Alfred Hitchcock (155 page)

Taylor, Rod, 622, 626, 740

Taylor, Sam, 545, 546, 547–48, 553, 554, 573, 576, 657, 672, 676, 677, 688–89, 690, 691, 693, 746

Taylor, Suzanne, 676

Tearle, Godfrey, 172

Technicolor, 411, 414, 424

television, influence of, 414, 464, 514

Television Bill (1954), 514

Tell Your Children
(film), 753

Tennyson, Penrose, 162

Tester, Desmond, 187, 189

Tetzlaff, Ted, 377

Tey, Josephine, 192, 193–94

Thau, Benny, 265, 697

Thiess, Ursula, 458

Thinnes, Roy, 723, 725–26

Thirty-nine Steps, The
(Buchan), 169–71, 172, 173, 175, 184

39 Steps, The
(film), 18, 24, 35, 67, 141, 144, 158, 168, 169–79, 182, 184, 191, 201, 203, 209, 226, 247, 257, 292, 293, 297, 576, 592, 616, 657, 748
n
, 750, 764

Thomas, Jameson, 100, 132, 133

Thomas, M. Robert, 609

Thompson, Avis, 37, 38

Thompson, Dorothy, 334, 350

Thompson, Edith, 37–38, 128, 326, 385, 390
n
, 546

Thompson, Herbert, 221–22

Thomson, David, 238, 240, 241, 253, 294, 298, 356, 390, 395, 396

Thomson, Virgil, 295

Thorndike, Sybil, 435

Thorpe, J. A., 101

Three Hostages, The
(Buchan), 657

Three Live Ghosts
(film), 50–51, 54, 752–53 3-D, 464, 467–69, 495

Thurber, James, 205

Tiffin, Pamela, 614

Tiomkin, Dimitri, 318, 460 “Titanic” (film proposal), 213, 216, 221, 228–29

To Catch a Thief
(
film
), 88, 286, 321, 463, 467–68, 470, 475, 479, 490–503, 505, 506, 508, 512, 513, 515, 526, 528, 529, 530–31, 542, 550, 559
n
, 566, 568, 573, 615, 634, 655, 691, 692, 727, 750, 777

Todd, Ann, 391, 394, 395–96

Todd, Richard, 431, 435–36

Toland, Gregg, 378

Tomasini, George, 484, 495, 501, 506, 536, 538, 561–62, 586, 597, 606
n
, 621, 643, 655, 657, 682–83

Topaz
(film), 203, 234, 449
n
, 683–86, 688–95, 697, 698, 713, 715, 716, 730, 731, 746, 783–84

Torn Curtain
(film), 73, 662–65, 667–76, 678, 679, 680, 683, 694, 697, 715, 716, 730, 731, 783

Toubiana, Serge, 631, 634

Touch of Evil
(film), 607

Toumanova, Tamara, 671

Tourneur, Maurice, 234

Tracy, Spencer, 215, 433

Transatlantic Pictures, 365–66, 371, 381–84, 385, 386, 387, 392, 395, 399–402, 405–7, 411–17, 421, 425, 432, 437–38, 441, 443, 455–59, 463, 465, 467, 468, 478, 487, 490, 508

Trap for a Solitary Man
(Thomas), 609

Trautonium, 622

Trautwein, Friedrich, 622

Travers, Henry, 317

Travers, Linden, 209

Tree, Viola, 336

Trewin, J. C., 175

Triesault, Ivan, 377

Trouble with Harry, The
(film), 321, 463, 479, 484, 502–8, 513, 515, 525, 530–31, 547, 561, 607, 620, 674, 691, 731, 747, 777–78

Truffaut, François, 116, 120, 133, 138, 143, 145, 148, 149, 151, 158, 161, 169, 177, 187, 190, 196, 201, 205, 224, 235, 259, 260,
261, 276, 288, 300, 301, 306, 326, 327, 334, 339, 379–80, 391, 392, 412, 414, 416, 422, 425, 438, 444, 449, 452, 460, 462, 487, 488, 489, 507, 513, 514, 522, 535, 538, 540, 558, 560, 565, 585, 589, 594, 607, 611, 616, 620, 626, 630–32, 633–34, 635, 638, 648, 654, 668, 671, 674, 676–77, 681, 687, 693, 694, 706, 712, 713, 721, 725, 728, 730, 740, 745, 747

interview with, 9, 10, 22, 25, 34, 51, 65, 72, 79, 90, 92

Truman, Harry S, 428

Trumbauer, Frankie, 434

Tschechowa, Olga, 136

Tucker, George Loane, 52

Tucker, Sophie, 179

Turan, Kenneth, 748

Turn of the Screw, The
(James), 456

Turnbull, Margaret, 49

Turner, George, 303, 305, 318

Turner, Lana, 586, 588

Turner, Robert, 612

Twentieth Century-Fox, 211, 265, 267, 301, 314, 322–23, 324, 325, 328, 338, 343–44, 352, 464, 650, 732

Twickenham Studio, England, 52

Twist, Derek N., 172

Ufa-Gainsborough, 62–68

Ufa (Universum Film Aktiengesellschaft), 62, 63, 65, 66, 323

Ullmann, Liv, 733 “Uncle Charlie” (McDonell), 307–8, 309, 310, 311, 318

Under Capricorn
(film), 133, 381, 384, 387, 392, 399, 401–2, 410, 413, 414, 415, 416–29, 431, 432, 433, 434, 437–38, 440, 456, 459, 465, 683, 687, 702, 774

United Artists, 199, 264, 274–75

Universal City Studios, 669, 673, 682, 683, 687, 688, 698, 712, 715, 732, 747–48

Universal International, 412, 527, 578, 581, 586, 589, 608, 609, 621, 639, 652–54, 661–62, 667

Universal Studios, 99, 100, 266, 284, 291–93, 298, 300–301, 304–5, 306, 307–8, 311, 314, 318–19

Unsell, Eve, 49

Uris, Leon, 683, 684–86, 688–89, 691, 692

Utrillo, Maurice, 476, 477

Vachell, H. A., 148

Valentine, Joseph, 304, 318, 411, 414

Valentine, Val, 132, 142

Valentino, Rudolph, 71

Valli, Alida, 390, 391, 394, 405

Valli, Virginia, 68, 70, 429

Van der Post, Laurens, 539

van der Vlis, Diana, 560

Van Doren, Mark, 191

Van Druten, John, 146, 149, 285, 296

Van Sant, Gus, 750

Vanel, Charles, 491, 494, 502

Ventimiglia, Baron Gaetano, 68, 69, 81, 95

Verneuil, Louis, 401, 415

Vernon, John, 689, 690

Vertigo
(film), 8, 25, 97, 143, 356
n
, 404, 413, 488, 540–42, 543–48, 550, 552–57, 560–64, 565–66, 567, 571, 576, 584, 590, 592, 599, 607, 616, 636, 648
n
, 655, 657, 674, 683, 688, 694, 746, 747, 748, 779–80

Vertov, Dziga, 75

Vetchinsky, Alex, 208–9, 705

Vidor, King, 266

Viertel, Berthold and Salka, 296

Viertel, Peter, 296–98, 299, 300, 304–5, 306, 308, 400

Village of Stars
(Stanton), 609, 611

Village Voice
, 607, 639

Visconti, Luchino, 657

VistaVision, 495–96

Vlaminck, Maurice de, 467

Von Bolvary, Geza, 146

Von Braun, Werner, 659

Vosjoli, Philippe de, 683

Vosper, Frank, 37, 161

Wakefield, Hugh, 161, 510

Walker, Robert, 450, 451

Walker, Vernon L., 378

Wallace, Edgar, 95, 124

Wallis, Hal, 264, 344, 371, 478, 504

Walsh, Kay, 435

Waltzes from Vienna
(film), 37, 151–52, 153, 180–81, 228, 338, 505, 763

Wanger, Walter, 199, 200, 202, 217, 247–48, 254–55, 258–59, 261, 264–65, 266, 267, 269, 270, 271, 274–75, 282, 283, 299

Wardour Films, 93

Warhol, Andy, 599

Warner, Harry, 294

Warner, Jack, 382, 384, 405, 420, 431, 458–59, 464, 465, 468, 469, 478, 487, 531

Warner Bros., 90, 106, 245, 264, 266, 301, 333, 382, 387, 401–2, 404, 405, 411, 415, 419, 420, 430, 443, 449–50, 455, 457–59, 464–70, 472, 475, 478, 481, 486, 487, 531–32, 537, 540

Warren, John F., 667

Warth, Theron, 377

Wasserman, Lew, 406–8, 675

and
Birds
, 615, 620, 634, 644

and end of Hitchcock’s career, 742

and “Frenzy,” 632, 683, 687

and
Frenzy
, 698

and Hitchcock tribute, 740, 743, 745

and MCA, 407, 477–78, 546, 547

and MGM, 542–43

and ownership of films, 479, 581

and Paramount, 478–79

and
Psycho
, 580–81, 588, 598, 600, 607

and
Rear Window
, 470

and
Rope
, 407–8, 412

socializing with, 557, 559, 584, 696, 721

and
Stage Fright
, 431

and television, 514–15

and
Topaz
, 684, 688

and
Torn Curtain
, 663–64, 676

and Universal, 412, 578, 580–81, 652–54, 661–62, 676, 682, 687

and
Vertigo
, 546, 547

and Wrong Man
, 531

Watchtower over Tomorrow
(film), 368–69, 370, 374

Waterhouse, Keith, 667, 669–71, 672–73

Watling, Jack, 422

Watson, Wylie, 172

Waugh, Evelyn, 405–6

Waxman, Franz, 282, 396, 507

Wayne, David, 544

Wayne, Naunton, 209 “Weep No More” (film proposal), 386–87, 406

Wegman, Dorothy, 280

Weiler, A. H., 575

Weinberg, Herman, 630–31

Weingarten, Lawrence, 265

Welles, Orson, 267, 284, 295, 315, 327, 337, 458, 507, 513, 586, 607, 643, 739, 740

Wellman, William, 283

Wells, Bombardier Billy, 204

Wells, H. G., 523

Welwyn Studios, England, 348

Werndorff, Oscar, 162

West, Rebecca, 523

Weston, Garnett, 112, 113–14

Wheel Spins, The
(White), 206, 207 “Wheelbarrow, The” (Pritchett), 623

Wheeler, Burton K., 294

Wheeler, Lyle, 245, 282

When Boys Leave Home, see Downhill

White, Ethel Lina, 206, 207, 523

White, Janet, 203

White Cargo
(film), 124–25

White Shadow
(film), 60, 84, 754

Whitelaw, Billie, 703

Whitlock, Albert, 50, 198, 477, 621, 623, 628–29, 652, 672, 732, 738

Whitman, Stuart, 588

Whitney, John Hay “Jock,” 202, 203, 211, 240, 246

Whitty, Dame May, 209, 256, 285

Wilcox, Charles, 55

Wilcox, Herbert, 55–56, 90, 235, 256

Wilde, Oscar, 390
n

Wilder, Billy, 359, 373, 378, 389
n
, 407, 444, 484, 543, 561, 606, 607
n
, 611, 614, 696, 715, 748

Wilder, Thornton, 308–13, 317, 324, 327, 533, 625
n

Wilding, Michael, 421–27, 431, 437

Wiley, Mason, 282

Wilkerson, W. R., 215

Williams, Annie Laurie, 331, 351

Williams, Emlyn, 160, 223

Williams, J. D., 90, 93

Williams, John (actor), 470, 491, 494–95, 496, 513, 526, 528, 543, 577

Williams, John (composer), 729

Williams, Robin, 740

Wills, Colin, 373

Wilson, Sir Henry, 128

Wilson, Harold, 373

Wilson, Margaret, 383–84

Winkler, Dan, 213, 215, 220, 237, 247, 255, 266, 278, 288, 345

Winsten, Archer, 655

Winter, Henrietta, 77

Winter, John Strange, 77

Winters, Shelley, 429

WNYC radio, 221

Woman Alone, The
[
Sabotage
] (film), 191, 201, 202, 765

Woman to Woman
(film), 56–60, 754

Woman’s Face, A
(film), 265–66, 268

Wonacott, Edna May, 317

Wong, Anna May, 133

Wood, Robin, 472, 522, 528, 564, 648, 694, 706

Wood, Sam, 283

Woodcock, John M., 501–2

Woodward, Joanne, 526

Woolf, C. M., 56, 60, 74, 78, 84, 85, 87, 88, 93, 152, 168–69

Woollcott, Alexander, 207, 309, 524

Woolrich, Cornell, 463, 467, 470, 480, 481–83, 485, 524, 551

World War I, 25–26, 27, 28, 323

World War II, 26, 158, 248, 254, 256, 261, 270–74, 294, 297, 300, 311, 338–39, 344, 346–48, 349, 353, 367–68, 372–74, 375, 406, 628

Wreck of the Mary Deare, The
(Innes), 543, 548–49

Wright, Teresa, 316–17, 318, 319–21, 740

Writers Guild, 155, 412, 531, 532, 657, 671

Wrong Man, The
(film), 18, 203, 321, 531–38, 540, 542, 545, 622, 636, 649, 655, 674, 779

Wyler, William, 218, 283, 317, 331, 454, 478, 485, 533, 696, 715, 739, 740

Wyman, Jane, 431, 432, 436, 740

Wyndham-Lewis, D. B. “Bevan,” 160

Young, Freddie, 118, 122, 124–25

Young, Loretta, 239, 244, 247

Young, Robert, 181

Young and Innocent
(film), 10, 66, 94, 162, 181, 193–97, 201, 202, 207, 209, 210, 211, 212, 226, 238, 297, 705, 765–66

Youngkin, Stephen D., 161, 183

Yousling, George, 381

Zanuck, Darryl F., 265, 301, 314, 321, 322, 338–40, 343–44, 346, 352, 464, 575

Zavattini, Cesare, 533

Ziegler, William, 411, 450, 688, 693

Zierold, Norman, 666

Zinnemann, Fred, 533

Zionism, 367

Zukor, Adolph, 217

Queries and correspondence:
Jonathan Balcon (son of Michael Balcon), David Bernstein (son of Sidney Bernstein), Orin Borsten, Colin M. Brewer, Amanda Cockrell (daughter of Francis and Marian Cockrell), Dr. Ambrose King, Herbert Coleman, Chris Coppel (son of Alec Coppel), Hume Cronyn, Constance Cummings, David Freeman, Winston Graham, Barbara T. Gray (Mrs. Hugh Gray), Rita Landale, Arthur Laurents, Jay Livingston, James Mavor (grandson of James Bridie), Jean Moore, Evelyn Mumm (daughter of Alex Ardrey), Pat Hitchcock O’Connell, Czenzi Ormonde, Bernard Parkin, S.J., Nova Pilbeam, John E. Pommer (son of Erich Pommer), Oliver Pritchett (son of V. F. Pritchett), Jessica Rains (daughter of Claude Rains), Esmé Surman, George Tabori, Peter Tanner, Sam Taylor, Peter Viertel, Keith Waterhouse, Albert Whitlock, Fay Wray.

Interviews:
Jay Presson Allen, Roy Ward Baker, Ray Bradbury, Jack Cardiff, Herbert Coleman, Whitfield Cook, Laraine Day, Bob Dunbar, C. O. “Doc” Ericksen, Rudi Fehr, Dr. Walter Flieg, Otis C. Guernsey Jr., Val Guest, John Michael Hayes, Bryan Langley, William Link, Norman Lloyd, Ron Miller, Ronald Neame, Czenzi Ormonde, Alfred Roome, Jeremy M. Saunders, Julian Spiro, George Stevens Jr., Hugh Stewart, Richard Todd, Leon Uris, Peter Viertel.

Hitchcock family members in England and South Africa: Jeanette and Chris Albert, John Albert, Rodney Cooper (S.A.), Winnie Curtis, John “Jack” Lee, Mrs. E. J. (Betty) Sparks (S.A.).

Mary Troath interviewed Jeanette and Chris Albert, John Albert, Winnie Curtis, Dr. Ambrose King (with daughter Mary Taylor), Jack Lee, and Jennia Reissar in England. Fiona Eakins interviewed Furio Scarpelli in Rome. John Baxter interviewed Charles Lippincott in Los Angeles and Brigitte Auber in Paris.

I was kindly supplied interview transcripts pertaining to Hitchcock and his films from among the numerous subjects in the oral history archives of DeGolyer Library, Southern Methodist University, Texas. (I have drawn especially from the Doris Day, Joan Fontaine, Tippi Hedren, and Gregory Peck interviews.) Tim Kirby furnished transcripts of over forty interviews with key cast and crew members of Hitchcock films conducted for his 1999 two-part documentary
Hitch
(“Alfred the Great” and “Alfred the Auteur”), part of the
Reputations
series for the British Broadcasting Corporation, and other BBC staff forwarded many tapes and transcripts of earlier radio and television shows pertaining to Hitchcock. (Besides in general supplying invaluable detail and background, the BBC interviews I have quoted from include Whitfield Cook, Farley Granger, John Russell Taylor, Joseph Stefano, and Herb Steinberg.) Through the intercession of Roy A. Fowler I was allowed access to the many Hitchcock-related interviews among those conducted for the Broadcasting, Entertainment, Cinematograph & Theatre Union (BECTU) oral history project. (I particularly drew from the Sidney Gilliat and Alfred Roome oral histories.) Barbara Hall guided my research into the many oral histories conducted for the Academy of Motion Picture Arts and Sciences and the Margaret Herrick Library. (I have cited the Robert Boyle and Peggy Robertson transcripts.)

Wendy Daniell in Milwaukee translated French and Italian articles, while Kristi Jaas in Paris translated an excerpt from Michel Piccoli’s
Dialogues egoistes
pertaining to
Topaz.

Collegial advice and assistance from outside the United States
: In Australia: Howard Gelman and Ken Mogg. In Britain: Geoff Brown, Kevin Brownlow, Walter Donohue, David Eldridge, Laurence Geary, Gary Giblin, Mark Glancy, Bernie Gollogly, Philip Kemp, Kevin Macdonald, Tony Lee Moral, Geoffrey Parry, Peter Graham Scott, Otto R. Snel, and especially Roy A. Fowler and Bernard Lewis (a.k.a. Colin Belfrage). In Canada: Yves Laberge. In Germany: Thomas David, Joseph Garncarz, and especially Werner Sudendorf. In Italy: Lorenzo Codelli and Giuliana Muscio. In Sweden: Michael Tapper. In Yugoslavia: Dejan Kosanovic.

Collegial advice and assistance in the United States:
Richard Allen, Matthew Bernstein, Connie Bruck, Paul Buhle, Robert L. Carringer, William G. Contento, Scott Curtis, James V. D’Arc, Ronald L. Davis, Jim Drake, Scott Eyman, David Fantle, Volney P. Gay, Hal Gefsky, David Goodrich, Sidney Gottlieb, Charles Higham, Anne Holliday, Helen Imburgia, David Kalat, Leonard Leff, Vinny LoBrutto, Glenn Lovell, Leonard Maltin, Dave Martin, Joseph McBride, Dennis McDougal, Paul Gregory Nagle, James Robert Parish, Gerald Peary, Gene D. Phillips, S.J., Arnie Reisman, Kristina Ropella, Nat Segaloff, Michael Sragow, Charles Stecy, Tom Stempel, Lynissa Stokes, Barry Strugatz, David Thomson, Duane Wright, Annie Yang.

Screenings:
Charles Barr and Mary Sandra Lindner for
Mary;
Tag Gallagher
and Bill Krohn for
Waltzes from Vienna
and
Memory of the Camps;
Bill Krohn and Leonard Maltin for radio recordings; David Miller for episodes of
Alfred Hitchcock Presents;
the Museum of Broadcasting, Chicago, and the Museum of Television and Broadcasting, New York, for various television shows.

Special thanks to Lorenzo Codelli for inviting me to the Eighteenth Pordenone Silent Film Festival, October 9-16, 1999, in Sacile, Italy, where I enjoyed screenings of Hitchcock’s rarest silent films, and to Richard Allen for inviting me to the “Hitchcock: A Centennial Celebration” in New York City on October 13-17, 1999, where I met scholars and enthusiasts who aided my work.

Archives and organizations outside the United States:
In England: Army Medical Services Museum; Chris Lloyd, Bancroft Library, Tower Hamlets; A. J. Gammon, Sanctions Emergency Unit, Bank of England; the British Film Institute (BFI) Library and Special Collections; British Library (Colindale); Roy A. Fowler, Rick Harley, Alan Lawson, and Stephen Peet, Broadcasting, Entertainment, Cinematograph & Theatre Union (BECTU); F. H. Trimmer, Registrar, Brompton Oratory, South Kensington; Cartoon Art Trust; Wills & Probate Centre of the Court Service; Cripplegate Institute; Curtis Brown Literary Agency; Sister Mary Rose McCabe of Sisters, Faithful Companions of Jesus; Goldsmiths’ College Library; David Oliver, W.T. Henley, Ltd.; (AEI Cables Limited) Imperial War Museum; Lincolns Inn Library; Laurence Evans, MCA (London); Colin McLaughlin, James Bridie Papers, National Library of Scotland, Edinburgh; Peabody Trust; Public Records Office, Kew; Richmond upon Thames Local Studies Library; Royal London Hospital Archives; Colin Hinton, editor of the parish magazine for Our Lady of St. Thomas of Canterbury, Harrow; St. Hugh’s College, Oxford; Michael Blundell, Headmaster, St. Ignatius College, Enfield, and Jim Garvey, Old Ignatian Association; St. Francis Roman Catholic Church, Stratford; Graham Collyer,
Surrey Advertiser;
Theatre Museum, London; John Rylands University Library, University of Manchester; Vestry House Museum, Walthamstow.

In Canada: Heather Wilson, Toronto Reference Library, Ontario; the Brian Moore Collection at the University of Calgary, Alberta. In Germany: Dr. Torsten Musial, Stiftung Archiv der Akademie der Künste, Berlin; Silke Ronneburg and Werner Sudendorf, Stiftung Deutsche Kinemathek, Berlin. In South Africa: Elaine Pearson, the National English Literary Museum, Grahamstown; Sibuse Mgquba, the National Library of South Africa, Cape Town Division.

Archives and organizations in the United States
: the Hitchcock Collection at the Margaret Herrick Library, the Academy of Motion Picture Arts and Sciences, Los Angeles; the American Cancer Society; Kevin Wilcox, American Society of Newspaper Editors; Sean D. Noel, Special Collections (including the Robert Benchley, Whitfield Cook, Arthur Laurents, Claude Rains, Basil Rathbone,
and Ouida Bergere papers), Boston University; Judith Goodstein and Bonnie Ludt, the Robert A. Millikan Papers, Caltech Archives, California Institute of Technology; the Samson Raphaelson Papers at Butler Library, Columbia University; Armand Gagne, Diocese de Quebec; Hume Cronyn Papers, Manuscript Division, Library of Congress; Dr. Errol Stevens, Department of Archives and Special Collections, and Brother Daniel Peterson, S.J., Archivist, Loyola Marymount University, Los Angeles; Jane Klain, Museum of Television and Radio, New York; Collier County Public Library, Naples, Florida; National Archives and Records Administration (Ship Passenger Arrival Records), Washington, D.C.; National Archives (Immigration Records), Pacific Southwest Region; Margaret Kulis, Newberry Library, Chicago; S. Flannery, Reference, Newton Free Library, Newton Center (Mass.); Shari West Twitero, Reference, Rapid City Public Library (S.D.); Steve Groth, Special Collections, San Jose State University Library (Calif.); Donna Swedberg, Reference, Santa Cruz Public Library (Calif.); Roxanne Wilson and Audrey Herman, Local History, Sonoma County Public Library (Calif.); Kay Bost and Ronald L. Davis, the Oral History Project, DeGolyer Library, Southern Methodist University, Texas; Sara Timby, Special Collections (the John Galsworthy Papers), Stanford University; Cecily Hilsdale, Erika Young, Betsy Bernard, and Ellen M. Gameral, Twentieth Century–Fox; the Kenneth MacGowan Papers and Twentieth Century–Fox Collection, Special Collections, University of California at Los Angeles (UCLA); UCLA Emeriti Service Center; Jim Burns, Public Information, and Paul Stubbs, Special Collections, University Library, University of California at Santa Cruz; Paula Contreras, Regenstein Library Reference, University of Chicago; William J. Maher, Samson Raphaelson Collection, University Library, University of Illinois, Urbana-Champaign; the Universal and Warner Bros. Studio Collections in the Cinema-Television Archives of the University of Southern California, Los Angeles; the Maxwell Anderson, Ernest Lehman, Brian Moore, David O. Selznick and Myron Selznick Collections in the archives of the Harry Ransom Humanities Research Center, the University of Texas, Austin; the Edward R. Stettinius Papers in the Albert H. Small Special Collections, Alderman Library, University of Virgina, Charlottesville; the Leo Mishkin Collection in the American Heritage Center, University of Wyoming; Molly Dohrmann, Special Collections (the Delbert Mann Papers), Jean and Alexander Heard Library, Vanderbilt University; Paul Donovan, Department of Libraries, State of Vermont; Local Reference, Watertown Free Library, Watertown (Mass.); the Thornton Wilder Collection, Yale Collection of American Literature, the Beinecke Rare Book and Manuscript Library, Yale University.

Special thanks to Ned Comstock of the University of Southern California Archives, and the extraordinarily helpful librarians of the Memorial Library Reference Department, Marquette University, Milwaukee, Wisconsin.

Major Hitchcock interviews quoted in text:
“A Talk with Alfred Hitchcock” by Bob Thomas,
Action
(May-June 1968); “Alfred Hitchcock: The German
Years” by Bob Thomas,
Action
(Feb. 1973); Charles Higham and Joel Greenberg’s interview in
The Celluloid Muse: Hollywood Directors Speak
(Henry Regnery, 1969); “Hitchcock On Style” in
Cinema
(Aug.-Sept. 1962); Oriana Fallaci’s interview in
The Egotists
(Henry Regnery, 1968); “Alfred Hitchcock” interviewed by Charles Thomas Samuels in
Encountering Directors
(G. P. Putnam’s, 1972); “Hitchcock and the Dying Art” in
Film
(summer 1966); “It’s the Manner of Telling: An Interview with Alfred Hitchcock” by F. Anthony Macklin,
Film Heritage
(spring 1976); “The Man Behind the Body” by John D. Weaver,
Holiday
(Sept. 1964); “Q. & A.: Alfred Hitchcock” by Digby Diehl,
Los Angeles Times (West
magazine, June 25, 1972); Richard Schickel’s interview in
The Men Who Made the Movies
(Atheneum, 1975); Ian Cameron and V. F Perkins’s interview in
Movie
(Jan. 1963); “Core of the Movie—The Chase,” an interview by David Brady in the
New York Times Magazine
(Oct. 29, 1950); “Conversation with Alfred Hitchcock” in
Oui
(Feb. 1973); “The Americanisation of Alfred Hitchcock … and Vice Versa” by John C. Mahoney,
Performing Arts
(Feb. 1973); “I Call on Alfred Hitchcock” by Pete Martin in the
Saturday Evening Post
(July 27, 1957); “Surviving: Alfred Hitchcock” by John Russell Taylor in
Sight and Sound
(summer 1977); Peter Bogdanovich’s interview in
Who the Devil Made It
(Knopf, 1997).

Key books:
Dan Auiler,
Hitchcock’s Notebooks
(Avon Books, 1999); David Freeman,
The Last Days of Alfred Hitchcock
(Overlook Press, 1999); Sidney Gottlieb, ed.,
Alfred Hitchcock: Interviews
(University Press of Mississippi, 2003); Sidney Gottlieb, ed.,
Hitchcock on Hitchcock: Selected Writings and Interviews
(University of California Press, 1995); Robert E. Kapsis,
Hitchcock: The Making of a Reputation
(University of Chicago Press, 1992); Bill Krohn,
Hitchcock at Work
(Phaidon, 2000); Albert J. LaValley, ed.,
Focus on Hitchcock
, (Prentice-Hall, 1972); Leonard J. Leff,
Hitchcock and Selznick: The Rich and Strange Collaboration of Alfred Hitchcock and David O. Selznick in Hollywood
(Weidenfeld & Nicholson, 1987); Dennis McDougal,
The Last Mogul: Lew Wasserman, MCA, and the Hidden History of Hollywood
(Crown, 1998); Jane E. Sloan,
Alfred Hitchcock: The Definitive Filmography
(University of California Press, 1993); David Thomson,
Showman: The Life of David O. Selznick
(Knopf, 1992).

Especially: Donald Spoto’s
The Dark Side of Genius: The Life of Alfred Hitchcock
(Little, Brown, 1983), John Russell Taylor’s
Hitch
(Pantheon, 1978), and François Truffaut’s
Hitchcock
(Simon & Schuster, 1967). This book started in part as an effort to take stock of all the new Hitchcock findings of the last twenty years. But every Hitchcockian—fan, scholar, or biographer—must begin with, draw from, and repeatedly reference these three groundbreaking books. The Truffaut interview is frequently cited in the text, and especially with actors or writers who have died, or no longer grant interviews, I have also often quoted people from the Taylor and Spoto books.