234 A month later . . . Club: “Talk of the Trade,” The Bioscope, May 26, 1927, 31.
234 the grandest entrance . . . theater: See various clippings in the Downhill scrapbook, AHC MHL.
234 The studio reminded . . . purposes: Studio Manager (unidentified) to Ivor Montagu, February 22, 1927, Ivor Montagu Collection, BFI.
234 “thoroughly disguised as . . . hat”: “All the Fun of the Fair—Free,” Evening Standard, June 15, 1927, AHC MHL.
235 In the summer . . . contract: H. G. Boxall to AH, June 6, 1935, Ivor Montagu Collection, BFI.
235 “I don’t wish . . . shit”: Thelma Schoonmaker, Peter Von Bagh, and Raymond Durgnat, “Midnight Sun Film Festival,” in David Lazar, ed., Michael Powell: Interviews (Jackson: University Press of Mississippi, 2003), 146.
235 “As far as . . . matter”: Bogdanovich, Who the Devil Made It, loc. 9117 of 15740, Kindle.
235 “the only thing . . . camera”: Laurents, Original Story By, 128.
236 “positively weird to . . . hands”: Jack Cardiff, “The Problem of Lighting and Photographing Under Capricorn,” American Cinematographer, October 1949, 382.
236 “the most exciting . . . directed”: Hitchcock, “My Most Exciting Picture,” 276.
237 “there is a . . . background”: Harry Watt, “Re-Seeing Blackmail,” World Film News, April 1937, 15.
239 “His contrivances remain . . . now”: David Bordwell, Reinventing Hollywood: How 1940s Filmmakers Changed Movie Storytelling (Chicago and London: Chicago University Press, 2017), 442. Quote originally in Playboy, March 1967.
239 “sensation that everything . . . me”: Truffaut, Hitchcock, 246.
239 “So that’s the . . . dollars”: Ibid.
240 Hitchcock had originally . . . “feel lucky”: Robert Boyle, OHP.
241 “Please start sweating now”: Nugent, “Assignment in Hollywood,” 13.
241 “Hitch believed you . . . part”: Marc Eliot, James Stewart: A Biography (London: Aurum, 2006), 29.
241 “extremely possessive of . . . crew”: Leff, Hitchcock and Selznick, 190.
241 Hilton Green, an . . . work: Hilton Green, Kirby.
241 “This is the . . . much”: Robert Boyle, OHP.
241 “you had to . . . leave!”: Ibid.
242 “the most collaborative . . . I had”: Ibid.
242 The famous scene . . . inexorably: Moral, Making of Hitchcock’s The Birds, loc. 1525 of 3812, Kindle.
242 When he heard . . . electronically: Transcript of AH interview with Steve Rubin, December 1976, Cinefantastique magazine records, MHL.
243 “electronically the equivalent . . . experimentation”: Moral, Making of Hitchcock’s The Birds, loc. 2733 of 3812, Kindle. See also AH notes on sound for The Birds, October 23, 1962, AHC MHL.
243 Correspondence with Hitchcock’s . . . ideas: See the correspondence in The Birds folders, AHC MHL.
243 The machine that . . . time: Moral, Making of Hitchcock’s The Birds, loc. 2676 of 3812, Kindle.
243 “an eruption of film talent”: Pells, Modernist America, 238.
244 In promotional material . . . place: A Photographic Production Notebook on Alfred Hitchcock’s ROPE, Warner Bros., 1957, AHC MHL.
244 “the most revolutionary . . . seen”: Hitchcock, “My Most Exciting Picture,” 276.
245 “technical mixup, and . . . approve”: Samuels, Encountering Directors, 237.
245 “Hitchcock wouldn’t reshoot . . . not that”: Moral, Making of Marnie, 99. Quoting from Robert Boyle, American Film Institute seminar, 1977.
246 “This project was . . . denied him”: Auiler, Hitchcock’s Secret Notebooks, 549.
246 his “conversation was . . . so on”: Ackland, The Celluloid Mistress, 39.
246 “which they don’t know . . . WARS”: AH to Michael Balcon, October 6, 1977, AHC MHL.
247 “questionable old man . . . matters”: AH notes on the manuscript of Hitch by John Russell Taylor, 1974, 12.
247 Hitchcock remained fascinated . . . feminism: See clippings folders, AHC MHL.
247 “completely desperate . . . conflict”: AH to François Truffaut, October 20, 1976, in Truffaut, Hitchcock, 342.
248 “I’m in competition with myself”: Bogdanovich, Who the Devil Made It, loc. 9196 of 15740, Kindle.
248 “a director who . . . immunity”: Truffaut, Hitchcock, 341.
248 “intransigence, difficulty and unresolved contradiction”: Edward Said, On Late Style: Music and Literature Against the Grain (London: Bloomsbury, 2017), 3.
248 “a sort of deliberately unproductive productiveness”: Ibid., 4.
248 “too-late style”: Mark Goble, “Live Nude Hitchcock: Final Frenzies,” in Jonathan Freedman, ed., The Cambridge Companion to Alfred Hitchcock (New York: Cambridge University Press, 2015), 208.
11: THE LONDONER
252 “son of Essex”: AH to A. E. Sloman, March 26, 1975, AHC MHL.
253 “not socially respectable”: Spoto, Dark Side of Genius, 22.
253 “scars from a . . . revolt”: John Houseman, Unfinished Business: Memoirs, 1902–1988 (New York: Applause Theatre Books, 1989), 235.
254 “plummy, posh-cockney voice”: Cardiff, Magic Hour, 19.
254 “spoke in a . . . aitches”: Tripp, The Glass Ladder, 156.
254 “electrification, motorization, socialism . . . state intervention”: Stephen Inwood, City of Cities: The Birth of Modern London (London: MacMillan, 2005), xv.
254 During these three . . . 2015: Greater London Authority, “Population Change 1939–2015,” https://data.london.gov.uk/dataset/population-change-1939–2015.
254 “swarmed with people . . . Street”: Peter Ackroyd, London: The Concise Biography (London: Vintage Books, 2012), 560. Quoting Horace Thorogood’s memoir East of Aldgate (London: Allen and Unwin, 1935).
254 “inordinate regard for personal privacy”: Alfred Hitchcock, “Murder—With English on It,” New York Times, March 3, 1957, 199.
255 “stony neglect, each . . . newspaper”: Ralph Waldo Emerson, English Traits (London and New York: Tauris Parke, 2011), 77.
256 “an ecstasy of fumbling”: Wilfred Owen, “Dulce et Decorum Est,” 1915, in Wilfred Owen, Anthem for Doomed Youth (London: Penguin, 2015), 2.
256 “developed a kind . . . eyes”: Jerry White, London in the Twentieth Century: A City and Its People (London: Vintage Books, 2008), 313. Quoting Eileen Bailey’s memoir, The Shabby Paradise: The Autobiography of a Decade (London: Hutchinson & Co., 1958), 17ff.
258 “The Royal Albert . . . romance”: Charles Champlin, “What’s It All About, Alfie?” Los Angeles Times, June 7, 1971, 12.
258 In a similarly . . . bedroom: Margaret Pride, “Your Fears Are My Life,” Reveille, September 23, 1972, 7, AHC MHL.
258 “the production of . . . refused”: Henry K. Miller, “Film Society, The (1925–39),” http://www.screenonline.org.uk/film/id/454755/index.html.
259 “twenty-four hours . . . everything”: Truffaut, Hitchcock, 320.
259
