#hitch

Tim and Fritz Lang I loved working with. Not Hitchcock so much. There was no communication. ↗

— Sylvia Sidney

#fritz #hitchcock #i #lang #loved

Hitch suggested a name actress to play Marion because the bigger the star the more unbelievable it would be that we would kill her. ↗

— Joseph Stefano

#because #bigger #her #hitch #kill

I always told Hitch that it would have been better to put seats around the set and sell tickets. ↗

— James Stewart

#around #been #better #hitch #i

Working with Chaplin was very amusing and strange. His films are so funny, but working with him, I found him to be a very serious man. Whereas the films of Hitchcock are macabre, he could be a very funny man to work with, always telling jokes and holding court. Of course, when I worked with Charlie he was getting older. ↗

— Tippi Hedren

#amusing #chaplin #charlie #could #course

Conscience that isn't hitched up to common sense is a mighty dangerous thing. ↗

— Margaret Deland

#common sense #conscience #dangerous #dangerous thing #hitched

Woolrich had a genius for creating types of story perfectly consonant with his world: the noir cop story, the clock race story, the waking nightmare, the oscillation thriller, the headlong through the night story, the annihilation story, the last hours story. These situations, and variations on them, and others like them, are paradigms of our position in the world as Woolrich sees it. His mastery of suspense, his genius (like that of his spiritual brother Alfred Hitchcock) for keeping us on the edge of our seats and gasping with fright, stems not only from the nightmarish situations he conjured up but from his prose, which is compulsively readable, cinematically vivid, high-strung almost to the point of hysteria, forcing us into the skins of the hunted and doomed where we live their agonies and die with them a thousand small deaths. ↗

— Francis M. Nevins

#cornell-woolrich #doomed #hunted #hysteria #nightmarish