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Questions for Alexandre Philippe for August 1st Shindig


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#41 Rejana Raj

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Posted 31 July 2017 - 06:43 AM

I have a simple question to our very own Dr.Rich Edwards and to our honoured guest Mr. Philippe. Here's the question.
Q.) Which Hitchcockian heroine do you admire the most from the Silent Era till the Universal Years of Hitchcock films.

(P.S. Well, I love Grace Kelly a lot, What's yours?)

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#42 akparty14

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Posted 31 July 2017 - 02:11 AM

Could you elaborate more on some of Hitchcock's ditched efforts such as Kaleidoscope, The Blind Man, and others? Which do you find most intriguing? Which do you think Hitch most regretted not making? 


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#43 obuprof07

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Posted 31 July 2017 - 01:40 AM

Which murder scene was more difficult for Hitchcock to choreograph: the famous murder of Janet Leigh's character in the shower in "Psycho" or the murder in the farm house of the East German agent in "Torn Curtain?"  Explain.

 

Thanks for taking time to share your expertise with us! 


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#44 joant

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Posted 30 July 2017 - 11:06 PM

Thank you all again for this opportunity.

I have a quick question...What was meant: "scenario by?"
It is no longer used. Did it mean something on the order of a treatment?

If anyone knows, please answer here.
Thank you again,

Joan Tarshis
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#45 melkirsch

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Posted 30 July 2017 - 08:17 PM

Hello Mr. Philippe and Professor Edwards,

    1.  Mr. Hitchcock dealt with many limitations to his "touch" during his career. What would you consider his most unrestrained film?

    2.  What might Mr. Hitchcock think of contemporary film-making especially those films created in the suspense/action and romantic comedy genres? Do you think he would embrace CGI?

    3.  Did Mr. Hitchcock admire any other filmmakers or films in his later years? What might he think of Brian DePalma's homage of films to his legacy.

    4.  What were the inner motivations that led Mr. Hitchcock to explore the darker side or nightmares of life?

         Thank you and great course and collaborations.


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#46 LaureliaB

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Posted 30 July 2017 - 08:09 PM

Thank you for the opportunity to ask questions.

As we have read in Professor Edward's lecture notes, Hitchcock was "most likely the most written about filmmaker of the 20th century." Viewers appreciated his movies for their originality and style, creativity, set designs and music. Other directors began to make films in the Hitchcock style starting in the late 1960s. He never won an Academy Award for best director, although his body of work was acknowledged by the AFI in 1979.

In light of Hitchcock's success as a director, why was the general opinion of Hitchcock through the mid 1960s seen as one of a "successful entertainer" rather than a director?
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#47 montereybob

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Posted 30 July 2017 - 08:02 PM

Hello Mr. Philippe! You mentioned on air that the title of your movie "78/52" means 78 camera setups and 52 cuts. Can you explain in more detail the traditional process of pre and post-production in 1960, and how Hitchcock revolutionized cinema with this 3 minute shower scene?


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#48 Thief12

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Posted 30 July 2017 - 07:24 PM

One simple question that I've had in mind for Dr. Edwards and Wes Gehring during the course would be their favorite and least favorite Hitchcock films. So that would be a simple question that can also be extended to Mr. Philippe.


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#49 dweigum

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Posted 30 July 2017 - 02:38 PM

Hello:  My question is for Mr. Phillipe and Professor Edwards.  Alfred Hitchcock has said that german expressionism was a great influence, if not the greatest inflence on his work.  Which one of his movies best exemplifies the influence of german expressionism?  Thank you!


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#50 Paul Tilburgs

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Posted 30 July 2017 - 01:12 PM

I hope Mr. Philippe won't mind, but I can answer this one, at least to a certain extent. Britain and the US were to collaborate on the project, except the collaboration fell apart and both countries used some of the same footage to make their own distinct variants. The American version, Death Mills, was helmed by Billy Wilder and was released in 1946. The British version was shelved for decades, not being fully (mostly) restored and released until 2014. Much of the footage had been previously released as Memory of the Camps, but the latest, most complete version is entitled German Concentration Camps Factual Survey.

 

IMDb claims both Bernstein and Hitchcock directed, although the print itself does not credit a director, Hitch being credited as treatment adviser.

 

It has been released on blu-ray this April.


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#51 Chuck V.

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Posted 30 July 2017 - 01:07 PM

I have another question

I came across a Bernstein project in which Hitchcock flew to England to be part of, a film on German concentration camps which was shut down and Wilder made instead? Could you clarify the 1945 film and what ultimately became of this project? Are there more films Hitchcock has been part less known to the public and are they obtainable?

Thanks for sharing your insight,

Darcy

I hope Mr. Philippe won't mind, but I can answer this one, at least to a certain extent. Britain and the US were to collaborate on the project, except the collaboration fell apart and both countries used some of the same footage to make their own distinct variants. The American version, Death Mills, was helmed by Billy Wilder and was released in 1946. The British version was shelved for decades, not being fully (mostly) restored and released until 2014. Much of the footage had been previously released as Memory of the Camps, but the latest, most complete version is entitled German Concentration Camps Factual Survey.

 

IMDb claims both Bernstein and Hitchcock directed, although the print itself does not credit a director, Hitch being credited as treatment adviser.


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#52 Lucinda27

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Posted 30 July 2017 - 12:58 PM

Mr. Phillppe,

 

1. Would you every consider making a feature film? If so, what genre would be your favorite choice?

 

2. If you could remake any Hitchcock movie, which would it be and how would you adapt it for a modern audience?

 

Thanks,

Lucinda


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#53 mariaki

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Posted 30 July 2017 - 12:08 PM

How deep was Hitchcock's level of interest in the work of Freud, Jung and psychoanalysis in general?  Did he read their works and consult with experts? Or was it just fashionable psychobabble?   Watching Marnie so close to Vertigo really hits home that he had an interest in the theories and vocabulary of the field, as does also his comment on the subliminal effects of music and color.


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#54 Earthshine

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Posted 30 July 2017 - 10:51 AM

One other question, which of course is merely speculation:

 

If Hitchcock were still alive and making films today, do you think he would remain true to himself as a film maker, or do you think he would feel pressured to resort to the cliched and bad film techniques that audiences expect today because of a shorter attention span and a need for non-stop action and violence?  I realize that Hitchcock would always "reinvent" himself his entire career, always pushing the envelope while still including his signature touches in each of his films.  Personally, I would like to think that Hitchcock would NOT feel the pressure to cater to today's average viewers who do not have the patience to listen to Hitchcock's beautiful dialogue, appreciate his character development, and admire all of the pain-staking detail he put into each of his films.

 

Thank you again,

 

Mr. Loren Santiago


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#55 Earthshine

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Posted 30 July 2017 - 10:38 AM

I was wondering if you would be willing to share your thoughts on what seems to be a recurring Hitchcock theme of the dynamic of male/female relationships, roles, and expectations in his films.  Is there a hint of misogyny in his films (as was noted in our class discussion of the noir genre), is it a reflection on how Hitchcock himself felt about marriage and women (which does not seem logical considering his long marriage to Alma), or do these recurring situations in his films simply reflect societal beliefs and expectations from each of the time periods when the films were released (with women being objectified in films dating back to The Pleasure Garden and continuing up through Rear Window)? And finally, how should the audience reconcile these ideas with the equally strong and independent women that also appear in some of his films?  

 

Thank you,

 

Mr. Loren Santiago


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#56 Master Bates

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Posted 30 July 2017 - 03:39 AM

In VERTIGO, why is the manager of the McKittrick Hotel (Ellen Corby) insistent that "Carlotta Valdez" hasn't been at the hotel that day? We have just seen "Madeleine/Judy" opening the shade in the room above the lobby. Or have we only seen her there through Scottie's eyes? Through his...imagination? In which case, is she there...or not?


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#57 D'Arcy

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Posted 30 July 2017 - 03:27 AM

I have another question

I came across a Bernstein project in which Hitchcock flew to England to be part of, a film on German concentration camps which was shut down and Wilder made instead? Could you clarify the 1945 film and what ultimately became of this project? Are there more films Hitchcock has been part less known to the public and are they obtainable?

Thanks for sharing your insight,

Darcy
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#58 D'Arcy

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Posted 30 July 2017 - 01:48 AM

Hello Prof. Edwards and Mr Philippe
Your insight is amazing thanks to both of you.

My first question is for Mr Philippe

What other works of Hitchcock's legacy do find interesting enough to make another possible documentary and in short how would you describe your journey in getting to know the Hitchcock style, has it influenced your personal goals as a director?

My second question is for both of you

We've only touched the tip of the iceberg of Hitchcock's legacy in this class. What suggestions do you have in continuing and deeping our knowledge and understanding of his amazing career as a director? Where would I start, as there is so much information?

Thank you,
Darcy
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#59 jfedelchak

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Posted 29 July 2017 - 08:27 PM

All through his career, Hitchcock and his production teams have always been at the leading edge of creative techniques and performance ability,

 

... but has there ever been a shot, scene, stunt, (or even a movie) that Hitch just could not accomplish, because it was deemed too technically complicated, risky, dangerous, expensive, or just impractical give the current limits of time, budget, technology, or expertice being unavailable or impractical? 


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#60 tigorprod

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Posted 29 July 2017 - 06:45 PM

The women characters in Hitchcock films (and television shows) were mostly portrayed as weaker physically and emotionally than the men characters although a female might be more cunning than the male counterpart.  Even in an argument between a Hitchcock male and female (Grace Kelly and James Steward in Rear Window), the man almost always has the last word.  This was the societal view of women through the 1960s and early 1970s.  Would Hitchcock have ever considered a strong female character such as Ripley in the Alien franchise?  Are there any Hitchcock female characters that might be considered pre-Ripley?   


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