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Any Hitchcock fan has no doubt looked carefully while watching one of his movies in order to spot his infamous cameos. Hitchcock’s earlier cameos are especially hard to catch, and so Youtube user Morgan T. Rhys put together this video compiling every cameo Alfred Hitchcock ever made.
Hitchcock made a total of 39 self-referential cameos in his films over a 50 year period. Four of his films featured two cameo appearances (The Lodger: A Story of the London Fog UK), Suspicion, Rope, and Under Capricorn). Two recurring themes featured Hitchcock carrying a musical instrument, and using public transportation.
The films are as follows:
The Lodger (1927), Easy Virtue (1928), Blackmail (1929),Murder! (1930), The Man Who Knew Too Much (1934), The 39 Steps (1935),Sabotage (1936), Young and Innocent (1937), The Lady Vanishes (1938), Rebecca(1940), Foreign Correspondent (1940), Mr. & Mrs. Smith (1941), Suspicion (1941),Saboteur (1942), Shadow of a Doubt (1943), Lifeboat (1944), Spellbound (1945),Notorious (1946), The Paradine Case (1947), Rope (1948), Under Capricorn (1949),Stage Fright (1950), Strangers on a Train »
What a contrast from the stereotype of government bureaucracy — and from issues with filming at national parks in the past when, for example, Alfred Hitchcock was unable to shoot the climatic chase scene in “North by Northwest” on Mount Rushmore, getting his shots instead on a studio mockup.
But now there’s a new concern: cost. The U.S. National Park Service and Dept. of the Interior are weighing a proposal to increase filming fees, and in some cases, double them.
The MPAA says the increases aren’t justified, and could discourage filming on federal lands. More than 50 lawmakers signed a letter urging Secretary of the Interior Sally Jewell and Secretary of Agriculture Tom Vilsack not to boost fees.
Location manager Doug Dresser, »
- Ted Johnson
One year ago, Nora Thos and Damian Perez released the following short film taking a look at the history of movie titles and today it was brought to my attention thanks to Slashfilm. While only touching on the art of movie titles in broad strokes, it's an interesting look at what the short calls "The Film Before the Film", covering enough territory and offering enough details to make it easy for you to being doing a little research of your own. The film obviously touches on the work of Saul Bass (North by Northwest, The Man with the Golden Arm), Maurice Binder (Dr. No), Pablo Ferro (Dr. Strangelove), Greenberg Associates' work on the original Superman titles, Kyle Cooper (Seven, Mimic), Digital Domain (Fight Club) and the inventive work of Kook Ewo for Splice as well as plenty of earlier work in film from Thomas Edison to the Rko titles before »
- Brad Brevet
We continue our conversation with directors Richard Glatzer and Wash Westmoreland, discussing Stanley Kubrick's Lolita connection to Errol Flynn, costume designer Orry-Kelly's role beyond the likes of Katharine Hepburn, Bette Davis and Ethel Barrymore in Hollywood, and the palettes in Otto Preminger's Bonjour Tristesse, Richard Quine's Strangers When We Meet and Alfred Hitchcock's North By Northwest. Kevin Kline, Dakota Fanning and Susan Sarandon with Matt Kane, Bryan Batt and Max Casella star in The Last Of Robin Hood.
Anne-Katrin Titze: When I spoke with Jane Pollard and Iain Forsyth about 20,000 Days On Earth, which is their documentary on Nick Cave, little did I expect that your film and theirs would have something in common. And that is Vladimir Nabokov's Lolita. »
- Anne-Katrin Titze
In a nondescript building in Burbank, Reliance MediaWorks has begun work on bringing a thousand films — some of them cult classics, many rarely seen for decades — back to life.
The list is wildly eclectic, ranging from classics of world cinema (“The Bicycle Thief,” “Notorious,” “The Third Man”) to cult hits (“Andy Warhol’s Dracula” and “Andy Warhol’s Frankenstein”) to early Bruce Lee, Hammer horror films, exploitation titles and foreign films. Almost every film on the list has a recognizable actor or director, but many have never been released for home viewing.
Rmw hopes that the new releases will not only bring life back to audience favorites, but also introduce the works to new eyes.
“What makes this collection of movies extremely unique is that many of the films have never been released on DVD, let alone Blu-Ray,” said Naresh Malik, president of media and creative services. “Anyone who sees »
- Shelli Weinstein
Earlier this week, Alfred Hitchcock celebrated a birthday. Rather, fans celebrated on his behalf. He would have been 115 years old. Many fans have been passing around this video published as a college project in 2012 by Morgan T. Rhys. Simply titled “Every Alfred Hitchcock Cameo,” the video shows exactly that: Alfred Hitchcock’s cameos from The Lodger to Stage Fright and beyond. Many cinefiles can recount for you his cameos in North by Northwest or on a newspaper in Lifeboat, but this video shows all the lesser known and slightly more subtle appearances he made in his own movies. Watch for yourself and enjoy Hitchcock making himself one of the most infamous extras of all-time.
"Watch Every Alfred Hitchcock Cameo in 5 Minutes" was originally published on Film School Rejects for our wonderful readers to enjoy. It is not intended to be reproduced on other websites. If you aren't reading this in your favorite RSS reader or on Film »
- Neil Miller
Few other filmmakers lived to see their name become synonymous with a specific brand of filmmaking quite like Alfred Hitchcock did. This month, as part of their Summer Classic Film Series, the Paramount and Stateside Theaters have lined up a weeklong tribute to Hitchcock featuring the likes of Psycho and The Birds, among other gems from the master of suspense; each of which, regardless of how many prior viewings, remains a thrilling pleasure to see on the big screen.
"We're playing the hits, and a few B-sides too," proclaims Paramount's official site in describing Hitchcock week. Hits is right with North by Northwest, Vertigo and Notorious also scheduled to screen, while "second-tier" Hitchcock classics Rebecca and Strangers on a Train (screening the following week) also make appearances. However, it's the four interestingly chosen aforementioned B-sides that prove interesting highlights and really speak to Hitchcock's versatility as a filmmaker. »
Alexa here with your weekly art appreciation. Like many, movies were a way for Jason Bryant to escape the difficulties of childhood. Growing up in rural North Carolina, he loved to draw; as he got older, painting became his passion. He often painted while listening to the soundtracks of his favorite films, and the images and emotions evoked made their way to his canvases. His work has evolved into photo-realistic paintings of classic film stills combined with skateboard graphics and pixelation. He often paints on skateboards themselves. He explores the facades of living, the act of "us[ing] smoke and mirrors to convey a polished life but sometimes it’s broken."
For Sake of Family
Jason's take on Gilda, North by Northwest and more after the jump...
Nothing Left To Give »
Renowned designer Saul Bass — famous for his bold title sequences in films such as Psycho, The Man with the Golden Arm and North by Northwest — worked with one of the most meticulous directors in Hollywood leading up to one of 1980’s most iconic films. Bass partnered with Stanley Kubrick during the making of The Shining — about a family who ventures to an isolated hotel where strange, supernatural events take over. The designer created the original poster for the horror film, giving it a pointillist edge and strikingly slanted text. But as most Kubrick fans know, the director often put collaborators through their paces, reportedly requesting dozens of takes for a single scene from his actors and more. In Bass’ case, Kubrick didn’t...
- Alison Nastasi
Over at The Telegraph, Robbie Collin has chosen to take on the impossible, he's set out to create a list of films that tells the story of Hollywood "in terms of how one picture or director led to the next." It's a daunting task that creates an interesting narrative and he prefaces his ten selections saying: ...none of the individual works is "great" or "important" enough to drown out the others. I've avoided films such as Citizen Kane, Vertigo, Singin' in the Rain, Casablanca, Gone with the Wind, Lawrence of Arabia and The Godfather, not just because we already know they're great, but because their greatness might throw the story off-balance - although I wouldn't hesitate to describe any of the films that are on this list as a masterpiece. So how does his list shape outc Have a look: One Week (1920) - dir. Buster Keaton It Happened One Night (1934) - dir. »
- Brad Brevet
50 years ago today Marnie (1964) hit movie theaters and, as quite a divisive picture in the Hitchock filmography, ended one of the most beloved perfect runs that any filmmaker has accomplished in the history of ever (1958-1962: North By Northwest, Vertigo, Psycho, The Birds).
So Marnie has a bad rep, posts about her don't get you riled up like other Hitchcock fests, and she's underseen today. Not to lovingly kick that crazy bitch while she's down but it occurred to me the other day when she popped into my head that Marnie's color phobia means she would never be able to see an Almodóvar picture. Her loss. And she would be absolutely terrified by Sara Goldfarb addictions in Requiem for a Dream. (I mean more terrified than the rest of us)
I like thinking about the red dress. And the television and your father."
I dedicate this following gallery of »
- NATHANIEL R
It may begin with a character racing across a desert with a small plane in hot pursuit, but “Heatstroke” is not, to put it gently, the second coming of “North by Northwest.” An underwhelming survival thriller about a fragile family unit beset by violent thugs while on a research expedition in South Africa, this first feature from writer-director Evelyn Maude Purcell in nearly 30 years (since her 1986 comedy, “Nobody’s Fool”) remains watchable largely due to its vivid location photography, providing a suitably scenic, dust-choked backdrop for the otherwise thoroughly generic proceedings. Low-key theatrical and VOD exposure awaits.
Stephen Dorff completists may be disappointed to learn (spoiler alert) that his character, a hyena specialist named Paul O’Malley, doesn’t stick around for long — a shame, too, since the perpetually underrated actor offers something for the viewer to latch onto amid the script’s initial pileup of domestic-angst cliches. Happily in »
- Justin Chang
When it comes to America, the values, the principles, and ideals that we strive for are great. Freedom, liberty, truth, justice, happiness and the right stand up against tyranny are ideas that we can all believe in... but what about the stuff? The tangible things that distinguish this great nation from others are worth taking note of as well. That’s why we’re taking a moment, in honor of our great nation, to say “Thanks” to the movies that celebrate uniquely American cultural artifacts.
Hot Dogs — Father of the Bride
Bread has been around for tens of thousands of years and sausage too has been around for a couple millenia, but it was only in America that a hot dog could be created. And only an American comedy legend like Steve Martin could bring to the big screen the hot dog conundrum that has perplexed us all.
Mount Rushmore »
- Mandy McAdoo
Errol Flynn, the swashbuckling Hollywood star and notorious ladies man, flouted convention all his life, but never more brazenly than in his last years when, swimming in vodka and unwilling to face his mortality, he undertook a liaison with an aspiring actress, Beverly Aadland.
The two had a high-flying affair that spanned the globe and was enabled by the girl’s fame-obsessed mother, Florence. It all came crashing to an end in October 1959, when events forced the relationship into the open, sparking an avalanche of publicity castigating Beverly and her mother – which only fed Florence’s need to stay in the spotlight. The Last Of Robin Hood is a story about the desire for fame and the price it exacts.
- Michelle McCue
With the 20th La Film Festival now underway (until June 19), Indiewire sent out questionnaires to filmmakers with films screening at Laff asking them a variety of questions as part of the How I Shot That series. Many of these filmmakers were eager to disclose some of the best and worst advice they have received in their careers. Check out some of the advice below. Best Advice: "If you reference something correctly in a documentary, you can use it for free under 'public domain.' Love that." -- Director Ravi Patel ("Meet the Patels") "Do the big scares first, make sure you got them right, and then move on to the rest of the movie." -- Director Seth Grossman ("Inner Demons") "The best advice came from (my cinematographer) Seamus Tierney and my production design professor at AFI, Robert Boyle ("North by Northwest," "The Birds," "In Cold Blood," "Cape Fear"). He had »
- Eric Eidelstein
Hey, all you Sci-Fi fans, this one’s for you — or better yet, these two are for you! The Redford Theatre is happy to present a Drive-in-style double feature with two of the best loved science fiction films from the 1950s: “Invasion of the Body Snatchers” and “War of the Worlds.” The night will include a vintage intermission program, complete with dancing hot dogs, a minutes-to-showtime countdown and 1950s movie trailers.
“War of the Worlds” stars Gene Barry (of "Bat Masterson” and "Burke’s Law” fame) and Ann Robinson in her only starring role for Paramount. (She also appeared on our screen two weeks ago in a small role as a showgirl in “Imitation of Life.") A few familiar names appeared here in small roles. Sir Cedric Hardwicke provided the voice for the commentary/narration. Les Tremayne (General Mann) was best known for his estimated 30,000 radio broadcasts. (He also appeared »
- email@example.com (Cinema Retro)
I have a curious habit, maybe you have it too, if you are a real movie geek, film fan, cinema addict, what have you.
A certain number of movies that I have seen and loved with all my heart were losers at the box office or were mercilessly slammed by critics, usually both. This doesn’t happen all the time, mind you. I know a bad movie when I see one. But several times I have seen a movie on opening day and loved it so much I was sure it would be a big hit and be loved by critics and film goers, nope, not all the time.
Here then is my own personal and highly eccentric top ten list, with some honorable mentions, of movies that lost out, yet I love them still, many of them desperately, hysterically, madly do I love these films, well anyway… let me tell you about it. »
- Sam Moffitt
Six years after their last attempt, Empire Magazine has conducted a poll of over 250,000 film fans to come up with a list of the 301 greatest movies ever made. It's the 1980 classic "The Empire Strikes Back" which took the top spot, beating out the 2008 winner "The Godfather" which slipped down to second place. The Top 50 of the list are:
The Lord of the Rings: Fellowship of the Ring
2001: A Space Odyssey
Terminator 2: Judgement Day
- Garth Franklin
Nothing could make Mathieu Amalric's The Blue Room, a sleekly clouded, petit adaptation of Georges Simenon in Un Certain Regard, stand out at Cannes more than it being shown back to back with Atom Egoyan's ponderous, crippled genre film in Competition, The Captive.
As usual a half-thesis, half-melodrama on trauma spawned from and mediated by technology, Egoyan's child kidnapping picture does stand out with the idea behind its thriller mechanics: the Internet and surveillance technology create a cycle of perverse, sub-Mabusian manipulation, where children are kidnapped and after being abused are broadcast to capture more victims, and the "stories" told by closed circuit television and other audiovisual records are used to swaddle and coax victims and inspire captors to continue their reprehensible spree. The film ignores the actual horrors of kidnapping, pedophilia, and the other crimes it purports to focus on, »
- Daniel Kasman
After admitting the laudable Stephen Toblowsky and much-missed Jt Walsh, we now see whether The Overlooked Hotel can make room for the delightful and versatile Michelle Monaghan.
A recent film magazine review queried why Michelle Monaghan had not hit it big (or at least bigger) off the back of her charming, star-making turn in Kiss Kiss Bang Bang. It was and is a pertinent question and it is hard to know why she has not become a more established star. Although she has a varied CV, it is hard to pick too many turkeys (Made of Honour and The Heartbreak Kid were pretty middling efforts, but hardly part of a broad trend), nor has she gone so left field as to disassociate herself from more mainstream opportunities.
Monaghan had been knocking around in a variety of TV gigs and supporting turns on the big screen, before catching a break as »
- Dave Roper
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