Download Scripting Hitchcock: Psycho, The Birds, and Marnie by Walter Raubicheck, Walter Srebnick PDF

By Walter Raubicheck, Walter Srebnick

Nominated for a nonfiction Edgar Allan Poe Award from the secret Writers of the US, Scripting Hitchcock explores the collaborative method among Alfred Hitchcock and the screenwriters he employed to write down the scripts for 3 of his maximum movies: Psycho, The Birds, and Marnie. Drawing from vast interviews with the screenwriters and different movie technicians who labored for Hitchcock, Walter Raubicheck and Walter Srebnick illustrate how a lot of the filmmaking procedure came about now not at the set or in entrance of the digital camera, yet within the edition of the resources, the mutual construction of plot and characters by way of the director and the writers, and many of the revisions of the written texts of the movies. Hitchcock allowed his writers loads of artistic freedom, which led to dynamic screenplays that multiplied conventional narrative and defied previous conventions. significantly reading the query of authorship in movie, Raubicheck and Srebnick argue that Hitchcock did identify visible and narrative priorities for his writers, yet his position within the writing approach was once that of an editor. whereas the writers and their contributions have ordinarily been underappreciated, this examine finds that every one the discussion and masses of the narrative constitution of the movies have been the paintings of screenwriters Jay Presson Allen, Joseph Stefano, and Evan Hunter. The writers additionally formed American cultural issues into fabric particularly for actors equivalent to Janet Leigh, Tippi Hedren, and Tony Perkins. This quantity provides due credits to these writers who gave narrative shape to Hitchcock's filmic imaginative and prescient.

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Additional info for Scripting Hitchcock: Psycho, The Birds, and Marnie

Sample text

All of us go a little crazy at times. Just as she’d gone crazy, yesterday afternoon when she saw that money on the desk. And she’d been crazy ever since, she must have been crazy, to think she could get away with what she had planned.  . Maybe she could manage to throw off the police. But Sam would ask questions.  . And then there was Lila. (47) While Mary recognizes how much more fortunate she is than Norman, her primary realization is how hard it will be to get away with the crime, and this is what makes her decide to return the money before the theft is discovered.

Thus, while he and the writers expanded many of the characterological possibilities these works offered, they intensified their more extreme material. Interestingly, Psycho, the first of these works, was produced as if it were being made for television, down to being shot in black and white. The director was attracted by the chance to pursue and extend the darker directions the novel offered, as in the shower scene, as well as the characters he had created. Psycho “Then the horror wasn’t in the house,” Lila murmured.

37 Whether Allen, who got on extremely well with the director and shared his quirky sense of humor, actually provided the female perspective that Hitchcock hoped for in Marnie is debatable. 38 Ultimately it was her screenplay that had to represent Mark’s assertive masculinity and Marnie’s frigidity and thievery in ways that reflected contemporary American attitudes on psychology, sexuality, and criminology, which to a large extent it did. She also elevated the novel’s social setting to conform to more traditional Hollywood expectations.

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