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zcamenker

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About zcamenker

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  1. I could definitely see Hitch working with directors like Martin Scorsese, Quentin Tarantino, and David Fincher. Even though they are all very different and quirky/unique in some ways, I think Hitch would LIKE what they bring to the table. He also would love working with some of their constant collaborators like cinematographer Bob Richardson, editor Thelma Schoonmaker, and musicians Trent Reznor/Atticus Ross. The creativity and stylistic approach they bring to the table would probably impress Hitch a lot. It's really hard to think of writers because so few films today have screenplays
  2. I watched you twice on TCM with Ben Mankiewicz and agree with you that ROPE is one of Hitch's best films. I myself find it one of his most underrated and VERTIGO one of his most overrated. What are your feelings toward VERTIGO being consistently ranked as Hitch's best film?
  3. It's been a long time since I've seen MARNIE and I must say that, based on Dr. Edwards' praise for it and that intensely captivating opening scene, I look forward to seeing it again. While my memory points to some agreement with Dr. Gehring in that not all the pieces in this film work for me, I do think the overall feel of the film continues to show Hitch's success, even in his mid 60's. Just Bernard Herrmann's score and Tippi Hedren's look do that alone, not to mention the other moving pieces that make it an intriguing film. Herrmann's score here almost serves as a buildup to the reve
  4. In a way, the Saul Bass opening credit sequence and first scene of PSYCHO further expose us, as viewers in the Hitchcock audience, to the voyeurism that encompassed a significant part of his later career. The blinds, much like the blinds in REAR WINDOW for example, serve as a way for the audience to become peeping Toms ourselves. One may think that there is no better example of a peeping Tom than Jimmy Stewart's L.B. Jeffries in REAR WINDOW, but I personally think that Norman Bates is THE peeping Tom in the Hitchcock canon. As Drs. Gehring and Edwards said in the video, the scene where Bat
  5. I am going to use this space for a twofold response today. I am going to start with some thoughts regarding the innovative and provocative opening sequence designed by Saul Bass, then move into why I believe it is important to debunk the fact that VERTIGO is Hitchcock's masterpiece. First and foremost, having seen the film nearly a decade ago for the first time and not having watched it since, I do admit a slight bias for my feelings after the first time I viewed it. Next, I am not a film scholar nor expert by any means, so I do not expect anyone who reads this to side with me on what I sa
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