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About ChrisSturhann

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  • Birthday August 9

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    San Diego
  1. I am looking forward to this as well. I read the stories about 20 years ago. Rear Window seems to be very loosely based on the story, and I seem to recall that Rear Window also pulled elements from another Cornell Woolrich story in the same collection I had read, but it's been so long I couldn't say what. It's an interesting question. Hitchcock tended to use source material as a jumping off point and then made the film he wanted to make. Chris
  2. Lawrence Kasdan is a good choice. Just wrote a piece on Body Heat. Thomas Newman is one of my favorites. I used to have the soundtracks to Wall-E and The Shawshank Redemption on my work computer. Listened to them all the time.
  3. Though I didn't mention it, I also thought of Vince Gilligan, and definitely I could see him doing a long format series like Breaking Bad.
  4. In terms of credits and possibly things like animated bits and production design for dream sequences, like Spellbound and Vertigo, I could see Hitchcock working with artists like Banksy, Shepard Fairey, and Shag. For music, Danny Elfman is kind of a no brainer, but I could see him working with people like Peter Gabriel, Moby, and Trent Resnor. This not too much of a stretch because all three have done film scoring. Maybe a little more outside of the box, would be a group like Daft Punk. I'm sure there are some good hip-hop people, but seeing how I am old and white, I don't want to throw ou
  5. My favorite film I think is a tribute to Alfred Hitchcock is, Jumping Jack Flash (1986). I know that a lot of people will not take this film seriously because it was a comedy and a Whoopi Goldberg vehicle for her stand-up/one-woman-show brand of comedy. But to really see this as Hitchcockian, you only have to look at the story. Beware spoilers ahead. Whoopi Goldberg plays a bank clerk who handles international fund transfers via computers. Her outrageous dress and casual friendly but nonprofessional behavior make her an enigma in the stuffy bank. However, she is very good at her job, effic
  6. 1. How does the opening of Frenzy differ from the opening of The Lodger? Feel free to rewatch the clip from The Lodger (Daily Dose #2) for comparison. In The Lodger, Hitchcock focuses not on the sexually oriented murder itself, but the frenzy surrounding the murder. It's funny that I picked the word, frenzy, to describe The Lodger. Maybe having it in my subconscious pushed it out, but when I tried to come up with a better word, nothing came to mind that worked quite as well. In The Lodger, he is trying to cram as much information in as possible in a short period of time. In Frenzy, Hitc
  7. 1. Based on the opening sequence alone, what do you feel you already know about Marnie as a character? In what ways does Hitchcock visually reveal her character through her interaction with objects. She appears to a thief from the stacks of cash, though very professional as evidenced by her multiple IDs and clever way of hiding the ones she will use in the future. She is completely shedding her old identity. She has two suitcases, one for each identity. Her new identity is competely new. Everything is packed carefully and brand new, gloves still in plastic bags they came in, other items st
  8. 1. In what ways does this opening scene seem more appropriate to a romantic comedy than a “horror of the apocalypse” film? What do we learn about Melanie (Tippi Hedren) and Mitch (Rod Taylor) in this scene? First, it sets up Tippi Hedren as a sex object from the very beginning. The boy whistles at her and she stops and smiles at him. I understand this was a tribute to a popular TV commercial at the time. As for the romantic comedy, it has the edge of a screwball comedy with misdirection and a verbal sparring between the man and woman. Tippi Hedren poses as a sales woman to meet Rod Taylor. R
  9. 1. Psycho opens with title design by Saul Bass and music by Bernard Herrmann. This is their third collaboration for Hitchcock, including Vertigo and North by Northwest. How does the graphic design and the score introduce the main themes of this film? First off, the score is very violent and unsettling. The titles are unsettling too. They rush in and out from the side, but to extend it further, they are assembled in pieces, preparing us for the split personality of Norman Bates/mother. 2. As the titles end, we have three shots of Phoenix, Arizona, and a very specific day, date, and time
  10. 1. Even at the level of the dialogue, this film is playing with the idea that two Hollywood stars are flirting with each other (e.g. the line, "I look vaguely familiar.") How does our pre-existing knowledge of these stars function to create meaning in this scene. I think it is less so for Eva Marie Saint. She had only made four films before North By Northwest. Cary Grant had made dozens and had a well-established persona. He was the quintessential charming leading man, good looking but not overly so, but with charm and wit that made him all the more attractive. He is used to seducing women
  11. 1. Describe what you think this film will be about simply from the sounds and images in these opening credits. Even if you have seen the film, try to focus on these sounds and images themselves and “the story” (or if not "the story," the mood and atmosphere they are establishing) that this sequence is communicating to the audience. From the extreme closeups of Kim Novak's face at the beginning, two words emerge for me, sex and obsession. Then as we move to her eye and the filter turns red, and I get the sense of danger. When the swirl appears, I think that about there being something myste
  12. What Hitchcock "touches" do you see in this early scene from the movie? The most obvious one is the subjective shot of Cary Grant as he approaches the bed. I can also see the Hitchcock touch in the way Ingrid Bergman is shot. She is hungover. I'm sure her brain is fuzzy, so she is obscured, by the blankets, by her mussed-up hair, and by the hangover remedy (glass) in front of her. She is upside-down almost falling off the bed. Cary Grant is upside down too, but that is from her perspective. Even when she starts to get up, she doesn't stay up long and has to lie back down. Another touch is
  13. What Hitchcock "touches" do you see in this opening sequence? Moreover, what do we learn about or know about the couple through the scene's visual design: the props, the set design or dressing, the decor, the camera angles, the lighting, etc? There are a couple of shots that are very Hitchcock. First, the long slow pan over the numerous dishes/half eaten plates of food on down to the floor and the solitaire game then up to an unshaven Robert Montgomery. Then Carole Lombard in bed on with her butt up in the air and zooming into show just part of her face. She's only pretending to be asleep. O
  14. As mentioned in the curator's note, this scene operates as a prelude to the main story. What do learn about the character of Uncle Charlie in this prelude? Be specific. He's paralyzed not literally but figuratively. He doesn't move, he doesn't shift his weight, he doesn't sit up. He is at such a low point that he can barely move. He has a lot of money, but he doesn't care about it or the things it can buy. He lets his money fall on the floor, and if he wanted the luxuries that come with money, he would be staying a nice hotel and not this rundown rooming house. When the landlady pulls down
  15. 1. Describe how this opening is different from the multiple opening scenes you have seen in the Daily Doses from the British silent and/or sound period? All of the opening scenes we have seen so far have been public places and have given you a lot of info on multiple characters. For most of the opening of Rebecca, we don't even know who is describing the scene. Also, the previous openings through both visual information and dialog allow the audience to decide how they feel about the characters. In Rebecca, the voiceover narration forces us to experience it as it is described. The main charac
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