 25, 34, 51, 65, 72, 79, 90, 92
Truman, Harry S, 428
Trumbauer, Frankie, 434
Tschechowa, Olga, 136
Tucker, George Loane, 52
Tucker, Sophie, 179
Turan, Kenneth, 748
Turn of the Screw, The
(James), 456
Turnbull, Margaret, 49
Turner, George, 303, 305, 318
Turner, Lana, 586, 588
Turner, Robert, 612
Twentieth Century-Fox, 211, 265, 267, 301, 314, 322–23, 324, 325, 328, 338, 343–44, 352, 464, 650, 732
Twickenham Studio, England, 52
Twist, Derek N., 172
Ufa-Gainsborough, 62–68
Ufa (Universum Film Aktiengesellschaft), 62, 63, 65, 66, 323
Ullmann, Liv, 733 “Uncle Charlie” (McDonell), 307–8, 309, 310, 311, 318
Under Capricorn
(film), 133, 381, 384, 387, 392, 399, 401–2, 410, 413, 414, 415, 416–29, 431, 432, 433, 434, 437–38, 440, 456, 459, 465, 683, 687, 702, 774
United Artists, 199, 264, 274–75
Universal City Studios, 669, 673, 682, 683, 687, 688, 698, 712, 715, 732, 747–48
Universal International, 412, 527, 578, 581, 586, 589, 608, 609, 621, 639, 652–54, 661–62, 667
Universal Studios, 99, 100, 266, 284, 291–93, 298, 300–301, 304–5, 306, 307–8, 311, 314, 318–19
Unsell, Eve, 49
Uris, Leon, 683, 684–86, 688–89, 691, 692
Utrillo, Maurice, 476, 477
Vachell, H. A., 148
Valentine, Joseph, 304, 318, 411, 414
Valentine, Val, 132, 142
Valentino, Rudolph, 71
Valli, Alida, 390, 391, 394, 405
Valli, Virginia, 68, 70, 429
Van der Post, Laurens, 539
van der Vlis, Diana, 560
Van Doren, Mark, 191
Van Druten, John, 146, 149, 285, 296
Van Sant, Gus, 750
Vanel, Charles, 491, 494, 502
Ventimiglia, Baron Gaetano, 68, 69, 81, 95
Verneuil, Louis, 401, 415
Vernon, John, 689, 690
Vertigo
(film), 8, 25, 97, 143, 356
n
, 404, 413, 488, 540–42, 543–48, 550, 552–57, 560–64, 565–66, 567, 571, 576, 584, 590, 592, 599, 607, 616, 636, 648
n
, 655, 657, 674, 683, 688, 694, 746, 747, 748, 779–80
Vertov, Dziga, 75
Vetchinsky, Alex, 208–9, 705
Vidor, King, 266
Viertel, Berthold and Salka, 296
Viertel, Peter, 296–98, 299, 300, 304–5, 306, 308, 400
Village of Stars
(Stanton), 609, 611
Village Voice
, 607, 639
Visconti, Luchino, 657
VistaVision, 495–96
Vlaminck, Maurice de, 467
Von Bolvary, Geza, 146
Von Braun, Werner, 659
Vosjoli, Philippe de, 683
Vosper, Frank, 37, 161
Wakefield, Hugh, 161, 510
Walker, Robert, 450, 451
Walker, Vernon L., 378
Wallace, Edgar, 95, 124
Wallis, Hal, 264, 344, 371, 478, 504
Walsh, Kay, 435
Waltzes from Vienna
(film), 37, 151–52, 153, 180–81, 228, 338, 505, 763
Wanger, Walter, 199, 200, 202, 217, 247–48, 254–55, 258–59, 261, 264–65, 266, 267, 269, 270, 271, 274–75, 282, 283, 299
Wardour Films, 93
Warhol, Andy, 599
Warner, Harry, 294
Warner, Jack, 382, 384, 405, 420, 431, 458–59, 464, 465, 468, 469, 478, 487, 531
Warner Bros., 90, 106, 245, 264, 266, 301, 333, 382, 387, 401–2, 404, 405, 411, 415, 419, 420, 430, 443, 449–50, 455, 457–59, 464–70, 472, 475, 478, 481, 486, 487, 531–32, 537, 540
Warren, John F., 667
Warth, Theron, 377
Wasserman, Lew, 406–8, 675
and
Birds
, 615, 620, 634, 644
and end of Hitchcock’s career, 742
and “Frenzy,” 632, 683, 687
and
Frenzy
, 698
and Hitchcock tribute, 740, 743, 745
and MCA, 407, 477–78, 546, 547
and MGM, 542–43
and ownership of films, 479, 581
and Paramount, 478–79
and
Psycho
, 580–81, 588, 598, 600, 607
and
Rear Window
, 470
and
Rope
, 407–8, 412
socializing with, 557, 559, 584, 696, 721
and
Stage Fright
, 431
and television, 514–15
and
Topaz
, 684, 688
and
Torn Curtain
, 663–64, 676
and Universal, 412, 578, 580–81, 652–54, 661–62, 676, 682, 687
and
Vertigo
, 546, 547
and Wrong Man
, 531
Watchtower over Tomorrow
(film), 368–69, 370, 374
Waterhouse, Keith, 667, 669–71, 672–73
Watling, Jack, 422
Watson, Wylie, 172
Waugh, Evelyn, 405–6
Waxman, Franz, 282, 396, 507
Wayne, David, 544
Wayne, Naunton, 209 “Weep No More” (film proposal), 386–87, 406
Wegman, Dorothy, 280
Weiler, A. H., 575
Weinberg, Herman, 630–31
Weingarten, Lawrence, 265
Welles, Orson, 267, 284, 295, 315, 327, 337, 458, 507, 513, 586, 607, 643, 739, 740
Wellman, William, 283
Wells, Bombardier Billy, 204
Wells, H. G., 523
Welwyn Studios, England, 348
Werndorff, Oscar, 162
West, Rebecca, 523
Weston, Garnett, 112, 113–14
Wheel Spins, The
(White), 206, 207 “Wheelbarrow, The” (Pritchett), 623
Wheeler, Burton K., 294
Wheeler, Lyle, 245, 282
When Boys Leave Home, see Downhill
White, Ethel Lina, 206, 207, 523
White, Janet, 203
White Cargo
(film), 124–25
White Shadow
(film), 60, 84, 754
Whitelaw, Billie, 703
Whitlock, Albert, 50, 198, 477, 621, 623, 628–29, 652, 672, 732, 738
Whitman, Stuart, 588
Whitney, John Hay “Jock,” 202, 203, 211, 240, 246
Whitty, Dame May, 209, 256, 285
Wilcox, Charles, 55
Wilcox, Herbert, 55–56, 90, 235, 256
Wilde, Oscar, 390
n
Wilder, Billy, 359, 373, 378, 389
n
, 407, 444, 484, 543, 561, 606, 607
n
, 611, 614, 696, 715, 748
Wilder, Thornton, 308–13, 317, 324, 327, 533, 625
n
Wilding, Michael, 421–27, 431, 437
Wiley, Mason, 282
Wilkerson, W. R., 215
Williams, Annie Laurie, 331, 351
Williams, Emlyn, 160, 223
Williams, J. D., 90, 93
Williams, John (actor), 470, 491, 494–95, 496, 513, 526, 528, 543, 577
Williams, John (composer), 729
Williams, Robin, 740
Wills, Colin, 373
Wilson, Sir Henry, 128
Wilson, Harold, 373
Wilson, Margaret, 383–84
Winkler, Dan, 213, 215, 220, 237, 247, 255, 266, 278, 288, 345
Winsten, Archer, 655
Winter, Henrietta, 77
Winter, John Strange, 77
Winters, Shelley, 429
WNYC radio, 221
Woman Alone, The
[
Sabotage
] (film), 191, 201, 202, 765
Woman to Woman
(film), 56–60, 754
Woman’s Face, A
(film), 265–66, 268
Wonacott, Edna May, 317
Wong, Anna May, 133
Wood, Robin, 472, 522, 528, 564, 648, 694, 706
Wood, Sam, 283
Woodcock, John M., 501–2
Woodward, Joanne, 526
Woolf, C. M., 56, 60, 74, 78, 84, 85, 87, 88, 93, 152, 168–69
Woollcott, Alexander, 207, 309, 524
Woolrich, Cornell, 463, 467, 470, 480, 481–83, 485, 524, 551
World War I, 25–26, 27, 28, 323
World War II, 26, 158, 248, 254, 256, 261, 270–74, 294, 297, 300, 311, 338–39, 344, 346–48, 349, 353, 367–68, 372–74, 375, 406, 628
Wreck of the Mary Deare, The
(Innes), 543, 548–49
Wright, Teresa, 316–17, 318, 319–21, 740
Writers Guild, 155, 412, 531, 532, 657, 671
Wrong Man, The
(film), 18, 203, 321, 531–38, 540, 542, 545, 622, 636, 649, 655, 674, 779
Wyler, William, 218, 283, 317, 331, 454, 478, 485, 533, 696, 715, 739, 740
Wyman, Jane, 431, 432, 436, 740
Wyndham-Lewis, D. B. “Bevan,” 160
Young, Freddie, 118, 122, 124–25
Young, Loretta, 239, 244, 247
Young, Robert, 181
Young and Innocent
(film), 10, 66, 94, 162, 181, 193–97, 201, 202, 207, 209, 210, 211, 212, 226, 238, 297, 705, 765–66
Youngkin, Stephen D., 161, 183
Yousling, George, 381
Zanuck, Darryl F., 265, 301, 314, 321, 322, 338–40, 343–44, 346, 352, 464, 575
Zavattini, Cesare, 533
Ziegler, William, 411, 450, 688, 693
Zierold, Norman, 666
Zinnemann, Fred, 533
Zionism, 367
Zukor, Adolph, 217
Queries and correspondence:
Jonathan Balcon (son of Michael Balcon), David Bernstein (son of Sidney Bernstein), Orin Borsten, Colin M. Brewer, Amanda Cockrell (daughter of Francis and Marian Cockrell), Dr. Ambrose King, Herbert Coleman, Chris Coppel (son of Alec Coppel), Hume Cronyn, Constance Cummings, David Freeman, Winston Graham, Barbara T. Gray (Mrs. Hugh Gray), Rita Landale, Arthur Laurents, Jay Livingston, James Mavor (grandson of James Bridie), Jean Moore, Evelyn Mumm (daughter of Alex Ardrey), Pat Hitchcock O’Connell, Czenzi Ormonde, Bernard Parkin, S.J., Nova Pilbeam, John E. Pommer (son of Erich Pommer), Oliver Pritchett (son of V. F. Pritchett), Jessica Rains (daughter of Claude Rains), Esmé Surman, George Tabori, Peter Tanner, Sam Taylor, Peter Viertel, Keith Waterhouse, Albert Whitlock, Fay Wray.
Interviews:
Jay Presson Allen, Roy Ward Baker, Ray Bradbury, Jack Cardiff, Herbert Coleman, Whitfield Cook, Laraine Day, Bob Dunbar, C. O. “Doc” Ericksen, Rudi Fehr, Dr. Walter Flieg, Otis C. Guernsey Jr., Val Guest, John Michael Hayes, Bryan Langley, William Link, Norman Lloyd, Ron Miller, Ronald Neame, Czenzi Ormonde, Alfred Roome, Jeremy M. Saunders, Julian Spiro, George Stevens Jr., Hugh Stewart, Richard Todd, Leon Uris, Peter Viertel.
Hitchcock family members in England and South Africa: Jeanette and Chris Albert, John Albert, Rodney Cooper (S.A.), Winnie Curtis, John “Jack” Lee, Mrs. E. J. (Betty) Sparks (S.A.).
Mary Troath interviewed Jeanette and Chris Albert, John Albert, Winnie Curtis, Dr. Ambrose King (with daughter Mary Taylor), Jack Lee, and Jennia Reissar in England. Fiona Eakins interviewed Furio Scarpelli in Rome. John Baxter interviewed Charles Lippincott in Los Angeles and Brigitte Auber in Paris.
I was kindly supplied interview transcripts pertaining to Hitchcock and his films from among the numerous subjects in the oral history archives of DeGolyer Library, Southern Methodist University, Texas. (I have drawn especially from the Doris Day, Joan Fontaine, Tippi Hedren, and Gregory Peck interviews.) Tim Kirby furnished transcripts of over forty interviews with key cast and crew members of Hitchcock films conducted for his 1999 two-part documentary
Hitch
(“Alfred the Great” and “Alfred the Auteur”), part of the
Reputations
series for the British Broadcasting Corporation, and other BBC staff forwarded many tapes and transcripts of earlier radio and television shows pertaining to Hitchcock. (Besides in general supplying invaluable detail and background, the BBC interviews I have quoted from include Whitfield Cook, Farley Granger, John Russell Taylor, Joseph Stefano, and Herb Steinberg.) Through the intercession of Roy A. Fowler I was allowed access to the many Hitchcock-related interviews among those conducted for the Broadcasting, Entertainment, Cinematograph & Theatre Union (BECTU) oral history project. (I particularly drew from the Sidney Gilliat and Alfred Roome oral histories.) Barbara Hall guided my research into the many oral histories conducted for the Academy of Motion Picture Arts and Sciences and the Margaret Herrick Library. (I have cited the Robert Boyle and Peggy Robertson transcripts.)
Wendy Daniell in Milwaukee translated French and Italian articles, while Kristi Jaas in Paris translated an excerpt from Michel Piccoli’s
Dialogues egoistes
pertaining to
Topaz.
Collegial advice and assistance from outside the United States
: In Australia: Howard Gelman and Ken Mogg. In Britain: Geoff Brown, Kevin Brownlow, Walter Donohue, David Eldridge, Laurence Geary, Gary Giblin, Mark Glancy, Bernie Gollogly, Philip Kemp, Kevin Macdonald, Tony Lee Moral, Geoffrey Parry, Peter Graham Scott, Otto R. Snel, and especially Roy A. Fowler and Bernard Lewis (a.k.a. Colin Belfrage). In Canada: Yves Laberge. In Germany: Thomas David, Joseph Garncarz, and especially Werner Sudendorf. In Italy: Lorenzo Codelli and Giuliana Muscio. In Sweden: Michael Tapper. In Yugoslavia: Dejan Kosanovic.
Collegial advice and assistance in the United States:
Richard Allen, Matthew Bernstein, Connie Bruck, Paul Buhle, Robert L. Carringer, William G. Contento, Scott Curtis, James V. D’Arc, Ronald L. Davis, Jim Drake, Scott Eyman, David Fantle, Volney P. Gay, Hal Gefsky, David Goodrich, Sidney Gottlieb, Charles Higham, Anne Holliday, Helen Imburgia, David Kalat, Leonard Leff, Vinny LoBrutto, Glenn Lovell, Leonard Maltin, Dave Martin, Joseph McBride, Dennis McDougal, Paul Gregory Nagle, James Robert Parish, Gerald Peary, Gene D. Phillips, S.J., Arnie Reisman, Kristina Ropella, Nat Segaloff, Michael Sragow, Charles Stecy, Tom Stempel, Lynissa Stokes, Barry Strugatz, David Thomson, Duane Wright, Annie Yang.
Screenings:
Charles Barr and Mary Sandra Lindner for
Mary;
Tag Gallagher
and Bill Krohn for
Waltzes from Vienna
and
Memory of the Camps;
Bill Krohn and Leonard Maltin for radio recordings; David Miller for episodes of
Alfred Hitchcock Presents;
the Museum of Broadcasting, Chicago, and the Museum of Television and Broadcasting, New York, for various television shows.
Special thanks to Lorenzo Codelli for inviting me to the Eighteenth Pordenone Silent Film Festival, October 9-16, 1999, in Sacile, Italy, where I enjoyed screenings of Hitchcock’s rarest silent films, and to Richard Allen for inviting me to the “Hitchcock: A Centennial Celebration” in New York City on October 13-17, 1999, where I met scholars and enthusiasts who aided my work.
Archives and organizations outside the United States:
In England: Army Medical Services Museum; Chris Lloyd, Bancroft Library, Tower Hamlets; A. J. Gammon, Sanctions Emergency Unit, Bank of England; the British Film Institute (BFI) Library and Special Collections; British Library (Colindale); Roy A. Fowler, Rick Harley, Alan Lawson, and Stephen Peet, Broadcasting, Entertainment, Cinematograph & Theatre Union (BECTU); F. H. Trimmer, Registrar, Brompton Oratory, South Kensington; Cartoon Art Trust; Wills & Probate Centre of the Court Service; Cripplegate Institute; Curtis Brown Literary Agency; Sister Mary Rose McCabe of Sisters, Faithful Companions of Jesus; Goldsmiths’ College Library; David Oliver, W.T. Henley, Ltd.; (AEI Cables Limited) Imperial War Museum; Lincolns Inn Library; Laurence Evans, MCA (London); Colin McLaughlin, James Bridie Papers, National Library of Scotland, Edinburgh; Peabody Trust; Public Records Office, Kew; Richmond upon Thames Local Studies Library; Royal London Hospital Archives; Colin Hinton, editor of the parish magazine for Our Lady of St. Thomas of Canterbury, Harrow; St. Hugh’s College, Oxford; Michael Blundell, Headmaster, St. Ignatius College, Enfield, and Jim Garvey, Old Ignatian Association; St. Francis Roman Catholic Church, Stratford; Graham Collyer,
Surrey Advertiser;
Theatre Museum, London; John Rylands University Library, University of Manchester; Vestry House Museum, Walthamstow.
In Canada: Heather Wilson, Toronto Reference Library, Ontario; the Brian Moore Collection at the University of Calgary, Alberta. In Germany: Dr. Torsten Musial, Stiftung Archiv der Akademie der Künste, Berlin; Silke Ronneburg and Werner Sudendorf, Stiftung Deutsche Kinemathek, Berlin. In South Africa: Elaine Pearson, the National English Literary Museum, Grahamstown; Sibuse Mgquba, the National Library of South Africa, Cape Town Division.
Archives and organizations in the United States
: the Hitchcock Collection at the Margaret Herrick Library, the Academy of Motion Picture Arts and Sciences, Los Angeles; the American Cancer Society; Kevin Wilcox, American Society of Newspaper Editors; Sean D. Noel, Special Collections (including the Robert Benchley, Whitfield Cook, Arthur Laurents, Claude Rains, Basil Rathbone,
and Ouida Bergere papers), Boston University; Judith Goodstein and Bonnie Ludt, the Robert A. Millikan Papers, Caltech Archives, California Institute of Technology; the Samson Raphaelson Papers at Butler Library, Columbia University; Armand Gagne, Diocese de Quebec; Hume Cronyn Papers, Manuscript Division, Library of Congress; Dr. Errol Stevens, Department of Archives and Special Collections, and Brother Daniel Peterson, S.J., Archivist, Loyola Marymount University, Los Angeles; Jane Klain, Museum of Television and Radio, New York; Collier County Public Library, Naples, Florida; National Archives and Records Administration (Ship Passenger Arrival Records), Washington, D.C.; National Archives (Immigration Records), Pacific Southwest Region; Margaret Kulis, Newberry Library, Chicago; S. Flannery, Reference, Newton Free Library, Newton Center (Mass.); Shari West Twitero, Reference, Rapid City Public Library (S.D.); Steve Groth, Special Collections, San Jose State University Library (Calif.); Donna Swedberg, Reference, Santa Cruz Public Library (Calif.); Roxanne Wilson and Audrey Herman, Local History, Sonoma County Public Library (Calif.); Kay Bost and Ronald L. Davis, the Oral History Project, DeGolyer Library, Southern Methodist University, Texas; Sara Timby, Special Collections (the John Galsworthy Papers), Stanford University; Cecily Hilsdale, Erika Young, Betsy Bernard, and Ellen M. Gameral, Twentieth Century–Fox; the Kenneth MacGowan Papers and Twentieth Century–Fox Collection, Special Collections, University of California at Los Angeles (UCLA); UCLA Emeriti Service Center; Jim Burns, Public Information, and Paul Stubbs, Special Collections, University Library, University of California at Santa Cruz; Paula Contreras, Regenstein Library Reference, University of Chicago; William J. Maher, Samson Raphaelson Collection, University Library, University of Illinois, Urbana-Champaign; the Universal and Warner Bros. Studio Collections in the Cinema-Television Archives of the University of Southern California, Los Angeles; the Maxwell Anderson, Ernest Lehman, Brian Moore, David O. Selznick and Myron Selznick Collections in the archives of the Harry Ransom Humanities Research Center, the University of Texas, Austin; the Edward R. Stettinius Papers in the Albert H. Small Special Collections, Alderman Library, University of Virgina, Charlottesville; the Leo Mishkin Collection in the American Heritage Center, University of Wyoming; Molly Dohrmann, Special Collections (the Delbert Mann Papers), Jean and Alexander Heard Library, Vanderbilt University; Paul Donovan, Department of Libraries, State of Vermont; Local Reference, Watertown Free Library, Watertown (Mass.); the Thornton Wilder Collection, Yale Collection of American Literature, the Beinecke Rare Book and Manuscript Library, Yale University.
Special thanks to Ned Comstock of the University of Southern California Archives, and the extraordinarily helpful librarians of the Memorial Library Reference Department, Marquette University, Milwaukee, Wisconsin.
Major Hitchcock interviews quoted in text:
“A Talk with Alfred Hitchcock” by Bob Thomas,
Action
(May-June 1968); “Alfred Hitchcock: The German
Years” by Bob Thomas,
Action
(Feb. 1973); Charles Higham and Joel Greenberg’s interview in
The Celluloid Muse: Hollywood Directors Speak
(Henry Regnery, 1969); “Hitchcock On Style” in
Cinema
(Aug.-Sept. 1962); Oriana Fallaci’s interview in
The Egotists
(Henry Regnery, 1968); “Alfred Hitchcock” interviewed by Charles Thomas Samuels in
Encountering Directors
(G. P. Putnam’s, 1972); “Hitchcock and the Dying Art” in
Film
(summer 1966); “It’s the Manner of Telling: An Interview with Alfred Hitchcock” by F. Anthony Macklin,
Film Heritage
(spring 1976); “The Man Behind the Body” by John D. Weaver,
Holiday
(Sept. 1964); “Q. & A.: Alfred Hitchcock” by Digby Diehl,
Los Angeles Times (West
magazine, June 25, 1972); Richard Schickel’s interview in
The Men Who Made the Movies
(Atheneum, 1975); Ian Cameron and V. F Perkins’s interview in
Movie
(Jan. 1963); “Core of the Movie—The Chase,” an interview by David Brady in the
New York Times Magazine
(Oct. 29, 1950); “Conversation with Alfred Hitchcock” in
Oui
(Feb. 1973); “The Americanisation of Alfred Hitchcock … and Vice Versa” by John C. Mahoney,
Performing Arts
(Feb. 1973); “I Call on Alfred Hitchcock” by Pete Martin in the
Saturday Evening Post
(July 27, 1957); “Surviving: Alfred Hitchcock” by John Russell Taylor in
Sight and Sound
(summer 1977); Peter Bogdanovich’s interview in
Who the Devil Made It
(Knopf, 1997).
Key books:
Dan Auiler,
Hitchcock’s Notebooks
(Avon Books, 1999); David Freeman,
The Last Days of Alfred Hitchcock
(Overlook Press, 1999); Sidney Gottlieb, ed.,
Alfred Hitchcock: Interviews
(University Press of Mississippi, 2003); Sidney Gottlieb, ed.,
Hitchcock on Hitchcock: Selected Writings and Interviews
(University of California Press, 1995); Robert E. Kapsis,
Hitchcock: The Making of a Reputation
(University of Chicago Press, 1992); Bill Krohn,
Hitchcock at Work
(Phaidon, 2000); Albert J. LaValley, ed.,
Focus on Hitchcock
, (Prentice-Hall, 1972); Leonard J. Leff,
Hitchcock and Selznick: The Rich and Strange Collaboration of Alfred Hitchcock and David O. Selznick in Hollywood
(Weidenfeld & Nicholson, 1987); Dennis McDougal,
The Last Mogul: Lew Wasserman, MCA, and the Hidden History of Hollywood
(Crown, 1998); Jane E. Sloan,
Alfred Hitchcock: The Definitive Filmography
(University of California Press, 1993); David Thomson,
Showman: The Life of David O. Selznick
(Knopf, 1992).
Especially: Donald Spoto’s
The Dark Side of Genius: The Life of Alfred Hitchcock
(Little, Brown, 1983), John Russell Taylor’s
Hitch
(Pantheon, 1978), and François Truffaut’s
Hitchcock
(Simon & Schuster, 1967). This book started in part as an effort to take stock of all the new Hitchcock findings of the last twenty years. But every Hitchcockian—fan, scholar, or biographer—must begin with, draw from, and repeatedly reference these three groundbreaking books. The Truffaut interview is frequently cited in the text, and especially with actors or writers who have died, or no longer grant interviews, I have also often quoted people from the Taylor and Spoto books.