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From a couple racing across the top of Mount Rushmore to a woman's final shower at an isolated motel, no other filmmaker has given movie fans more unforgettable images or heart-pounding thrills than Alfred Hitchcock. Now for the first time, you can finally share in the Master of Suspense's inspiration and development -- his entire creative process -- in Hitchcock's Notebooks.
With the complete cooperation of the Hitchcock estate and unprecedented access to the director's notes, files, and archives, Dan Auiler takes you from the very beginnings of story creation to the master's final touches during post-production. Actual production notes from Hitchcock's masterpieces join detailed interviews with key production personnel, including writers, actors and actresses, and his personal assistant of more than thirty years.
Mirroring the director's working methods to give you the actual feel of his process, the book explores the production files of Shadow Of A Doubt, Strangers On A Train, North By Northwest, and others, as well as the legendary lost works: The Mountain Eagle and the unfinished film Kaleidoscope. Highlighted by nearly one hundred photographs and illustrations, chapters focus on finding and constructing the right story (featuring interviews with such renowned screenwriters as Charles Bennett, Samuel Taylor, and Ernest Lehman); envisioning the film (from storyboards to set design); the filming (spotlighting Hitchcock's innovations and trick shots); music; and much more.
No fan or film student should be without this definitive guide to the renowned filmaker's art.
- Sales Rank: #1297872 in Books
- Published on: 1999-03-09
- Released on: 1999-03-09
- Original language: English
- Number of items: 1
- Dimensions: 1.67" h x 6.51" w x 9.56" l,
- Binding: Hardcover
- 576 pages
Amazon.com Review
Dan Auiler is undoubtedly the luckiest Alfred Hitchcock devotee alive. With the permission of the director's family, he sifted through the Hitchcock archives at the Academy of Motion Picture Arts and Sciences to create a multifaceted portrait of the artist at work. If this book has a fault, it's that the sheer mass of information makes it a little hard to digest; but taken in small doses, its richness becomes a virtue, offering unique insights into the complicated processes that led to some of the greatest movies ever made.
Auiler divides the creative act into three parts: "Building the Screenplay," "Preparing the Visual," and "Putting It All Together." In each section he provides documents, including memos, script excerpts, sketches, and storyboards from a selection of films. Most interesting are those relating to Kaleidoscope a project from the late '60s that, Auiler contends, would have been a groundbreaking film had the studio not forced Hitchcock to abandon it. This collection also gives full credit to Alma Reville, the director's wife and lifelong collaborator, and her influence on the development of Hitchcock's style is evident throughout. Other gems include a transcript of discussions between Hitchcock and Tippi Hedren about her character in The Birds and a set of production stills from an early, lost movie, The Mountain Eagle.
There's an enormous amount to take in, but what quickly emerges is a sense of Hitchcock's meticulous approach to crafting a film. He frequently sent script treatments to other writers and filmmakers, asking for their critical comments, and Auiler reproduces several of these correspondences, including François Truffaut's detailed analysis of Kaleidoscope. At the other end of the creative journey the book closes with the script for an unproduced Spellbound trailer in which Hitchcock playfully evokes the magic of movies: "That screen up there is like a mind ... we here in Hollywood can make anything happen there." Hitchcock's Notebooks is a testament to the powerful vision and sheer hard work that lay behind that magic. --Simon Leake
From Library Journal
In this 100th-anniversary year of Alfred Hitchcock's birth, the director's work has inspired several movie remakes and a whole new crop of admirers. These two tributes to Hitchcock's art offer something new to fans. Hitchcock's America focuses on Hitchcock as cultural critic, with essays from film and literature scholars. The pieces are randomly arranged and comment on family values, gender roles, and American ideals as they are reflected in a wide array of Hitchcock's American films. While most followers hail the psychological power of his cinema, this anthology successfully shows his ability to record the changing expectations of American society in the 1940s, 1950s, and 1960s. The stark contrasts between big city and small town, sexuality and purity, hidden desires and social mores are explored as Hitchcock filmed them. Auiler (Vertigo: The Making of a Hitchcock Classic, LJ 5/1/98) returns with an ambitious look at the creative process of filmmaking, from the director's early German films through the golden decade of his work in the Fifties and Sixties. Using Hitchcock's own copious notes, plus copies of studio memos, hand-marked scripts, and plenty of production photos and stills, he re-creates the step-by-step production of a movie. Chapters on the screenplay, visual set-up, production, post-production editing, and unfinished projects provide fascinating insight into how movies were made, Hitchcock-style. Those with no knowledge of the "behind-the-scenes" activity of cinema will be fascinated by this detailed accounting. Auiler's book is for general audiences, while Hitchcock's America would be a good purchase for film collections in academic libraries.AKelli N. Perkins, Herrick Dist. Lib., Holland, MI
Copyright 1999 Reed Business Information, Inc.
From Kirkus Reviews
From The Mountain Eagle to Lifeboat to the never-produced Kaleidoscope, a rare and invaluable (yet also sometimes clumsy) fly-on-the-wall look at Hitchcock at work. Drawing on his authorized access to Hitchcocks files and notes, Auiler (Vertigo: The Making of a Hitchcock Classic, 1998) has assembled a fascinating trove of materials illuminating the master directors creative process. Hitchcock has always mattered immensely to auteur theory, for few directors have exercised his kind of control (or ``authorship'') over so many aspects of the movies. Here we can almost see him shaping and refining all the stages of production. From script changes to publicity stills to story boards to Hitchs notes on scoring, and even including his conversations with actors regarding character development (traditionally thought to have been one of his few weaknesses), the range and breadth of this collection is as astounding as the genius it so clearly reveals. Auiler has had to do a lot of culling to get the mass of material down to a manageable size; one only hopes that he hasnt omitted too many gems (a few of his selections are so perfunctory as to be nearly worthless). He largely and deliberately skims over most of Hitchs early career in England, and he completely ignores such films as Vertigo and Psycho (their creation has already been chronicled in other books). Auilers own explanatory efforts are usually clunky and unremarkable. Like scratches on a film print, though, they may irk yet dont intrude too much. Still, you have to be familiar with Hitchcocks oeuvre for much of this to make sense. Scene-by-scene comparisons of various script versions, for example, are only worthwhile if you are already reasonably familiar with the movie in question. For fans and film buffs, then, a no-questions-asked must-have. (photos and illustrations) -- Copyright ©1999, Kirkus Associates, LP. All rights reserved.
Most helpful customer reviews
15 of 17 people found the following review helpful.
Go behind the Torn Curtain into Hitchcock's film making...
By A Customer
Having been an armchair Hitchcock fan for a few years now, I was eager to read about his creative process to find out just how much he meant to put into making his films. Admittedly, I had read only two other books on Hitchcock before, Donald Spoto's "The Art of Alfred Hitchcock" (after I watch one of Hitch's flicks I crack open that book and read the chapter for said movie...great analysis)and "Psycho" by Stephen Rebello (great inside stiff - er, stuff - and a cool new cover, no less). This book, tho, was different because it is well illustrated with storyboards, (drawings of the crows attacking the schoolkids and the crop duster scene from North by Northwest among others - come on, that's cool stuff!) photostatted letters from the Master himself (was not the master of sus-'pens', I'll tell you, you can barely read what he writes...but worth the closer read). There is a plethora of script stuff in here that handily contributes to the book's heft...I found some of that to be a little much, but the more serious Hitchcock fan (bidding on original Hitchcock posters on Ebay, for example) might be more into the subtle (insightful, mind you) variations in some of "Rebecca's" dialogue, for instance. Dan Auiler did a nice job sifting through what must have been a lot of, well, 'stuff' to get to the really neat-o plot development on movies such as "The Birds" and "Marnie" and he also includes some cool backstory on a film Hitchcock had to abandon because the studio practically forced him to make "Topaz." Supposedly this unmade film could have been a real career boost, as well as possibly helped to reshape 1960s cinema. Buy this book if you love movies and want an inside look at a master's methods.
11 of 13 people found the following review helpful.
Outstanding look at how film-making should be done!
By A Customer
This thick book contains plot treatments for many of his best films, including marked up scripts and Hitchcock's sketches of what he wanted his films to look like. This is one of the best books I've ever found for students of movies.
You may feel like you are about to go blind as you read through the handwritten letters and edits to scripts and treatments, but the book really gave me a good idea of who Alfred Hitchcock was and what it means to direct a movie. The book ably shows how Hitchcock was involved in every minute detail of the projects (especially during his "best" years of the 1950s) and how he was able to "Wheel and Deal" with the studios on their own terms.
What struck me the most was Hitchcock's intimate work on areas that I felt were reserved for the Producers, Writers, Director of Photography and Gaffers. Hitchcock seemed to be able to stick his nose in every aspect of the film making process and not only created such masterpieces as "North by Northwest" and "Psycho", but seemed to be well liked and respected by those around him.
I'm now looking forward to reading Dan's book on Vertigo!
8 of 10 people found the following review helpful.
Sorry, Brian from NYC - I have to differ!
By J B
It's obvious HE didn't appreciate the reality of this book. Sure, there are a lot of memos, telegrams, and transcripts of conversations - but it gives an inside look into the life of Hitchcock. Life and character are made up and discovered through little things like this. Sure, I agree that some of the side-by-side script and plot comparisons were a bit dull. But I read this entire book, so it can't have been THAT bad. The writing concerning Shadow of a Doubt is a bit hard to decipher, but who wants to read if there's no challenge to it? That chickenscratch masks some excellent writing.
As for the films discussed not being the classics Brian from NYC referred to, I get tired of hearing about Rear Window, Psycho, Vertigo exclusively. There is a wealth of information and books on those films - and I want to know about them all. So I was glad that this book dealt more with the less-discussed films. And I am a great fan of Marnie, so I read and re-read all that was said about Marnie.
This book isn't for someone looking for a fast-moving read. "The Art of Alfred Hitchcock" by Donald Spoto is an excellent one to begin with - not "Hitchcock's Notebooks". Save this one until you know you like Hitchcock enough to appreciate it.
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