Titolo: Hitchcock At Work
Casa editrice: Phaidon Press
Data di pubblicazione: 2000
Condizione libro: very good
Gently used. Expect delivery in 2-3 weeks. Codice inventario libreria 9780714839530-3
Riassunto: A comprehensive, behind-the-scenes examination of the work of director Alfred Hitchcock (1899-1980). Fully illustrated throughout in colour and black and white, this book examines all of the director's career, from the early films made in the UK in the 20th and 30th, to his move to Hollywood where he became co-producer as well as director of his films. It therefore provides an overview of his movies as well as being a visual celebration of one of the word's most renowned directors. Many of the illustrations are published here for the first time and include film stills, shots from film sets, storyboards and reproductions of Hitchcock's annotated scripts. The book also includes a complete filmography.
Dall'autore: In 1982 I organized a round-table discussion at Universal with some of Alfred Hitchcock's main collaborators on THE BIRDS. Hearing them talk about the amazing adventure of making that groundbreaking film, I began to get a sense of Hitchcock seen through the eyes of his closest collaborators, and the man they were describing wasn't the man I thought I knew. Hitchcock at Work is my attempt to get closer to the filmmaker I encountered for the first time that day, and to understand him better.
I also want this look at how some of the Master's best films were made, based on his private papers, to shed light on the filmmaking process, and on the fact that it is a process, and not just a matter of making a blueprint and following it. Hitchcock himself led the press to believe that everything in his films was pre- planned to the last detail. But if he were the all-out control freak he pretended to be, why would he have chosen to make an entire film about birds, which are almost impossible to control, much less film?
I think there was a struggle in Hitchcock between the control freak and the connoiseur of chaos. Seeing how the films took shape out of those warring impulses helped me understand them better and added greatly to my enjoyment of them. To quote my introduction: "Each film was a new adventure, the aim was not perfection, and the only method was the man. That's why the films are so beautiful."
I hope that looking over the director's shoulder during the creation of films like SHADOW OF A DOUBT, STRANGERS ON A TRAIN, REAR WINDOW, THE MAN WHO KNEW TOO MUCH, PSYCHO and NORTH BY NORTHWEST will add to the reader's pleasure in the masterpieces that resulted. With that aim in mind we have also reproduced, often in color, over 200 of the documents and drawings I studied while writing the book, because many of them are small works of art in their own right.
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