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dizzy.miss.lizzy

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About dizzy.miss.lizzy

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  • Gender
    Female
  • Location
    The past
  • Interests
    Classic movies and actors, classic rock and roll, writing, books, and playing guitar.

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  1. Dreaming of chasing monsters with Christopher Lee/chasing Christopher Lee *heart eyes*

  2. Dreaming of dancing with Gene Kelly #SummerUnderTheStars

  3. I agree with everyone about Steven Spielberg, John Williams, and Tom Hanks. I love that they seem to be a popular occurrence on this topic. They're all so amazing at what they do. I just want to add that I recently watched Sully​ and admire Tom Hanks so much. He does seem like a James Stewart type with the lovable characters that he plays, comedic or dramatic. As for John Williams, it's only fitting that we see him as a collaborator with Hitchcock since he actually did work with him. I'm a fan of his music, and there are similarities between him and Bernard Herrmann that are iconic. And Steven
  4. Your question makes me think of Hitchcock's cameo in ​​Blackmail​, where he is being bothered by the boy on the Underground. Not a water pistol, but very similar and could have been the inspiration for Charade. Great analysis, by the way!
  5. Your question makes me think of Hitchcock's cameo in ​​Blackmail​, where he is being bothered by the boy on the Underground. Not a water pistol, but very similar and could have been the inspiration for Charade. Great analysis, by the way!
  6. ​The opening scene of Frenzy is different from The Lodger​ in that it starts out calmly and light-hearted. In ​The Lodger​, the terror on the girl's face immediately sets off the tension, which continues to escalate as the opening scene goes on and the public starts to learn about the murder. However, in today's daily dose, there's no terror anywhere to be seen. Instead, we see a really long dolly shot of magnificent London. What could happen? If you didn't know this was Hitchcock, you would be surprised when the woman's body is seen floating in the water. As I already mentioned, we see hi
  7. We learn many things about Marnie in this clip. She's clearly an expert, or at least very experienced, at what she does. She carefully plans things out by changing her identity, placing the suitcase in the locker and dropping the key in the grate. I also noticed that she's very calm and composed while carrying all this out, which suggests that she's done this many times before. The suitcases show us the different personalities she gives to each of her identities (or perhaps, she naturally has these different identities in herself). One suitcase is neat and tidy, while the other is full of clot
  8. ​I never thought of this opening scene as a romantic comedy before. Now this makes me wonder what turn this story would take if the birds didn't start attacking. But then again, many horror movies, especially apocalyptic ones, start with a happy scene. I think this is important for movies in this genre. We are supposed to see the happy and normal lives of the characters before the terror and doom begins. If we were thrown into the story with the start of the apocalypse (in this case, the birds), we wouldn't know any different, aside from what we know to be normal in real life. But starting the
  9. I'm beginning to love the collaboration of Saul Bass and Bernard Hermann. Not only are they iconic, but it's that recognizable thing that you geek out about (or at least I do). They are fantastic at setting the stage for the movie--whatever genre it may be. Vertigo was suspenseful, while North by Northwest was exciting and adventurous. Now, Psycho is a horror and the music very easily makes that known. The constantly moving lines make the opening credits feel claustrophobic, but in a good way. That's something usually avoided in graphic design, but in this case, we want that tight feeling and
  10. This scene has a lot of meaning, considering the popularity of Cary Grant. Everyone knows and loves Cary Grant. It should just be a given! He is often associated with being a ladies' man and at least played a lot of characters like that. Roger Thornhill is clearly liking the attention from Eve, who understandably is showing interest in him. I think her character's role is relatable, while he almost seems to be playing himself. His character is very natural and very Cary Grant (A+ casting), while she does a fantastic job of playing the "sexy spy lady." I also like how everyone pointed out that
  11. These opening credits create a mysterious mood and does feel much like you're going into a trance. It also says to me that this movie is going to be a psychological thriller and deal with a lot in the minds and thoughts of characters. Unlike the opening credits for North by Northwest​, it's a subjective introduction and the plot will be heavily involved with the characters' minds. I think the most powerful image to me would be the girl's eye. The screen turns red, which can mean to symbolize murder or at least some darkness later in the movie. Also, as the saying goes, "the eyes are the wi
  12. I think the opening shot is establishing the stories of all these minor characters. We're being introduced to the setting and a little but informative glimpse into their lives. I think the vantage point right now is simply the audience. No one from Jeff's room is watching except us. Plus, as storytellers, it's always important to make sure your audience has been introduced to your characters and their lives enough to feel comfortable in the story and to allow it to continue into the plot. I know when a story jumps into the action of the plot and I don't really know the characters yet, I don't
  13. There are several "criss-crosses" that I noticed and I think analyzing them increases my appreciation for Hitchcock's genius. The train tracks are the obvious "criss-crosses" in this clip, and as it has been brought out, they're going different ways, which is symbolic for the characters in the story. I also noticed the back and forth shots of the characters getting out of the cars and walking to the train. The camera shots show Bruno walking in one direction, while Guy is walking in the other direction. Together, this can be a criss-cross, as well as the back and forth shots between characters
  14. ​The most obvious Hitchcock touch is the angled shot of Cary Grant. I absolutely love this shot, and it was a nice surprise to see this used in Downhill as well​. However, instead of the vulnerability of Ivor Novello's character, this shot in Notorious​ displays Cary Grant's character as being a little intimidating. It also puts you into the mind of Ingrid Bergman's character, which reminds me of the dolly shots in Downhill​. Another part of this clip that stood out to me as a potential Hitchcock touch was the shot looking into the bedroom. As the record is playing, Ingrid Bergman slowly comes
  15. The Hitchcock touch that I noticed, as well as everyone else, is the attention to detail. Instead of being introduced to the characters themselves, we're introduced to their surroundings. We learn about them through the clutter in their room, the cards in his hands, and the costume design. Obviously, there's dishes and things everywhere, the bed is a mess (probably mostly from her tossing and turning) as well as the couch, and he's dressed in a robe. All these things tell me that they had a late night, and since they seem irritated with each other, I imagine they got into an argument and she p
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