121 “comply with their . . . arose”: Casey McKittrick, Hitchcock’s Appetites: The Corpulent Plots of Desire and Dread (New York and London: Bloomsbury, 2016), 30.
121 he had caught . . . image: Leff, Hitchcock and Selznick, 107.
122 he was experiencing . . . enlarged: McKittrick, Hitchcock’s Appetites, 27.
123 Joel McCrea, the . . . 1940: Ibid., 28. See also Spoto, Dark Side of Genius, 31.
123 Around the same . . . Suspicion: Ibid. See also McGilligan, Darkness and Light, loc. 6331 of 20272, Kindle.
123 Anthony Shaffer, the screenwriter . . . again: McGilligan, Darkness and Light, loc. 15965 of 20272, Kindle.
123 Life magazine, which . . . an eight-week period: “Speaking of Pictures . . . Alfred Hitchcock Reduces as Plant Expands,” Life, March 13, 1944, DSP UCLA.
124 “Hitchcock countenance will . . . building”: Alfred Hitchcock, “My Most Exciting Picture,” in Gottlieb, ed., Hitchcock on Hitchcock, Volume 1, 282. Originally published in Popular Photography, November 1948. See also George E. Turner, “Rope—Something Different,” American Cinematographer, 1985.
124 “one of the . . . century”: Jan Olsson, Hitchcock à la Carte (Durham, NC, and London: Duke University Press, 2015), 1.
126 “the breast ballet”: Whitfield Cook, diary, April 1, 1945, Whitfield Cook Collection, HGARC.
126 “the whistling sailor . . . expression”: Rodney Ackland and Elspeth Grant, The Celluloid Mistress, or The Custard Pie of Dr. Caligari (London: Allan Wingate, 1954), 38.
126 As originally written . . . obese: Torn Curtain script, October 6, 1965, AHC MHL.
126 “I don’t look . . . garret”: Chandler, It’s Only a Movie, 11.
126 “simply but a lot”: Ben Wickham, “Hitchcock Co., Horror Unlimited,” unknown publication, 1940, AHC MHL.
126 By the 1950s . . . martini: Clark, “Here’s Hitchcock’s Recipe for Suspense,” 11.
127 “that turkey and eggnog waistline”: “It’s Time Now to Start Taking Off That Turkey and Eggnog Waistline,” Los Angeles Times, January 18, 1955, B2.
127 the paper’s West . . . sophistication: Telegram from AH to Mary Reinholz, September 13, 1967, AHC MHL.
127 For the popular . . . fifties: Olsson, Hitchcock à la Carte, 54, citing Selma Robinson, “Alfred Hitchcock in the Hundred-Pound Mystery,” McCall’s, April 1958, 58, 150, 152–53.
127 he suggested, they . . . fact: Chandler, It’s Only a Movie, 118.
127 “I don’t get . . . off”: Richard Gehman, “Chairman of the Board,” in Gottlieb, ed., Hitchcock on Hitchcock, Volume 2, 235. Article found in the Film Study Center, Museum of Modern Art, Hitchcock clippings folder #2. No publication or page number.
127 “He used to . . . about it”: Donald Spoto, High Society: Grace Kelly and Hollywood (London: Hutchinson, 2005), 138, citing Roderick Mann, “Princess Grace: How a Royal Beauty Stays Beautiful,” Ladies Home Journal, May 1970.
127 “We would gather . . . more”: Oleg Cassini, In My Own Fashion: An Autobiography (London: Simon & Schuster, 1987), 252–53.
128 “It was a meticulously timed event”: Marcella Rabwin, interviewed by Tim Kirby for Reputations, BBC, courtesy BBC / Tim Kirby.
128 His expenditure on . . . liquor: Report made by Carol Stevens of AH’s income and expenditure for 1939, February 6, 1940, AHC MHL.
128 “Grace was never . . . so”: Edith Head, The Dress Doctor (Kingswood, UK: World’s Work, 1960), 151.
128 “I loved to . . . dessert”: Charlotte Chandler, Ingrid: Ingrid Bergman, A Personal Biography (London: Simon & Schuster, 2007), 124.
129 Pat remembers that . . . wife: Hitchcock O’Connell and Bouzereau, Alma Hitchcock, 228.
129 “They took their . . . dishes”: Ibid., 230.
129 which apparently cost . . . house: Martin Abramson, “What Hitchcock Does with His Blood Money,” Cosmopolitan, January 1964, 74.
129 In his excellent . . . 1963: Olsson, Hitchcock à la Carte, 57–61.
129 Olsson points out . . . kitchens: Ibid., 57.
129 “Food, like pure . . . something”: Marilyn Kaytor, “The Alfred Hitchcock Dinner Hour,” Look, August 27, 1963, DSP UCLA.
130 From the mid-sixties . . . maintain: Olsson, Hitchcock à la Carte, 57.
130 In 1966, he . . . issued: AH to Geoffrey Watkins, May 13, 1966, AHC MHL.
130 the decade in . . . began: Greg Critser, Fat Land: How Americans Became the Fattest People in the World (Boston and New York: Houghton Mifflin, 2003).
130 Weekly check-ups with . . . week: AH appointment books, AHC MHL.
131 He’d ask a . . . vodka: Ernest Lehman, Kirby.
131 the maid knew . . . medicinal: AH to Elsie Randolph, December 6, 1978, AHC MHL.
131 he’d find a . . . swigs: David Freeman in discussion with the author, October 6, 2018.
132 “Lunch usually consists . . . week”: AH to Gladys Hitching, June 15, 1978, AHC MHL.
132 While his television . . . lip: See McKittrick, Hitchcock’s Appetites, for a more thorough exploration of how Hitchcock used his body to build his brand in various ways.
132 David O. Selznick . . . re-release: David O. Selznick to AH, August 28, 1956, DSP UCLA.
132 Hitchcock refused: Herman Citron to David O. Selznick, August 30, 1956, DSP UCLA.
132 Later, a PR executive . . . design: Bill Blowitz to AH, March 21, 1963, AHC MHL.
132 Again, Hitchcock said no: Ibid. Annotation at the top of Blowitz’s letter states that Hitchcock rejected the idea of changing his silhouette.
6: THE DANDY
134 “It’s inherently uncinematic . . . movie”: David Fincher in Rope: Pro and Con, DVD extra on Hitchcock/Truffaut, 2016.
135 “a man unduly . . . dandy”: Search result from google.com, March 1, 2019.
135 Wilde, the unignorable . . . imagination: For more on the self-invention of Wilde’s dandy persona as a key to his celebrity, see David M. Friedman, Wilde in America: Oscar Wilde and the Invention of Modern Celebrity (New York: W. W. Norton, 2014).
136 Under his influence . . . existence: For a vivid and entertaining biography of Brummell, see Ian Kelly, Beau Brummell: The Ultimate Dandy (London: Hodder & Stoughton, 2005).
136 “We can’t recall . . . affection”: Frank S. Nugent, “The Screen in Review,” New York Times, October 12, 1939, 33.
136 “virtually unwatchable”: Barr, English Hitchcock, 204.
136 “Laughton’s
