175 “Dinner with A . . . call”: Whitfield Cook Diary, October 1, 1948, Whitfield Cook Collection, HGARC.
175 McGilligan also notes . . . together: McGilligan, Darkness and Light, loc. 9739 of 20272, Kindle.
175 In a diary . . . “Tears later”: Whitfield Cook Diary, October 7, 1948, Whitfield Cook Collection, HGARC.
176 “married life was . . . of it”: Bennett, Partner in Suspense, 71.
176 “very lonely this . . . arrived”: Alma Reville to Whitfield Cook, August 23, 1949, Whitfield Cook Collection, HGARC.
176 “unintentionally hilarious”: Richard Coe, “Bergman Sobers Up Down Under,” Washington Post, October 7, 1949, C12.
176 “extremely attractive . . . and her warmth”: Hitchcock O’Connell and Bouzereau, Alma Hitchcock, 149.
176 “Her First Island . . . protection”: Whitfield Cook, “Her First Island,” Whitfield Cook Collection, HGARC.
177 “affection, appreciation, encouragement, . . . collaboration”: AH speech at AFI Lifetime Achievement Award ceremony, March 7, 1979, “Alfred Hitchcock Accepts the AFI Life Achievement Award in 1979,” American Film Institute YouTube channel, https://www.youtube.com/watch?v=pb5VdGCQFOM.
177 “There was a . . . ahead”: Hitchcock O’Connell and Bouzereau, Alma Hitchcock, 7.
178 Hitchcock said he . . . career: Hitchcock, The Woman Who Knows Too Much, 14.
178 With John Buchan’s . . . blank: Alma Reville’s script notes, The Three Hostages, September 16, 1964, AHC MHL.
179 “I had Mrs . . . quality”: AH to Richard Condon, December 8, 1964, Richard Condon Collection, HGARC.
179 “that shot of . . . awful”: Freeman, The Last Days of Alfred Hitchcock, 19.
179 “Alma hates the film”: Peggy Robertson, OHP.
179 “weeping and shaking convulsively”: Taylor, Hitch, loc. 4233 of 5468, Kindle.
179 In 1966 a . . . demurred: Denis Gifford of the Central Office of Information, to Alma Reville, August 8, 1966, AHC MHL.
180 “Mrs Hitchcock and . . . sense”: AH to Madeline Warren, February 20, 1974, AHC MHL.
180 “will never be . . . too”: Hitchcock, “The Woman Who Knows Too Much,” 14.
180 “It was like . . . years”: David Freeman, in discussion with the author, October 6, 2018.
180 “I think he . . . approval”: Freeman, The Last Days of Alfred Hitchcock, 19.
8: THE VOYEUR
182 In 1915, Audrey Munson . . . years later: James Bone, The Curse of Beauty: The Scandalous & Tragic Life of Audrey Munson, America’s First Supermodel (New York: Simon & Schuster, 2016).
182 evoking Duchamp’s seminal . . . 1885: Calvin Tomkins, Duchamp: A Biography (London: Pimlico, 1996), 78.
183 “into this upper . . . films”: Warhol, “Hitchcock,” 8.
183 “had been entirely . . . Dyson”: Alfred Hitchcock, “The Chloroform Clue: My Favorite Mystery,” in Gottlieb, ed., Hitchcock on Hitchcock, Volume 2, 47. Originally published in American Weekly, March 22, 1953, 18–20.
183 “making violent love . . . looked on”: Truffaut, Hitchcock, 206.
183 In the first . . . love: Draft script of The Trouble with Harry, July 27, 1954, AHC MHL.
184 Hitchcock imagined a . . . hair: Notes from meeting about The Short Night between AH, David Freeman, and Peggy Robertson, December 26, 1978.
184 “male gaze”: Laura Mulvey, “Visual Pleasure and Narrative Cinema,” in Film Theory and Criticism: Introductory Readings, eds. Leo Braudy and Marshall Cohen (New York: Oxford University Press, 1999), 833–44.
184 “the little people . . . lives”: Krohn, Hitchcock at Work, 141.
187 “more concerned with . . . narration”: John Belton, “Introduction: Spectacle and Narrative,” in Alfred Hitchcock’s Rear Window, ed. John Belton (Cambridge, UK: Cambridge University Press, 2000), 3.
187 “Hitchcock taught me . . . silently”: Patrick McGilligan, Backstory 3: Interviews with Screenwriters of the 1960s (Berkeley: University of California Press, 1997), 181.
187 “Of all the . . . cinematic”: Alfred Hitchcock, “Rear Window,” in Gottlieb, ed., Hitchcock on Hitchcock, Volume 2, 95. Originally published in Take One 2, no.2 (November-December 1968), 18–20.
187 “Galloping horses in . . . film”: Ibid., 96.
187 “Show a man . . . person”: Alfred Hitchcock, “Film Production,” in Gottlieb, ed., Hitchcock on Hitchcock, Volume 1, 215. Originally published in Encyclopaedia Britannica, vol. 15, 1965, 907–11.
187 “What is he . . . man”: AH, Markle, “A Talk with Hitchcock, Part One.”
188 “largely consisted of . . . bored”: Roger Ebert, Awake in the Dark: The Best of Roger Ebert, 2nd ed. (Chicago: University of Chicago Press, 2017), 11.
189 “I watch, I . . . Hitchcock”: Tippi Hedren, SMU.
189 “the British disease”: Vincent, David, The Culture of Secrecy: Britain, 1832–1998 (Oxford, UK: Oxford University Press, 1998), 10.
189 “secrecy is as . . . society”: Ibid.
189 “always felt that . . . you”: AH to Carol Shourds, May 21, 1951, AHC MHL.
190 “a fake masterspy”: Otis L. Guernsey to AH, October 14, 1957, in Auiler, Hitchcock’s Secret Notebooks, 205.
190 Ernest Lehman was . . . Northwest: Baer, Classic American Films, 66.
190 “he had an . . . sense”: Peggy Robertson, OHP.
190 “It was as . . . eerie”: Susan Royal, “Steven Spielberg in His Adventures on Earth,” in Steven Spielberg Interviews, eds. Lester D. Friedman and Brent Notbohm (Jackson: University Press of Mississippi, 2000), 102.
191 “never look at . . . done”: Arthur Knight, “Conversation with Alfred Hitchcock,” in Gottlieb, ed., Alfred Hitchcock Interviews, 178. Originally printed in Oui, February 1973, 67–68, 82, 114, 116–21.
191 “The general method . . . floor”: Alfred Hitchcock, “Director’s Problems,” The Listener, February 2, 1938, 241.
191 “Films,” he said, “are made before they are shot”: David Lewin, “Alfred Hitchcock,” CinemaTV Today, August 19, 1972, 4.
191 assistant production manager . . . hoof: Hugh Brown notes, June 7, 1955, Paramount Production Records, MHL.
192 “Hitchcock is a . . . over”: Robert Benchley to Gertrude Benchley, March 25, 1940, Robert Benchley Collection, HGARC.
192 “tracings of each . . . storyboard”: Krohn, Hitchcock at Work, 13.
192 Krohn posits that . . . methodology: Ibid. See also “Campaign ideas for ‘SABOTEUR’ ” notes (undated) in AHC MHL.
192 “a Pattern Designer”: Duncan Underhill, “Hitchcock Is Like a Pattern Designer,” New York World-Telegram, April 6, 1940, AHC MHL.
192 Many years later . . . wrapped: Robert Boyle, OHP.
192 “Every wall was . . . script”:
