15 Fascinating Facts About Alfred Hitchcock

Peter Dunne, Express/Getty Images
Peter Dunne, Express/Getty Images

The shower scene in Psycho. The biplane chase in North by Northwest. The gas station attack in The Birds. They’re some of the most memorable and terrifying scenes in cinema history—and they came from the mind of one man: Alfred Hitchcock. The Master of Suspense, who went by the nickname “Hitch,” is also one of the most recognizable Hollywood icons, and his life was as fascinating as his films. Here are 15 things you might not have known about the legendary filmmaker.

1. HE WAS AFRAID OF LAW ENFORCEMENT ... AND BREAKFAST.

Hitchcock’s mastery of thrillers may have earned him the nickname the “Master of Suspense,” but the plucky filmmaker had phobias of his own.

His lifelong fear of police stemmed from an incident in his childhood when his strict father, William, punished him by sending him to the local Leytonstone police station on the outskirts of his family's home in east London. “I was just sent along with a note, I must have been four or five years of age, and the head of the police read it and then put me into the cell and said, ‘That’s what we do to naughty boys,’” Hitchcock later recalled of the experience.

Also, omelettes were decidedly not his favorite breakfast food. "I'm frightened of eggs, worse than frightened, they revolt me," he once said in an interview. "That white round thing without any holes … Have you ever seen anything more revolting than an egg yolk breaking and spilling its yellow liquid? Blood is jolly, red. But egg yolk is yellow, revolting. I've never tasted it."

2. HIS BEGAN HIS WORK IN SILENT FILMS.

Known for the complex title sequences in his own films, Hitchcock began his career in cinema in the early 1920s, designing the art title cards featured in silent films. The gig was at an American company based in London called the Famous Players-Lasky Company (it would later become Paramount Pictures, which produced five Hitchcock-directed films). As Hitchcock later told French filmmaker François Truffaut in their infamous Hitchcock/Truffaut conversations, “It was while I was in this department, you see, that I got acquainted with the writers and was able to study the scripts. And, out of that, I learned the writing of scripts.” The experience also led Hitch to try his hand at actual filmmaking. “If an extra scene was wanted, I used to be sent out to shoot it,” he told Truffaut.

3. HE LEARNED FROM ANOTHER CINEMA MASTER.

In 1924, Hitchcock and his wife Alma were sent to Germany by Gainsborough Pictures—the British production company where he was under contract—to work on two Anglo-German films called The Prude’s Fall and The Blackguard. While working in Neubabelsberg, Hitchcock was taken under the wing of expressionist filmmaker F.W. Murnau, who created the chilling Dracula adaptation Nosferatu, and was shooting a silent film called The Last Laugh. “From Murnau,” Hitchcock later said, “I learned how to tell a story without words.”

4. MOST OF HIS EARLY FILMS ARE LOST, BUT A 1923 SILENT MELODRAMA WAS FOUND IN NEW ZEALAND.

Only nine of Hitchcock’s earliest silent films still exist. The earliest surviving film he worked on, a 1923 melodrama titled The White Shadow—about twin sisters, one good, one evil—was thought lost until three of the film’s six reels were found sitting unmarked in the New Zealand Film Archive in 2011. The film reels were originally donated to the Archive in 1989 by the grandson of a Kiwi projectionist and collector.

While the film was technically directed by leading 1920s filmmaker Graham Cutts, the 24-year-old Hitchcock served as the film’s screenwriter, assistant director, and art director.

5. HE BROUGHT SOUND TO BRITISH MOVIES.

The 1929 movie Blackmail, about a murder investigation headed up by the murderer’s fiance, was Hitchcock’s first hit film, and also the first “talkie” film released in Britain. (The first full-length talkie, The Jazz Singer, was released in the U.S. in 1927.)

While Blackmail was originally conceived and created as a silent film, the final cut was dubbed with synchronized sound added in post-production using then-state of the art audio equipment imported from the U.S.

6. HE POPPED UP ON SCREEN ALL THE TIME.

The most constant image in Hitchcock’s films seem to be Hitchcock himself. The filmmaker perfected the art of the cameo, making blink-and-you’ll-miss-them appearances in 39 of his own films.

His trickier appearances include the single-location film Lifeboat, where he appears in a weight-loss advertisement in a newspaper read by one of the film’s characters. The only film he actually speaks in is 1956’s The Wrong Man; his traditional cameo is replaced by a silhouetted narration in the introduction. That replaced a scrapped cameo of the director exiting a cab in the opening of the film.

7. HE WAS AS SUCCESSFUL IN FRONT OF THE CAMERA ON THE SMALL SCREEN AS HE WAS BEHIND THE CAMERA ON THE BIG SCREEN.

By 1965, Hitchcock was a household name. That was the same year his long-running anthology TV series, Alfred Hitchcock Presents—which began in 1955 and was later renamed The Alfred Hitchcock Hour after episode lengths were stretched from 25- to 50-minute runtimes—came to an end.

The series was known for its title sequence featuring a caricature of Hitchcock's distinctive profile, which was replaced by Hitchcock himself in silhouette. But Hitchcock also appeared after the title sequence to introduce each new story. At least two versions of the opening were shot for every episode: An American opening specifically poked fun at the show’s network advertisers, while Hitchcock usually used the European opening to poke fun at American audiences in general.

7. HE LITERALLY WROTE THE ENCYCLOPEDIA ENTRY ON HOW TO MAKE MOVIES.

The filmmaker would write (at least part of) the book on the medium that made him famous.

Hitchcock personally contributed to writing a portion of the “Motion Pictures, Film Production” entry in the 14th edition of the Encyclopedia Britannica, giving typically cheeky first-hand insight into the fundamentals and technical aspects of filmmaking.

On the practice of moving the camera during a shot, Hitchcock wrote, “it is wrong to suppose, as is all too commonly the case, that the screen of the motion picture lies in the fact that the camera can roam abroad, can go out of the room, for example, to show a taxi arriving. This is not necessarily an advantage and it can so easily be merely dull.”

8. HE POPULARIZED THE MACGUFFIN.

Even if you don’t know it by name, you know what it is. The MacGuffin is the so-called motivating element that drives a movie’s plot forward. Think: the eponymous statue in The Maltese Falcon, or the briefcase in Pulp Fiction, or the airplane engine plans in Hitch’s own The 39 Steps.

The term was coined by Angus MacPhail (note the prefix in his surname), Hitchcock’s screenwriting collaborator on films like Spellbound and The Man Who Knew Too Much. Even though such plot details were supposed to be important, Hitchcock didn’t seem to think they truly mattered. “The main thing I've learned over the years is that the MacGuffin is nothing. I'm convinced of this, but I find it very difficult to prove it to others,” Hitchcock told Truffaut in 1962, highlighting how the audience never finds out why the government secrets (a.k.a. the MacGuffin) in North by Northwest truly matter. “Here, you see,” Hitchcock said, “the MacGuffin has been boiled down to its purest expression: nothing at all!”

9. HE SCRAPPED HIS OWN DOCUMENTARY ABOUT THE HOLOCAUST.

Hitch’s films flirted with mentioning the escalating tensions in Europe that would spark World War II, like in the shocking plane crash climax of 1940’s Foreign Correspondent. But the film Hitchcock collaborated on about the explicit horrors of the war would go unseen for decades.

Memory of the Camps, a 1945 documentary filmed by crews who accompanied the Allied armies that liberated those in the Nazi death camps at the end of the war, was stored in a vault in the Imperial War Museum in London until 1985. Originally commissioned by the British Ministry of Information and the American Office of War Information, Hitchcock served as a “treatment advisor” at the behest of his friend Sidney Bernstein, who is the credited director of the film. But the final film was scrapped because it was deemed counterproductive to German postwar reconstruction.

The film was put eventually together as an episode of PBS’s FRONTLINE, and aired on May 7, 1985 to mark the 40th anniversary of the liberation of the camps.

10. HE DIDN’T WANT YOU TO SEE FIVE OF HIS MOST FAMOUS FILMS FOR DECADES.

Vertigo may have topped many best-of movie polls, but for over 20 years, between 1961 and 1983, it and four other Hitchcock classics were almost virtually impossible to see. It turns out it was Hitchcock’s fault that Vertigo, Rear Window, Rope, The Trouble with Harry, and The Man Who Knew Too Much were purposefully unavailable to the general public.

The filmmaker personally secured full ownership to the rights of the five films per a contingency clause in the multi-film deal he made with Paramount Pictures in 1953. Eight years after the release of each film, the rights reverted back to Hitchcock, which, in the years before Blu-ray and DVD, seemed like a financially savvy move on Paramount’s part. Three years after Hitch’s death in 1980, Universal Pictures acquired the film rights to all five classics, making them available once again.

11. HE DIDN’T WANT TO WORK WITH JIMMY STEWART AFTER VERTIGO.

Everyman actor Jimmy Stewart worked with Hitchcock a number of times, including as the nosy, wheelchair-bound photographer in Rear Window, and as the dastardly murderer in the “one-take” film Rope. After Stewart appeared in Vertigo in 1958, the actor prepared to appear in Hitchcock’s follow-up a year later, North by Northwest. But Hitch had other plans.

The director felt that one of the main reasons Vertigo wasn’t more of a smash hit was because of its aging star, and vowed to never use Stewart in any film ever again. Hitch wanted actor Cary Grant instead, and, according to author Marc Eliot’s book, Jimmy Stewart: A Biography, “Hitchcock, as was his nature, did not tell Jimmy there was no way he was going to get North by Northwest.” But when Stewart grew tired of waiting, and took a part in the movie Bell Book and Candle instead, “Hitchcock used that as his excuse, allowing him to diplomatically avoid confronting Jimmy and maintaining their personal friendship, which both valued.”

12. HE PERSONALLY FUNDED PSYCHO.

When Hitchcock approached Paramount Pictures—where he was under contract—to put up the money to make Psycho, the studio balked at the salacious story. So Hitchcock financed the movie himself, foregoing his normal salary in exchange for 60 percent ownership of the rights to the film; Paramount agreed to distribute the film. To cut costs even more, the filmmaker enlisted his relatively cheaper Alfred Hitchcock Presents TV crew and shot the film on less pricey black and white film. Hitch’s gamble worked: He reportedly personally earned $6 million from Psycho—about $50 million in today's dollars.

13. HE WOULDN'T ALLOW THEATERS TO LET ANYONE—NOT EVEN THE QUEEN OF ENGLAND—IN TO SEE PSYCHO ONCE IT HAD STARTED.

Psycho (1960) has one of the best twists in movie history—and Hitchcock went to great lengths to not only make sure audiences didn’t spoil that twist, but to make sure they enjoyed the entire movie before the twist.

Hitchcock attempted to buy all copies of author Robert Bloch’s source novel to keep the twist under wraps in cities where the movie opened. The promotional rollout of the film was controlled by Hitchcock himself, and he barred stars Janet Leigh and Anthony Perkins from doing interviews about the movie. He also demanded that theaters in New York, Chicago, Boston, and Philadelphia adhere to strict theatrical showtimes and not allow admittance after the movie had started.

Marketing materials for Psycho included lobby cards meant to be prominently displayed with the message, “We won't allow you to cheat yourself. You must see PSYCHO from the very beginning. Therefore, do not expect to be admitted into the theatre after the start of each performance of the picture. We say no one—and we mean no one—not even the manager's brother, the President of the United States, or the Queen of England (God bless her)!”

14. HE LOVED MOVIES THAT WERE NOT "HITCHCOCKIAN."

The filmmaker had a habit of screening films in his studio lot office every Wednesday, and his daughter Patricia revealed that one of his favorite films—and, in fact, the last movie he personally screened before his death—was the 1977 Burt Reynolds movie Smokey and the Bandit.

15. HE NEVER WON AN OSCAR.

Hitchcock is in the bittersweet class of venerable filmmakers like Stanley Kubrick, Orson Welles, Charlie Chaplin, Ingmar Bergman, and more who never received their industry’s highest honor as Best Director. Hitchcock did get Oscar nominations for directing Rebecca (which took home Best Picture), Lifeboat, Spellbound, Rear Window, and Psycho. But he personally went home empty-handed every time.

When the Academy finally honored him with the Irving G. Thalberg Memorial Award in 1967, his long-time-coming speech was only five words long: “Thank you, very much indeed.”

10 People Who Have Misplaced Their Oscars

Jeff Bridges accepts the Best Actor Oscar for Crazy Heart during the 82nd Annual Academy Awards in 2010.
Jeff Bridges accepts the Best Actor Oscar for Crazy Heart during the 82nd Annual Academy Awards in 2010.
Kevin Winter/Getty Images

Winning an Oscar is, for most people, a once-in-a-lifetime achievement. Unless you're Walt Disney, who won 22. Nevertheless, owning a little gold guy is such a rarity that you'd think their owners would be a little more careful with them. Now, not all of these losses are the winners' fault—but some of them certainly are (we're looking at you, Colin Firth).

1. Angelina Jolie

Angelina Jolie with her Oscar in 2000.
HO/AMPAS

At the 2000 Academy Awards ceremony, after Angelina Jolie planted a kiss on her brother and made the world collectively squirm, she went onstage and collected a Best Supporting Actress Oscar for her role as Lisa in Girl, Interrupted. She later presented the trophy to her mother, Marcheline Bertrand. The statuette may have been boxed up and put into storage when Marcheline died in 2007, but it hasn't yet surfaced. "I didn't actually lose it," Jolie said, "but nobody knows where it is at the moment."

2. Whoopi Goldberg

Whoopi Goldberg with her Oscar.
Michael Loccisano/Getty Images

In 2002, Whoopi Goldberg sent her Ghost Best Supporting Actress Oscar back to the Academy to have it cleaned and detailed, because apparently you can do that. The Academy then sent the Oscar on to R.S. Owens Co. of Chicago, the company that manufactures the trophies. When it arrived in the Windy City, however, the package was empty. It appeared that someone had opened the UPS package, removed the Oscar, then neatly sealed it all back up and sent it on its way. It was later found in a trash can at an airport in Ontario, California. The Oscar was returned to the Academy, who returned it to Whoopi without cleaning it. "Oscar will never leave my house again," Goldberg said.

3. Olympia Dukakis

Olympia Dukakis with an Oscar statue.
Steven Henry/Getty Images

When Olympia Dukakis's Moonstruck Oscar was stolen from her home in 1989, she called the Academy to see if it could be replaced. "For $78," they said, and she agreed that it seemed like a fair price. It was the only thing taken from the house.

4. Marlon Brando

Marlon Brando in 1957.
Keystone/Getty Images

"I don't know what happened to the Oscar they gave me for On the Waterfront," Marlon Brando wrote in his autobiography. "Somewhere in the passage of time it disappeared." He also didn't know what happened to the Oscar that he had Sacheen Littlefeather accept for him in 1973. "The Motion Picture Academy may have sent it to me, but if it did, I don't know where it is now."

5. Jeff Bridges

Actor Jeff Bridges, winner of Best Actor award for
Jeff Bridges, winner of the Best Actor Oscar for Crazy Heart, poses in the press room at the 82nd Annual Academy Awards on March 7, 2010.
Jason Merritt/Getty Images

In 2010, Hollywood legend Jeff Bridges won his first-ever Oscar for his portrayal of alcoholic country singer Bad Blake in Crazy Heart, but it was already missing by the time next year's ceremony rolled around, when he was nominated yet again for his role in the Coen brothers's True Grit

When asked about his year-old statuette, Bridges admitted that "It's been in a few places since last year but I haven’t seen it for a while now." Finding the MIA Oscar seemed even more urgent when Bridges lost the 2011 Best Actor Oscar to Colin Firth for The King's Speech. "I'm hoping it will turn up, especially now that I haven't won a spare," Bridges said. "But Colin deserves it. I just hope he looks after it better." 

6. Colin Firth

Colin Firth with his Oscar in 2011.
Kevork Djansezian/Getty Images

Perhaps Jeff Bridges secretly cursed Colin Firth as he said those aforementioned words, because Firth nearly left his new trophy on a toilet tank the very night he received it. After a night of cocktails at the Oscar after-parties in 2011, Firth allegedly had to be chased down by a bathroom attendant, who had found the eight-pound statuette in the bathroom stall. Notice we said allegedly: Shortly after those reports surfaced, Firth's rep issued a statement saying the "story is completely untrue. Though it did give us a good laugh."

7. Matt Damon

Actor Matt Damon in 1999
Brenda Chase/Hulton Archive

When newbie writers Matt Damon and Ben Affleck took home Oscars for writing Good Will Hunting in 1998, it was one of those amazing Academy Award moments. Now, though, Damon isn't sure where his award went. "I know it ended up at my apartment in New York, but unfortunately, we had a flood when one of the sprinklers went off when my wife and I were out of town and that was the last I saw of it," Damon said in 2007.

8. Margaret O'Brien

Child actress Margaret O'Brien.
Hulton Archive/Getty Images

In 1945, 7-year-old Margaret O'Brien was presented with a Juvenile Academy Award for being the outstanding child actress of the year. About 10 years later, the O'Briens' maid took the award home to polish it, as she had done before, but never returned. The missing Oscar was forgotten about when O'Brien's mother died shortly thereafter, and when Margaret finally remembered to call the maid, the number had been disconnected. She ended up receiving a replacement from the Academy.

There's a happy ending to this story, though. In 1995, a couple of guys were picking their way through a flea market when they happened upon the Oscar. They put it up for auction, which is when word got back to the Academy that the missing trophy had resurfaced. The guys who found the Oscar pulled it from auction and presented it, in person, to Margaret O'Brien. "I'll never give it to anyone to polish again," she said.

9. Bing Crosby

Barry Fitzgerald (left) holds his Oscar for Best Supporting Actor while American actor Bing Crosby holds his Oscar for Best Actor, both for their roles in Going My Way; 1945.
Barry Fitzgerald (left) holds his Oscar for Best Supporting Actor while American actor Bing Crosby holds his Oscar for Best Actor, both for their roles in Going My Way; 1945.
Hulton Archive/Getty Images

For years, Bing Crosby's Oscar for 1944's Going My Way had been on display at his alma mater, Gonzaga University. In 1972, students walked into the school's library to find that the 13-inch statuette had been replaced with a 3-inch Mickey Mouse figurine instead. A week later, the award was found, unharmed, in the university chapel. "I wanted to make people laugh," the anonymous thief later told the school newspaper.

10. Hattie McDaniel

A publicity still from 1939's Gone with the Wind; at the 1940 Academy Awards, Hattie McDaniel (left) won the Oscar for Best Supporting Actress and Vivien Leigh (right) won Best Actress. Olivia de Havilland (center) was also nominated for Best Supporting A
A publicity still from 1939's Gone with the Wind; at the 1940 Academy Awards, Hattie McDaniel (left) won the Oscar for Best Supporting Actress and Vivien Leigh (right) won Best Actress. Olivia de Havilland (center) was also nominated for Best Supporting Actress.

Hattie McDaniel, famous for her Supporting Actress win as Mammy in Gone with the Wind, donated her Best Actress Oscar to Howard University. It was displayed in the fine arts complex for a time, but went missing sometime in the 1960s. No one seems to know exactly when or how, but there are rumors that the Oscar was unceremoniously dumped into the Potomac by students angered by racial stereotypes such as the one she portrayed in the film.

The Most Successful Entertainment Production in History Might Just Surprise You

Goran Jakus Photography/iStock via Getty Images
Goran Jakus Photography/iStock via Getty Images

Last year, Marvel Studios capped off an unprecedented run of success with Avengers: Endgame, a movie promoted as the culmination of over 10 years of storytelling. The film made $2.8 billion, unseating 2009’s Avatar and knocking 1997’s Titanic down to third place. With nearly $3 billion in ticket sales, you would think Endgame would count as the most successful entertainment production of all time—be it a single movie, book, album, or video game.

It isn’t.

While it earned a staggering amount of money, Endgame is hobbled by the fact that theatrical runs last just a few weeks or months. To really roll in the dough, it helps to have a combination of high ticket prices and a show that runs almost in perpetuity. That’s why it’s another Disney production, the Broadway adaption of The Lion King, that can make a credible claim to being the most financially rewarding entertainment effort of all time. Since debuting in 1997, the stage show has grossed $9.1 billion. (The 1994 film, 2019 live action remake, and merchandising aren’t included in that total. If they were, the number rises to $11.6 billion.)

A theater sign for 'The Lion King' is pictured in New York City in March 2003
Mario Tama, Getty Images

The musical, adapted by Julie Taymor, follows the story of the animated original, with lion cub Simba learning to accept his role as king of the Serengeti Plains. It’s estimated the show has been mounted 25 times globally in nine different languages, with more than 100 million people purchasing a ticket to see it.

Does that make Endgame a distant second? Not quite. Another long-running musical, Andrew Lloyd Webber’s Phantom of the Opera, has grossed more than $6 billion since its 1988 debut. The 2013 video game Grand Theft Auto 5 cleared $6 billion in 2018. And if one were to account for inflation, 1939’s Gone with the Wind made $3.44 billion.

The Lion King does have one asterisk, however. If inflation is taken into consideration, then 1978’s arcade classic Space Invaders comes out the winner. The popular coin-op game—which was later ported over to the Atari 2600—was a smash hit. By 1983, it had made $3.8 billion. Accounting for inflation, it earned $13.9 billion. What’s even more impressive is that unlike big-ticket movies and stage shows, Space Invaders did it one quarter at a time.

SECTIONS

arrow
LIVE SMARTER