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Hitchcock/Truffaut ()


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Filmmakers discuss how Francois Truffaut's 1966 book "Cinema According to Hitchcock" influenced their work.

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Narrator (voice)
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Self
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Self
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Self
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Self
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Self
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Self
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Self
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Self
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Self
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Self
Rest of cast listed alphabetically:
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Self (uncredited) (archiveFootage)
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Self (uncredited) (archiveFootage)
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Self (uncredited) (archiveFootage)
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Self (uncredited) (archiveFootage)
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Self (uncredited) (archiveFootage)
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Self (uncredited) (archiveFootage)
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Self (uncredited) (archiveFootage)
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Self (uncredited) (archiveFootage)
Helen Scott ...
Self (uncredited) (archiveFootage)
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Self (uncredited) (archiveFootage)

Directed by

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Kent Jones

Written by

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Kent Jones ... (written by) and
Serge Toubiana ... (written by)

Produced by

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Daniel Battsek ... associate producer
Victoire Buff ... line producer
Charles S. Cohen ... producer
Cécile Croizat ... line producer
Liz Hannah ... line producer: LA (as Elizabeth Hannah)
John Kochman ... associate producer
Olivier Mille ... producer
Delphine Pineau ... creative producer
Rachel Reichman ... co-producer
Abi Sakamoto ... production supervisor: Tokyo
Kumi Sato ... line producer: Tokyo

Music by

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Jeremiah Bornfield

Cinematography by

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Nick Bentgen ... director of photography: NY
Daniel Cowen ... director of photography: NY
Eric Gautier ... director of photography: Paris
Mihai Malaimare Jr. ... director of photography: LA
Lisa Rinzler ... director of photography: NY
Genta Tamaki ... director of photography: Tokyo

Editing by

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Rachel Reichman

Editorial Department

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Olivier Cohen ... colorist
Emmanuelle Gachet ... on-line editor
Jacob Gervich ... assistant editor

Production Management

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Benjamin Landsberger ... post-production manager
Katya Panova ... production department

Art Department

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Michel Blustein ... graphic designer

Sound Department

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Robin Aramburu ... sound mixer: Paris
Matthieu Cochin ... sound mixer
Paul Cote ... sound mixer: NY
Matteo Liberatore ... sound mixer
Anne Maisonhaute ... sound editor
Mark Patino ... sound mixer: LA
Steven Robinson ... sound mixer: NY

Camera and Electrical Department

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Toby Orzano ... gaffer
Nick Perron-Siegel ... gaffer

Music Department

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Marcelo Añez ... music mixer
Jeremiah Bornfield ... composer: theme music
Chris Robertson ... music and media licensing

Additional Crew

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Cécile Croizat ... researcher
Deborah Ford ... researcher (as Debbie Ford)
Chuck Marshall ... international servicing: Backroom International
Anne Snyder ... production coordinator / researcher

Production Companies

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Distributors

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Special Effects

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Other Companies

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Storyline

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Plot Summary

In 1962 Hitchcock and Truffaut locked themselves away in Hollywood for a week to excavate the secrets behind the mise-en-scène in cinema. Based on the original recordings of this meeting-used to produce the mythical book Hitchcock/Truffaut-this film illustrates the greatest cinema lesson of all time and plummets us into the world of the creator of Psycho, The Birds, and Vertigo. Hitchcock's incredibly modern art is elucidated and explained by today's leading filmmakers: Martin Scorsese, David Fincher, Arnaud Desplechin, Kiyoshi Kurosawa, Wes Anderson, James Gray, Olivier Assayas, Richard Linklater, Peter Bogdanovich and Paul Schrader. Written by Cohen Media Website

Plot Keywords
Taglines The Greatest Story Hitchcock Ever Told See more »
Genres
Parents Guide View content advisory »
Certification

Additional Details

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Also Known As
  • 希区柯克与特吕弗 (China, Mandarin title)
  • Χίτσκοκ/Τρυφώ (Greece)
  • ヒッチコック/トリュフォー (Japan, Japanese title)
  • Hitchcock og Truffaut (Norway)
  • Хичкок/Трюффо (Russia)
  • See more »
Runtime
  • 79 min
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Language
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Filming Locations

Did You Know?

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Trivia Both Sir Alfred Hitchcock and François Truffaut could actually speak quite adequately in the language of the other, as can be heard in off camera moments. However neither felt confident enough, so they used Helen Scott, a bilingual Truffaut collaborator, to provide simultaneous translation. See more »
Movie Connections Features The Lodger: A Story of the London Fog (1927). See more »
Quotes Alfred Hitchcock: Silent pictures are the pure motion picture form. There's no need to abandon the technique of the pure motion picture, the way it was abandoned when sound came in.
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