Alfred Hitchcock Net Worth

Read more about Alfred Hitchcock Biography

To begin with, he started his working life as a draftsman, then in 1920 from British silent film labels he drew for Famous-Players Lasky’s London office/studio. He soon became a mix of screenwriter, art director, and assistant director on a series of films for director Graham Cutts. In 1922, he started his first film “Number Thirteen”, but never finished. His first release was the short film “Always Tell Your Wife” (1923). In 1925, the enterprise completed the first self-recorded film “The Pleasure Garden”. The first masterpiece “The Lodger: A Story of the London Fog” was released in 1927. Alfred himself regarded this film as the first true “Hitchcock film”. The above mentioned film introduced topics that would run through Hitchcock’s works later: the fetishistic sexuality as well as the innocent man on the run, hunted down by a self-righteous society. His first sound film, “Blackmail” was released in 1929, with the director becoming recognized as he took advantage of the inherent tension-prone voice technology options. His net worth was rising.

In 1934, the film “The Man Who Knew Too Much” achieved success overseas – the 1956 remake version of the same film was, according to the director a professional artwork, while the first was a piece of talented amateur works. In 1938, “ The Lady Vanishes” was recognized as the best picture of the year.

In 1939, Hitchcock was growing, and he moved to the USA. He liked the American style, and learned the basics of film-making in a US company – it was not a coincidence that in the USA he prepared his greatest masterpieces. From the 1940s onwards, Hitchcock returned to his favourite genre, the espionage and thriller. He directed the film “Spellbound” (1945) which presents an interesting method of psychoanalysis. After two failures with “Under Capricorn”(1949) and “Stage Fright”(1950) he came back again with an ambitious film; “Dial M for Murder” (1954) was the first film with Grace Kelly, with whom he collaborated later. The works he created in the 1950s and 1960s are considered the best known and are regarded to be the best, including “Rear Window” (1954), “Vertigo” (1958), “North by Northwest” (1959), “Psycho” (1960) and “The Birds” (1963). “Psycho’s” famous shower scene was filmed over seven days and 70 different camera angles used. His films often depict everyday people who are stuck in their incomprehensible or uncontrollable circumstances. Another common theme is the man who is guilty. Films of fear and fantasy are added to characteristic humour.

Hitchcock was involved in over 80 films and TV productions over a period of more than 60 years, many as the director in which role he was regarded as the absolute best of the genre. To emphasise his supposed dark sense of humour, he often made brief cameo appearances in his films – for example, he was the dead body floating by….

Finally, in the personal life of the iconic film-maker, he married Alma Reville in 1926, and they were together until his passing at the age of 81 in April 1980; his body was cremated.. They had one child, Pat Hitchcock.

Structural info

  • Full Name: Alfred Hitchcock
  • Net Worth: $10 Million
  • Date Of Birth: 1899-08-13
  • Died: 1980-04-29
  • Place Of Birth: Leytonstone, East London, England
  • Height: 1.7 m
  • Profession: Film director, producer, screenwriter
  • Education: Salesian College, Battersea, Jesuit grammar school St Ignatius’ College in Stamford Hill, London, London County Council School of Engineering and Navigation in Poplar, London, Cadet regiment of the Royal Engineers
  • Nationality: British, American
  • Spouse: Alma Reville (m. 1926-1980)
  • Children: Pat Hitchcock
  • Parents: William Hitchcock, Emma Jane Hitchcock
  • Siblings: William Hitchcock, Eileen Hitchcock
  • IMDB:
  • Awards: Irving G. Thalberg Memorial Award, American Film Institute Award, British Academy Film Award, Directors Guild of America Award, Academy Award for Best Picture of 1940, two Golden Globes, eight Laurel Awards, five Lifetime Achievement Awards, BAFTA Academy Fellowship Award, Knight Commander of the M…
  • Nominations: Hollywood Walk of Fame (For contribution to television and for his work in motion pictures), English Heritage blue plaque (1999)
  • Movies: “Always Tell Your Wife” (1923), “The Pleasure Garden” (1925), “The Lodger: A Story of the London Fog” (1927), “Blackmail” (1929), “ The Lady Vanishes” (1938), “Foreign Correspondent”, “The Murder of Monty Woolley” (1943), “Notorious” (1946), “North by Northwest” (1959), “Family P…
  • TV Shows: “Alfred Hitchcock Presents”, “The Alfred Hitchcock Hour” (1962)


  • If you’ve designed a picture correctly, the Japanese audience should scream at the same time as the Indian audience.
  • I deny I ever said that actors are cattle. What I said was, “Actors should be treated like cattle.”.
  • [1955, as host of his television series Alfred Hitchcock Presents (1955)] For those of you watching this show in the year 2000, write us a letter and tell us how things are going where you are.
  • [1972] Puns are the highest form of literature.
  • [to an interviewer on why he does not make comedies] But every film I made IS a comedy!
  • [on Michelangelo Antonioni and Federico Fellini] Those Italian fellows are a hundred years ahead of us. Blow-Up (1966) and 8½ (1963) are bloody masterpieces. [1978]
  • [on how to properly build suspense] Four people are sitting around a table talking about baseball or whatever you like. Five minutes of it. Very dull. Suddenly, a bomb goes off. Blows the people to smithereens. What does the audience have? Ten seconds of shock. Now take the same scene and tell the audience there is a bomb under that table and will go off in five minutes. The whole emotion of the audience is totally different because you’ve given them that information. In five minutes time that bomb will go off. Now the conversation about baseball becomes very vital. Because they’re saying to you, “Don’t be ridiculous. Stop talking about baseball. There’s a bomb under there.” You’ve got the audience working.
  • The length of a film should be directly related to the endurance of the human bladder.
  • Cartoonists have the best casting system. If they don’t like an actor, they just tear him up.
  • Everything’s perverted in a different way.
  • I like stories with lots of psychology.
  • Reality is something that none of us can stand, at any time.
  • [A portion of his AFI Lifetime Achievement Award acceptance speech] Had the beautiful Ms. Reville [his wife Alma Reville] not accepted a lifetime contract without options as Mrs. Alfred Hitchcock some 53 years ago, Mr. Alfred Hitchcock might be in this room tonight, not at this table but as one of the slower waiters on the floor.
  • I wanted once to do a scene, for North by Northwest (1959) by the way, and I couldn’t get it in there. I wanted it to be in Detroit, and two men walking along in front of an assembly line. And behind them you see the automobile being put together. It starts with a frame, and you just take the camera along, the two men are talking. And you know all those cars are eventually driven off the line, they load them with gas and everything. And one of the men goes forward, mind you you’ve seen a car from nothing, just a frame, opens the door and a dead body falls out.
  • [on the making of Psycho (1960) and a fake torso made by the special effects department that spurted blood when stabbed with a knife] But I never used it. It was all unnecessary because the cocking of the knife, the girl’s face and the feet and everything was so rapid that there were 78 separate pieces of film in 45 seconds.
  • [on his history as a practical joker] I once gave a dinner party, oh many years ago, where all the food was blue.
  • All love scenes started on the set are continued in the dressing room.
  • [Part of his publicity campaign prior to the release of Psycho (1960)] It has been rumored that Psycho is so terrifying that it will scare some people speechless. Some of my men hopefully sent their wives to a screening. The women emerged badly shaken but still vigorously vocal.
  • [When asked by a member of the press why, at his advanced age, it took so long for the British government to grant him the title of Knight] I think it’s just a matter of carelessness.
  • Fear isn’t so difficult to understand. After all, weren’t we all frightened as children? Nothing has changed since Little Red Riding Hood faced the big bad wolf. What frightens us today is exactly the same sort of thing that frightened us yesterday. It’s just a different wolf. This fright complex is rooted in every individual.
  • [on his lifelong fear of eggs (“ovophobia”)] I’m frightened of eggs, worse than frightened, they revolt me. 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.
  • I made a remark a long time ago. I said I was very pleased that television was now showing murder stories, because it’s bringing murder back into its rightful setting – in the home.
  • [on North by Northwest (1959)] Our original title, you know, was “The Man in Lincoln’s Nose”. Couldn’t use it, though. They also wouldn’t let us shoot people on Mount Rushmore. Can’t deface a national monument. And it’s a pity, too, because I had a wonderful shot in mind of Cary Grant hiding in Lincon’s nose and having a sneezing fit.
  • To make a great film you need three things – the script, the script and the script.
  • I don’t understand why we have to experiment with film. I think everything should be done on paper. A musician has to do it, a composer. He puts a lot of dots down and beautiful music comes out. And I think that students should be taught to visualize. That’s the one thing missing in all this. The one thing that the student has got to do is to learn that there is a rectangle up there – a white rectangle in a theater – and it has to be filled.
  • When an actor comes to me and wants to discuss his character, I say, “It’s in the script”. If he says, “But what’s my motivation?”, I say, “Your salary”.
  • I am scared easily, here is a list of my adrenaline-production: 1: small children, 2: policemen, 3: high places, 4: that my next movie will not be as good as the last one.
  • Blondes make the best victims. They’re like virgin snow that shows up the bloody footprints.
  • [Walt Disney] has the best casting. If he doesn’t like an actor he just tears him up.
  • Cary Grant is the only actor I ever loved in my whole life.
  • [on The Birds (1963)] You know, I’ve often wondered what the Audubon Society’s attitude might be to this picture.
  • In feature films the director is God; in documentary films God is the director.
  • A good film is when the price of the dinner, the theatre admission and the babysitter were worth it.
  • If it’s a good movie, the sound could go off and the audience would still have a perfectly clear idea of what was going on.
  • I am a typed director. If I made Cinderella (1937), the audience would immediately be looking for a body in the coach.
  • Film your murders like love scenes, and film your love scenes like murders.
  • The paperback is very interesting but I find it will never replace the hardcover book — it makes a very poor doorstop.
  • [on directing Charles Laughton] You can’t direct a Laughton picture. The best you can hope for is to referee.
  • [on Claude Jade, who starred in Topaz (1969)] Claude Jade is a brave nice young lady. But I don’t give any guarantee what she will do on a taxi’s back seat.
  • Man does not live by murder alone. He needs affection, approval, encouragement and, occasionally, a hearty meal.
  • There is nothing quite so good as a burial at sea. It is simple, tidy, and not very incriminating.
  • It’s only a movie, and, after all, we’re all grossly overpaid.
  • I was an uncommonly unattractive young man.
  • [to Ingrid Bergman when she told him that she couldn’t play a certain character the way he wanted because “I don’t feel like that, I don’t think I can give you that kind of emotion.”] Ingrid – fake it!
  • I enjoy playing the audience like a piano.
  • Some films are slices of life, mine are slices of cake.
  • [on Michelangelo Antonioni and his film Blow-Up (1966)] This young Italian guy is starting to worry me.
  • [when accepting the American Film Institute Life Achievement award] I beg permission to mention by name only four people who have given me the most affection, appreciation, and encouragement, and constant collaboration. The first of the four is a film editor, the second is a scriptwriter, the third is the mother of my daughter Pat [Patricia Hitchcock], and the fourth is as fine a cook as ever performed miracles in a domestic kitchen. And their names are Alma Reville.
  • [His entire acceptance speech for the Irving Thalberg Memorial Award] Thank you.
  • Drama is life with the dull bits left out.
  • Always make the audience suffer as much as possible.
  • Even my failures make money and become classics a year after I make them.
  • To me, Psycho (1960) was a big comedy. Had to be.
  • There is no terror in the bang, only in the anticipation of it.
  • The length of a film should be directly related to the endurance of the human bladder.
  • [on his cameos] One of the earliest of these was in The Lodger (1927), the story of Jack the Ripper. My appearance called for me to walk up the stairs of the rooming house. Since my walk-ons in subsequent pictures would be equally strenuous – boarding buses, playing chess, etc. – I asked for a stunt man. Casting, with an unusual lack of perception, hired this fat man!
  • There is a dreadful story that I hate actors. Imagine anyone hating James Stewart… Jack L. Warner. I can’t imagine how such a rumor began. Of course it may possibly be because I was once quoted as saying that actors are cattle. My actor friends know I would never be capable of such a thoughtless, rude and unfeeling remark, that I would never call them cattle… What I probably said was that actors should be treated like cattle.


  • He directed Edmund Gwenn in four films: The Skin Game (1931), Strauss’ Great Waltz (1934), Foreign Correspondent (1940) and The Trouble with Harry (1955).
  • He directed Leonard Carey in four films: Rebecca (1940), Suspicion (1941), The Paradine Case (1947) and Strangers on a Train (1951).
  • Along with Ernst Lubitsch, Jack Conway, Michael Curtiz, Victor Fleming, John Ford, Sam Wood, Francis Ford Coppola, Herbert Ross and Steven Soderbergh, he is one of ten directors to have more than one film nominated for Best Picture in the same year. Rebecca (1940) and Foreign Correspondent (1940) were both so nominated at the 13th Academy Award in 1941 while the former won the award.
  • He appeared in all but 18 of the 56 films that he directed: the unfinished Number 13 (1922), The Pleasure Garden (1925), The Mountain Eagle (1926), When Boys Leave Home (1927), The Farmer’s Wife (1928), Champagne (1928), The Manxman (1929), The Shame of Mary Boyle (1929), Elstree Calling (1930), The Skin Game (1931), Mary (1931), East of Shanghai (1931), Number 17 (1932), Strauss’ Great Waltz (1934), Secret Agent (1936), Jamaica Inn (1939), Lifeboat (1944) and Dial M for Murder (1954). However, in both Lifeboat (1944) and Dial M for Murder (1954), he can be seen in photographs.
  • He directed James Stewart in four films: Rope (1948), Rear Window (1954), The Man Who Knew Too Much (1956) and Vertigo (1958).
  • He directed Clare Greet in seven films: the unfinished Number 13 (1922), The Ring (1927/I)_, The Manxman (1929), Murder! (1930), The Man Who Knew Too Much (1934), Sabotage (1936) and Jamaica Inn (1939). Greet appeared in more Hitchcock films than anyone other than Hitchcock himself.
  • He directed Leo G. Carroll in six films: Rebecca (1940), Suspicion (1941), Spellbound (1945), The Paradine Case (1947), Strangers on a Train (1951) and North by Northwest (1959).
  • He directed Cary Grant in four films: Suspicion (1941), Notorious (1946), To Catch a Thief (1955) and North by Northwest (1959).
  • Hitchcock bought the rights to the 1960 novel Village of Stars by David Beaty (written under the pen name Paul Stanton) after The Blind Man project was cancelled. The book follows a RAF V bomber crew given an order to drop a nuclear bomb, only to have the order aborted. Unfortunately, the bomb is resisting attempts to defuse it and the plane can only stay in flight for a limited time.
  • In 1945, Hitchcock was brought in as a supervising director for a documentary film about Nazi crimes and Nazi concentration camps. The film was originally to include segments produced by military film units from the UK, US, France, and the USSR. Cold War developments meant that the USSR segment was withdrawn, and the film remained uncompleted, with some footage kept in the collection of the Imperial War Museum.However, a reconstruction of the film was aired as Memory of the Camps in 1984-85 in the UK and the US. The US version was shown on the PBS series Frontline (1983) on May 7, 1985. In October 2014, a new documentary about the unfinished film, Night Will Fall (2014), premiered at the BFI London Film Festival.
  • Hitchcock desperately wanted to direct Norma Shearer, Robert Taylor, and Conrad Veidt in one of the first World War II dramas, Escape (1940). Hitchcock, a long-time admirer of Shearer’s acting, had sought for years to find a suitable project for her. However, Hitchcock was shut out of the project when the novel Escape by Ethel Vance (pen name of Grace Zaring Stone) was purchased by Metro-Goldwyn-Mayer. Hitchcock knew he could never work for the notorious MGM studio head Louis B. Mayer, who selected Mervyn LeRoy to produce the film. Years later, Hitchcock made the statement about the lack of true Hollywood leading ladies with the quote, “Where are the Norma Shearers?”.
  • Hitchcock had long desired to turn J.M. Barrie’s 1920 play Mary Rose into a film. In 1964, after working together on Marnie (1964), Hitchcock asked Jay Presson Allen to adapt the play into a screenplay. Hitchcock would later tell interviewers that his contract with Universal allowed him to make any film, so long as the budget was under $3 million, and so long as it was not Mary Rose. Whether or not this was actually true, Lew Wasserman was not keen on the project, though Hitchcock never gave up hope of one day filming it.
  • Hitchcock approached Italian comedy-thriller writers Agenore Incrocci and Furio Scarpelli (Age & Scarpelli), writers of Big Deal on Madonna Street (1958), to write a screenplay around an original idea Hitchcock had carried in his head since the late 1930s. A New York City hotel run by an Italian immigrant and his family who, unknown to him, are using the hotel as cover for crimes, including the theft of a valuable coin from a guest of the hotel. (R.R.R.R. is the highest value of coin.)The Italian screenwriters struggled with the story, and were not helped by the language barrier. Universal Studios were not keen on the idea and persuaded Hitchcock to move on to something else.
  • In the late 1940s, Hitchcock had plans to make a modernized version of Hamlet. Hitchcock’s Shakespearean vision was of a “psychological melodrama” (set in contemporary England, and starring Cary Grant in the title role). The project was scrapped when Hitchcock’s studio caught wind of a potential lawsuit from a professor who had already written a modern-day version of Hamlet.
  • In 1964, Hitchcock re-read another Richard Hannay novel by John Buchan, The Three Hostages, with a mind to adapting it. As with Greenmantle a quarter of a century earlier, the rights were elusive. But also the story was dated, very much rooted in the 1930s, and the plot involved a villain whose blind mother hypnotizes the hero. Hitchcock, in interviews, said that he felt that the portrayal of hypnosis did not work on film, and that films that attempted this portrayal, in Hitchcock’s opinion, turned out poorly.
  • In 1963, he was scheduled to direct Trap for a Solitary Man in widescreen by Twentieth Century-Fox. The story, based on the French play Piege Pour un Homme Seul by M. Robert Thomas, follows a young married couple on holiday in the Alps. The wife disappears, and after a prolonged search the police bring back someone they claim to be her; she even says she is the man’s wife, but the man has never seen her before.
  • Although Hitchcock made Frenzy (1972), that film’s title and some plot points came from an idea Hitchcock had a few years earlier for a prequel to Shadow of a Doubt (1943). Hitchcock approached many writers including Samuel A. Taylor and Alec Coppel, but in the end engaged an old friend, Benn W. Levy to flesh out his sketchy idea.The story would have revolved around a young, handsome bodybuilder (inspired by Neville Heath) who lures young women to their deaths, a version of the character known as ‘Merry Widow Murderer’ in Shadow of a Doubt (1943). The New York police set a trap for him, with a policewoman posing as a potential victim. The script was based around three crescendos dictated by Hitchcock: the first was a murder by a waterfall; the second murder would take place on a mothballed warship; and the finale, which would take place at an oil refinery with brightly coloured drums.Hitchcock showed his script to his friend François Truffaut. Though Truffaut admired the script, he felt uneasy about its relentless sex and violence. Unlike Psycho (1960), these elements would not be hidden behind the respectable veneer of murder mystery and psychological suspense, and the killer would be the main character, the hero, the eyes of the audience.Universal vetoed the film, despite Hitchcock’s assurances that he would make the film for under $1 million with a cast of unknowns, although David Hemmings, Robert Redford, and Michael Caine had all been suggested as leads. The film – alternatively known as Frenzy or the more “sixties”-esque Kaleidoscope – was not made.
  • In the late 1950s, he planned an adaptation of Henry Cecil’s novel No Bail for the Judge, about a London barrister who, with the assistance of a gentleman thief, has to defend her father, a High Court judge, when he is accused of murdering a prostitute. In a change of pace from his usual blonde actresses, Audrey Hepburn would have played the barrister, with Laurence Harvey as the thief, and John Williams as the Hepburn character’s father. Some sources, including Writing with Hitchcock author Steven DeRosa say that Hitchcock’s interest in the novel started in the summer of 1954 while filming To Catch a Thief (1955), and that Hitchcock hoped to have John Michael Hayes write the screenplay. Hepburn was an admirer of Hitchcock’s work and had long wanted to appear in one of his films.Samuel A. Taylor, scenarist for Vertigo (1958) and Topaz (1969), wrote the screenplay after Ernest Lehman rejected it. The Taylor screenplay included a scene, not in the original novel, where the heroine disguises herself as a prostitute and has to fend off a rapist. Hepburn left the film, partly because of the near-rape scene, but primarily due to a pregnancy. (Hepburn suffered a miscarriage during the filming of The Unforgiven (1960) then gave birth to son Sean Ferrer in July 1960.) Harvey still ended up working with Hitchcock in 1959, however, on an episode that Hitchcock directed of Alfred Hitchcock Presents (1955).Without Hepburn, the project didn’t have the same appeal for Hitchcock. Changes in British law concerning prostitution and entrapment – changes which took place after the novel was published – made some aspects of the screenplay implausible. Hitchcock told Paramount Pictures it was better to write off $200,000 already spent on the film’s development than to spend another $3 million for a film he no longer cared for. In the fall of 1959, a Paramount publicity brochure titled “Success in the Sixties!” had touted No Bail for the Judge as an upcoming feature film starring Hepburn, to be filmed in Technicolor and VistaVision.
  • Hitchcock very much wanted to direct a follow-up to The 39 Steps (1935), and he felt that Greenmantle by John Buchan was a superior book. He proposed that the film would star Cary Grant and Ingrid Bergman, but the rights from the Buchan estate proved too expensive.
  • Hitchcock’s last, unfinished project was The Short Night, an adaptation of the spy thriller of the same name by Ronald Kirkbride. A British double agent (loosely based on George Blake) escapes from prison and flees to Moscow via Finland, where his wife and children are waiting. An American agent – whose brother was one of the traitor’s victims – heads to Finland to intercept him but ends up falling for the wife. It was Hitchcock’s third attempt – after Torn Curtain (1966) and Topaz (1969) – to produce a “realistic Bond film”. Clint Eastwood, and Sean Connery were possible male leads. Liv Ullman was asked to play the double agent’s wife. Catherine Deneuve was also asked to star. Walter Matthau was considered for the villain role. Ed Lauter was also discussed for a role as one of Matthau’s prison mates.The first writer assigned to the picture, James Costigan, quarreled with the director, who asked for him to be paid off. Then Ernest Lehman agreed to work on the script. Lehman felt the story should focus on the American spy, and left out the double agent’s jailbreak. Lehman left the film too, and Hitchcock asked old friend Norman Lloyd to help him write a long treatment. Lloyd, like Universal, was concerned that Hitchcock’s failing health meant that the movie might not get made. When Hitchcock suggested moving straight on to the screenplay, Lloyd objected saying they were unprepared. Hitchcock reacted angrily, fired Lloyd, and worked on the treatment himself.After a while, Hitchcock accepted that he needed another writer to work with him, and Universal suggested Dave Freeman, helped Hitchcock complete the treatment and wrote the screenplay. He wrote about his experiences in the 1999 book The Last Days of Alfred Hitchcock, which includes his completed screenplay. The circumstances surrounding Hitchcock’s retirement were given by producer Hilton A. Green during the documentary Plotting “Family Plot”. According to Green, during pre-production for The Short Night Hitchcock met Green to tell him that his poor health would prevent him from making the film that was to be the follow-up to Family Plot. After trying to talk Hitchcock out of his decision, Green agreed to Hitchcock’s request to bring the news of his decision to retire to studio head Lew Wasserman, a long-time friend of Hitchcock.
  • In 1956, he planned a big-budget adaptation of Laurens van der Post’s novel Flamingo Feather, a story of political intrigue in Southern Africa. James Stewart was expected to take the lead role of an adventurer who discovers a concentration camp for Communist agents; Hitchcock wanted Grace Kelly to play the love interest.After a disappointing research trip to South Africa where he concluded that he would have difficulty filming, especially on a budget – and with confusion of the story’s politics and the seeming impossibility of casting Kelly, Hitchcock deferred the project and instead cast Stewart in The Man Who Knew Too Much (1956). Hitchcock travelled to Livingstone at The Victoria Falls and was a guest of Harry Sossen one of the prominent inhabitants of this pioneer town. Hitchcock and Sossen were photographed together at the newly opened Livingstone Airport and the event was recorded in the local papers. Sossen was also in communication with Laurens van der Post who gave him a signed copy of the book Flamingo Feather during a visit to the Falls (staying at the Victoria Falls Hotel). Sossen’s daughter Marion is in possession of the book today and a number of letters between her father and van der Post.
  • Following Psycho (1960), Hitchcock re-united with Ernest Lehman for an original screenplay idea: A blind pianist, Jimmy Shearing (a role for James Stewart), regains his sight after receiving the eyes of a dead man. Watching a Wild West show at Disneyland with his family, Shearing would have visions of being shot and would come to realize that the dead man was in fact murdered and the image of the murderer is still imprinted on the retina of his eyes. The story would end with a chase around the ocean liner RMS Queen Mary. Walt Disney reputedly barred Hitchcock from shooting at Disneyland after seeing Psycho (1960). Stewart left the project, Lehman argued with Hitchcock, and the script was never shot.
  • Hitchcock remarked in a British film journal interview just before leaving for Hollywood that he hoped to make a film about the tragic loss of RMS Titanic, as the inherent drama of the ocean liner’s sinking appealed to him. He went on to make Rebecca (1940) instead.
  • British thriller writer Dennis Wheatley had been a guest on the set of many of the early Hitchcock movies, and when The Forbidden Territory was published in January 1933, he presented the director with a copy. Hitchcock so enjoyed the book that he wanted to make a film of it, but he was just in the process of moving to Gaumont-British studios to work for Michael Balcon; he asked Wheatley to hold onto the rights until he could persuade his new employer to purchase them. When the time came, however, Balcon wasn’t interested and instead insisted that Hitchcock direct the musical Waltzes from Vienna. Hitchcock then approached Richard Wainwright, a distinguished producer who had been head of UFA films in Germany, and had recently relocated to Britain. Wainwright was keen to pick up a promising subject for his first British film, and immediately bought the rights. Although there was a verbal understanding that Hitchcock was to direct, Balcon refused to release him, and instead began production of The Man Who Knew Too Much (1934). Wainwright, committed to studio space, technicians and actors, had no alternative but to proceed without him, and placed the film into the hands of American director Phil Rosen. In 1936, at Hitchcock’s instigation, Wheatley wrote a screenplay The Bombing of London, but the controversial project could find no backer and was shelved.
  • The Hammond Innes novel The Wreck of the Mary Deare was optioned by MGM with the intention of having Hitchcock direct and Gary Cooper star. Hitchcock had long wanted to work with Cooper, but after developing the script with Ernest Lehman for several weeks, they concluded that it couldn’t be done without turning the movie into “a boring courtroom drama”.Hitchcock and Lehman made an appearance before MGM executives telling the story of North by Northwest (1959), and said that MGM would get two films out of Hitchcock under his contract with MGM. However, eventually Hitchcock abandoned the idea of Mary Deare and went ahead with that film instead.
  • In the early 1950s, he planned an adaption of David Duncan’s novel The Bramble Bush about a disaffected Communist agitator who, on the run from the police, is forced to adopt the identity of a murder suspect. The story would be adapted to take place in Mexico and San Francisco. The project, originally to come after I Confess (1953) as a Transatlantic Pictures production to be released by Warner Brothers, had a high budget which made it a difficult project. Hitchcock did not feel that any of the scripts lifted the movie beyond an ordinary chase story, and Warner Brothers allowed him to kill the project and move on to Dial M for Murder (1954).
  • In 1964, he visited the set of Coronation Street (1960) and had a drink at the Rovers Return.
  • If you watch his films closely noting the endings or portrayal of cops, you will see that if a cop is required to die, the death will be slow, gruesome or uncompromisingly grisly. If cops survive they are nearly always portrayed as baddies, though in reality they are the good guys. This is because Hitchcock had a life-long phobia of policemen.
  • British author Anthony Horowitz is a huge fan of Hitchcock and will often pay homage to his work.
  • Director Alexander Payne could not imagine Hitchcock’s Psycho (1960) in color because it’s more chilling in black and white, but it was later remade in color as Psycho (1998), to universal disapproval.
  • Deliberately shot much of the setups in Rear Window (1954) so they would appear voyeuristic.
  • His Dial M for Murder (1954) was re-released in 3D in 1980.
  • (April 27, 2014) Most successful director in IMDB Top 250 movies ever made with 9 entries – Rear Window (1954) (no 31.), Psycho (1960) (no. 32), North by Northwest (1959) (no. 61), Vertigo (1958) (no. 66), Rebecca (1940) (no. 138), Dial M for Murder (1954) (no. 163), Strangers on a Train (1951) (no. 194), Notorious (1946) (no. 198) and Rope (1948) (no. 242).
  • From 1942 until his death, the Hitchcocks lived at 10957 Bellagio Road, Bel Air, California. They had been living at 609 St. Cloud Road in Bel Air in a home leased from friends Carole Lombard and Clark Gable.
  • In the Press Conference for Family Plot (1976), Alfred Hitchcock revealed that his least favorite film out of all the films he directed was Champagne (1928).
  • He was portrayed by Anthony Hopkins in Hitchcock (2012).
  • Donald Spoto wrote that Hitchcock hid behind the door when Bernard Herrmann went to see him after Torn Curtain (1966) break up. Herrmann’s third wife Norma denied this in an interview with Gunther Kogebehn in June 2006. In June 2006 interview with Kogebehn, Norma Herrmann states that she and Bernard Herrmann “together” visited Alfred Hitchcock.
  • Many of Hitchcock’s films have one-word titles: Blackmail (1929), Rebecca (1940), Suspicion (1941), Saboteur (1942), Lifeboat (1944), Spellbound (1945), Notorious (1946), Rope (1948), Vertigo (1958), Psycho (1960), Marnie (1964), Topaz (1969) and Frenzy (1972). He favored one-word titles because he felt that it was uncluttered, clean and easily remembered by the audience.
  • Hitchcock’s wife, Alma Reville, was one day younger than him. They were born on August 13 and August 14, 1899.
  • He appears momentarily in a trademark/cameo role in all of his movies. In addition the neon silhouette in Rope (1948), he is seen walking down the street during the opening credits. During the movie, the characters of Mrs. Atwater and Janet are discussing a movie whose one-word title they can not remember. It was a plug for one of Hitchcock’s other movies, Notorious (1946).
  • He directed nine of the American Film Institute’s 100 Most Heart-Pounding Movies: Psycho (1960) at #1, North by Northwest (1959) at #4, The Birds (1963) at #7, Rear Window (1954) at #14, Vertigo (1958) at #18, Strangers on a Train (1951) at #32, Notorious (1946) at #38, Dial M for Murder (1954) at #48 and Rebecca (1940) at #80.
  • Appears on a 44¢ USA commemorative postage stamp, issued 11 August 2009, in the Early TV Memories issue honoring Alfred Hitchcock Presents (1955).
  • During production of Alfred Hitchcock Presents (1955) he was said to have hid from producer Joan Harrison every time there was a problem with production. His favorite hiding place was behind the couch in his office.
  • At five, he received more Academy Award nominations for Best Picture without a win than anyone other than Clarence Brown. He was nominated for Rebecca (1940), Lifeboat (1944), Spellbound (1945), Rear Window (1954) and Psycho (1960).
  • As a long-time friend of Sidney Bernstein (the pair had formed production company Transatlantic Pictures together in the 1940s), Hitch was the first celebrity visitor to the set of long-running British soap opera Coronation Street (1960), during a June 1964 visit to the Manchester studios of Granada Television which Bernstein co-founded with his brother Cecil.
  • As of the 5th edition of 1001 Movies You Must See Before You Die (edited by Steven Jay Schneider), Hitchcock is the most represented director, with 18 films. Included are his films Blackmail (1929), The 39 Steps (1935), Sabotage (1936), Rebecca (1940), Shadow of a Doubt (1943), Spellbound (1945), Notorious (1946), Rope (1948), Strangers on a Train (1951), Rear Window (1954), The Man Who Knew Too Much (1956), The Wrong Man (1956), Vertigo (1958), North by Northwest (1959), Psycho (1960), The Birds (1963), Marnie (1964) and Frenzy (1972).
  • In addition to his fear of the police, Hitchcock possessed one other phobia: eggs.
  • Walt Disney refused to allow him to film at Disneyland in the early 1960s because Hitchcock had made “that disgusting movie Psycho (1960)”.
  • He was naturalized as a United States citizen in 1956.
  • He suggested some improvements to a scene in Gone with the Wind (1939) but the shots integrating his improvements were not used.
  • Though he was Oscar-nominated five times as best director, DGA-nominated six times as best director, and received three nominations from Cannes, he never won in any of these competitive categories, a fact that surprises fans and film critics to this day.
  • A statistical survey he did among audiences revealed that according to moviegoers the most frightening noise in films was the siren of a police patrol-car, followed by the crash of a road accident, cracklings of a burning forest, far galloping horses, howling dogs, the scream of a stabbed woman and the steps of a lame person in the dark.
  • He was awarded 2 Stars on the Hollywood Walk of Fame for Motion Pictures at 6506 Hollywood Boulevard; and for Television at 7013 Hollywood Boulevard in Hollywood, California.
  • On August 2, 1968, he visited Finland to look filming locations for his next film “The Short Night”. Of course, the film was never made. In the airport, he was interviewed by Finnish reporters. He was asked why his films were so popular. His answer was: “Everybody likes to be scared”.
  • Is the “voice” of the “Jaws” ride at Universal Studios.
  • For Psycho (1960), he deferred his standard $250,000 salary in lieu of 60% of the film’s net profits. His personal earnings from the film exceeded $15 million. Adjusted for inflation, that amount would now top $150 million in 2006 terms.
  • Although some of the movie going public knew him, his fame really took off after 1955. That was when Alfred Hitchcock Presents (1955) started. When the show was broadcast in homes week after week, it gave him a much bigger exposure in the public eye. He also became quite rich from the show when it was syndicated in the United States and overseas.
  • He was reportedly furious when Brian De Palma decided to make Obsession (1976), because he thought it was a virtual remake of Vertigo (1958). Ironically, De Palma stopped making mystery/adventure films after Hitchcock’s death in 1980, with the possible exception of Body Double (1984).
  • Grandfather of Mary Stone, Tere Carrubba and Katie Fiala.
  • Due to his death in 1980, he never got to see Psycho II (1983). It remains unsure as to whether or not he was approached regarding the second movie, or any other “Psycho (1960) – Expansion” motion picture.
  • Told François Truffaut that although he had made two films prior to The Lodger (1927), he considered that to be his first real film.
  • Education: St. Ignatius College, London, School of Engineering and Navigation (Studied mechanics, electricity, acoustics and navigation); University of London (Studied art).
  • Ranked #2 in Empire (UK) magazine’s “The Greatest Directors Ever!” in 2005.
  • As with W.C. Fields and Arthur Godfrey before him, he was legendary for gently tweaking his sponsors during the run of his television show. One typical example runs, “We now interrupt our story for an important announcement. I needn’t tell you to whom it will be most important of all.”.
  • Praised Luis Buñuel as the best director ever.
  • Directed eight different actors in Oscar-nominated performances: Laurence Olivier, Joan Fontaine, Judith Anderson, Albert Bassermann, Michael Chekhov, Claude Rains, Ethel Barrymore and Janet Leigh. Fontaine won an Oscar for Suspicion (1941).
  • He would work closely with screenwriters, giving them a series of scenes that he wanted in the films, thus closely controlling what he considered the most important aspect of the filmmaking process. Although the screenwriter would write the actual dialogue and blocking, many of the scripts for his films were rigidly based on his ideas.
  • Directed the pilot episode of the radio series “Suspense” (1942-1962), and made a brief appearance at the end. It was an adaptation of his film The Lodger (1927) and starred Herbert Marshall and Edmund Gwenn, who reprised his brother Arthur Chesney ‘s role as Mr. Bunting.
  • He almost never socialized when not shooting films, and spent most of his evenings quietly at home with his wife Alma Reville and daughter Patricia Hitchcock.
  • He was infamous with cast and crews for his practical jokes. While some inspired laughs, such as suddenly showing up in a dress, most were said to have been a bit more scar than funny. Usually, he found out about somebody’s phobias, such as mice or spiders, and in turn sent them a box full of them.
  • Steven Spielberg, Brian De Palma, John Carpenter, Sam Raimi, M. Night Shyamalan, Martin Scorsese, George A. Romero, Peter Bogdanovich, Dario Argento, William Friedkin, David Cronenberg and Quentin Tarantino have named him as an influence.
  • Was a supporter of West Ham United Football Club. He told colleagues in Hollywood that he subscribed to English newspapers in order to keep track of their results.
  • Often said that Shadow of a Doubt (1943) was his favorite film among those he had directed.
  • Had a hard time devising one of his signature walk-ons for Lifeboat (1944), a film about a small group of people trying to survive on a small boat. What he eventually came up with was to have his picture in a newspaper advertisement for weight loss that floated among some debris around the boat. He had happened to have lost a considerable amount of weight from dieting around that time, so he was seen in both the “Before” and the “After” pictures.
  • Was at his heaviest in the late 1930s, when he weighed over 300 pounds. Although always overweight, he dieted and lost a considerable amount of weight in the early 1950s, with pictures from sets like To Catch a Thief (1955) showing a surprisingly thin Hitchcock. His weight continued to fluctuate throughout his life.
  • Was voted the Greatest Director of all time by Entertainment Weekly. The same magazine’s list of the 100 Greatest Films of all time includes more films directed by Hitchcock than by any other director, with four. On the list were his masterworks Psycho (1960) (#11), Vertigo (1958) (#19), North by Northwest (1959) (#44) and Notorious (1946) (#66).
  • When he won his Lifetime Achievement award in 1979, he joked with friends that he must be about to die soon. He died a year later.
  • He allegedly refused the British honour of CBE (Commander of the Order of the British Empire) in 1962.
  • One of the most successful Hitchcock tie-ins is a pulp publication titled “Alfred Hitchcock’s Mystery Magazine”. The publication is highly respected and has become one of the longest running mystery anthologies. It continues to be published almost a quarter century after Hitchock’s death.
  • He was listed as the editor of a series of anthologies containing mysteries and thillers. However, he had little to do with them. Even the introductions, credited to him, were, like the introductions on his television series, written by others.
  • Lent his name and character to a series of adolescent books entitled “Alfred Hitchcock and the Three Investigators” (circa late 1960s – early 1970s). The premise was that main character and crime-solver Jupiter Jones won the use of Mr. Hitchcock’s limousine in a contest. Hitch also wrote forewords to this series of books. After his death, his famous silhouette was taken off the spine of the books, and the forewords (obviously) stopped appearing as well.
  • In a recent USC class on Hitchcock (fall 2000), guest speaker Patricia Hitchcock revealed that two guilty pleasures of Hitch’s were Smokey and the Bandit (1977) and Benji (1974).
  • Der müde Tod (1921) by Fritz Lang was his declared favorite movie.
  • He delivered the shortest acceptance speech in Academy Award history: while accepting the Irving Thalberg Memorial Award at the 1967 Academy Awards, he simply said “Thank you”.
  • Asked writers Pierre Boileau and Thomas Narcejac to write a novel for him after Henri-Georges Clouzot had been faster in buying the rights for “Celle qui n’était plus” which became Diabolique (1955). The novel they wrote, “From Among the Dead”, was shot as Vertigo (1958).
  • He was director William Girdler’s idol. Girdler made Day of the Animals (1977) borrowing elements from Hitchcock’s The Birds (1963).
  • When finishing a cup of tea while on the set, he would often non-discriminatingly toss the cup and saucer over his shoulder, letting it fall (or break) wherever it may.
  • First visited Hollywood in the late 1930s, but was turned down by virtually all major motion picture studios because they thought he could not make a Hollywood-style picture. He was finally offered a seven-year directing contract by producer David O. Selznick. His first project was supposed to be a film about the Titanic, but Selznick scrapped the project because he “couldn’t find a boat to sink.” Selznick assigned Hitch to direct Rebecca (1940) instead, which later won the best picture Oscar.
  • His bridling under the heavy hand of producer David O. Selznick was exemplified by the final scene of Rebecca (1940). Selznick wanted his director to show smoke coming out of the burning house’s chimney forming the letter ‘R’. Hitchcock thought the touch lacked any subtlety; instead, he showed flames licking at a pillow embroidered with the letter ‘R’.
  • From 1977 until his death, he worked with a succession of writers on a film to be known as “The Short Night”. The majority of the writing was done by David Freeman, who published the final screenplay after Hitchcock’s death.
  • In the 1980 Queen’s New Year’s Honours list (only a few months before his death), he was named an Honorary (as he was a United States citizen) Knight Commander of the Order of the British Empire.
  • Alma Reville and Hitchcock had one daughter, Patricia Hitchcock, who appeared in three of his movies: Stage Fright (1950), Strangers on a Train (1951) and Psycho (1960).
  • He never won a best director Academy Award in competition, although he was awarded the Irving Thalberg Memorial Award at the 1967 Academy Awards.
  • On April 29, 1974, the Film Society of Lincoln Center in New York sponsored a gala homage to Alfred Hitchcock and his contributions to the cinema. Three hours of film excerpts were shown that night. François Truffaut who had published a book of interviews with Hitchcock a few years earlier, was there that night to present “two brilliant sequences: the clash of the cymbals in the second version of The Man Who Knew Too Much (1956) , and the plane attack on Cary Grant in North by Northwest (1959).” After the gala, Truffaut reflected again on what made Hitchcock unique and concluded: “It was impossible not to see that the love scenes were filmed like murder scenes, and the murder scenes like love scenes…It occurred to me that in Hitchcock’s cinema…to make love and to die are one and the same.”.
  • As a child, Hitchcock was sent to the local police station with a letter from his father. The desk sergeant read the letter and immediately locked the boy up for ten minutes. After that, the sergeant let young Alfred go, explaining, “This is what happens to people who do bad things.” Hitchcock had a morbid fear of police from that day on. He also cited this phobia as the reason he never learned to drive (as a person who doesn’t drive can never be pulled over and given a ticket). It was also cited as the reason for the recurring “wrong man” themes in his films.
  • He appears on a 32-cent U.S. postage stamp, in the “Legends of Hollywood” series, that was released 8/3/98 in Los Angeles, California.
  • Was close friends with Albert R. Broccoli, well known as the producer of the James Bond – 007 franchise. Hitchcock’s North by Northwest (1959) was the influence for the helicopter scene in From Russia with Love (1963). Actors Sean Connery, Karin Dor, Louis Jourdan and Anthony Dawson have appeared in both a Hitchcock film and a Bond film.
  • According to Hitchcock himself, he was required to stand at the foot of his mother’s bed, and tell her what happened to him each day.
  • He once dressed up in drag for a party he threw. Footage of this was kept in his office, but after his death, his office was cleaned out and the footage not found. It is not known if the footage still exists.
  • According to many people who knew Hitchcock, he could not stand to even look at his wife, Alma Reville, while she was pregnant.


  • Unusual subjective point of view shots
  • Often makes the audience empathizes with the villain’s plight, usually in a sequence where the villain is in danger of being caught.
  • Liked to use major stars in his films that the audience was familiar with, so he could dispense with character development and focus more on the plot.
  • [Attribution] Name often appears before the film titles, as in “Alfred Hitchcock’s Psycho”.
  • Frequent collaborators: actors ‘James Stewart’ and ‘Cary Grant’, editor George Tomasini, composer Bernard Herrmann, costume designer Edith Head and director of photography Robert Burks.
  • Distinctively slow way of speaking, dark humor and dry wit, especially regarding murder
  • He hated to shoot on location. He preferred to shoot at the studio where he could have full control of lighting and other factors. This is why even his later films contain special effects composite and rear screen shots.
  • His “MacGuffins” were objects or devices which drove the plot and were of great interest to the film’s characters, but which to the audience were otherwise inconsequential and could be forgotten once they had served their purpose. The most notable examples include bottled uranium in Notorious (1946), the wedding ring in Rear Window (1954), the microfilm in North by Northwest (1959) and the $40,000 in the envelope in Psycho (1960).
  • Inspired the adjective “Hitchcockian” for suspense thrillers
  • In a lot of his films (more noticeably in the early black and white American films), he used to create more shadows on the walls to create suspense and tension (e.g., the “Glowing Milk” scene in Suspicion (1941) or the ominous shadow during the opening credits of Saboteur (1942)).
  • [Profile] The famous profile sketch, most often associated with Alfred Hitchcock Presents (1955) and The Alfred Hitchcock Hour (1962). It was actually from a Christmas card Hitchcock designed himself while still living in England.
  • In order to create suspense in his films, he would alternate between different shots to extend cinematic time (e.g., the climax of Saboteur (1942), the cropduster sequence in North by Northwest (1959), the shower scene in Psycho (1960), etc.) His driving sequences were also shot in this particular way. They would typically alternate between the character’s point of view while driving and a close-up shot of those inside car from opposite direction. This technique kept the viewer ‘inside’ the car and made any danger encountered more richly felt.
  • Always formally dressed, wearing a suit on film sets
  • There is a recurrent motif of lost or assumed identity. While mistaken identity applies to a film like North by Northwest (1959), assumed identity applies to films such as The 39 Steps (1935), Vertigo (1958), Psycho (1960), and Marnie (1964) among others.
  • [Blondes] The most famous actresses in his filmography (mostly in leading roles) were Anny Ondra, Madeleine Carroll, Joan Fontaine, Ingrid Bergman, Grace Kelly, Eva Marie Saint, Kim Novak, Vera Miles, Janet Leigh and Tippi Hedren.
  • Often used the “wrong man” or “mistaken identity” theme in his movies (Saboteur (1942), I Confess (1953), The Wrong Man (1956), North by Northwest (1959), Frenzy (1972)).
  • [Bathrooms] Often a plot device, a hiding place or a place where lovemaking is prepared for. Hitchcock also frequently used the letters “BM”, which stand for “Bowel Movement”.
  • [Hair] Likes to insert shots of a woman’s hairstyle, frequently in close-ups.
  • [Cameo] Often has a quick cameo in his films. He eventually began making his appearances in the beginning of his films, because he knew viewers were watching for him and he didn’t want to divert their attention away from the story’s plot. He made a live cameo appearance in all of his movies beginning with The Lady Vanishes (1938) (Man in London Railway Station walking on the station train platform), The Girl Was Young (1937) (Photographer Outside Courthouse) … aka The Girl Was Young (USA), The 39 Steps (1935) (Passerby Near the Bus), Murder! (1930) (Man on Street), Blackmail (1929) (Man on subway), Easy Virtue (1928) (Man with stick near tennis court), The Lodger (1927) (Extra in newspaper office) … aka The Case of Jonathan Drew., excluding Lifeboat (1944), in which he appeared in a newspaper advertisement; Dial M for Murder (1954), in which he appeared in a class reunion photo; Rope (1948) in which his “appearance” is as a neon version of his famous caricature on a billboard outside the window in a night scene and Family Plot (1976) in which his “appearance” is as a silhouette of someone standing on the other side of a frosted glass door.


Title Year Status Character
Family Plot 1976 Silhouette at Office of Vital Statistics (uncredited)
Frenzy 1972 Spectator at Opening Rally (uncredited)
Topaz 1969 Man in Wheelchair at Airport (uncredited)
Torn Curtain 1966 Man in Hotel Lobby with Baby (uncredited)
The Alfred Hitchcock Hour 1962-1965 TV Series Alfred Hitchcock – Host
Marnie 1964 Man Leaving Hotel Room (uncredited)
The Birds 1963 Man Walking Dogs Out of Pet Shop (uncredited)
Alfred Hitchcock Presents 1955-1962 TV Series Alfred Hitchcock – Host / Alfred’s Brother / Man on the Book Cover / …
Psycho 1960 Man Outside Real Estate Office (uncredited)
North by Northwest 1959 Man Who Misses Bus (uncredited)
Vertigo 1958 Man Walking Past Elster’s Office (uncredited)
The Wrong Man 1956 Prologue Narrator (uncredited)
Lux Video Theatre 1954-1956 TV Series Lux Video Theatre Intermission Guest / Lux Video Theatre Guest
The Man Who Knew Too Much 1956 Man in Morocco Marketplace (uncredited)
The Trouble with Harry 1955 Man Walking Past Sam’s Outdoor Exhibition (uncredited)
To Catch a Thief 1955 Man Sitting Next to John Robie on Bus (uncredited)
Rear Window 1954 Songwriter’s Clock-winder (uncredited)
I Confess 1953 Man Crossing the Top of Long Staircase (uncredited)
Strangers on a Train 1951 Man Boarding Train Carrying a Double Bass (uncredited)
Stage Fright 1950 Man Staring at Eve on Street (uncredited)
Under Capricorn 1949 Man at Governor’s Reception (uncredited)
Rope 1948 Man Walking in Street After Opening Credits (uncredited)
The Paradine Case 1947 Man Carrying Cello Case (uncredited)
Notorious 1946 Man Drinking Champagne at Party (uncredited)
Spellbound 1945 Man Leaving Elevator (uncredited)
Shadow of a Doubt 1943 Man on Train Playing Cards (uncredited)
Saboteur 1942 Man in Front of NY Drugstore (uncredited)
Suspicion 1941 Man Mailing Letter (uncredited)
Mr. & Mrs. Smith 1941 Man Passing David Smith on Street (uncredited)
Foreign Correspondent 1940 Man with Newspaper on Street (uncredited)
Rebecca 1940 Man Outside Phone Booth (uncredited)
The Lady Vanishes 1938 Man in London Railway Station (uncredited)
The Girl Was Young 1937 Photographer Outside Courthouse (uncredited)
Sabotage 1936 Man Walking Past The Cinema as the Light is Renewed (uncredited)
The 39 Steps 1935 Passerby Near the Bus (uncredited)
The Man Who Knew Too Much 1934 Man in the Raincoat Passing The Bus (uncredited)
Murder! 1930 Man on Street (uncredited)
Blackmail 1929 Man on Subway (uncredited)
Easy Virtue 1928 Man with Stick Near Tennis Court (uncredited)
The Ring 1927/I Man-Dipping Attraction Worker (uncredited)
The Lodger 1927 Extra in Newspaper Office (uncredited)
Title Year Status Character
Memory of the Camps 2014 TV Movie documentary
Frontline 1985 TV Series documentary 1 episode
Family Plot 1976
Frenzy 1972
Topaz 1969
Torn Curtain 1966
Marnie 1964
The Birds 1963
The Alfred Hitchcock Hour 1962 TV Series 1 episode
Alfred Hitchcock Presents 1955-1961 TV Series 17 episodes
Psycho 1960
Startime 1960 TV Series 1 episode
North by Northwest 1959
Vertigo 1958
Suspicion 1957 TV Series 1 episode
The Wrong Man 1956
The Man Who Knew Too Much 1956
The Trouble with Harry 1955
To Catch a Thief 1955
Rear Window 1954
Dial M for Murder 1954
I Confess 1953
Strangers on a Train 1951
Stage Fright 1950
Under Capricorn 1949
Rope 1948
The Paradine Case 1947
Notorious 1946
Spellbound 1945
Watchtower Over Tomorrow 1945 Documentary short uncredited
The Fighting Generation 1944 Short uncredited
Aventure malgache 1944 Short
Bon Voyage 1944 Short
Lifeboat 1944
Shadow of a Doubt 1943
Saboteur 1942
Suspicion 1941
Mr. & Mrs. Smith 1941
Foreign Correspondent 1940
Rebecca 1940
Jamaica Inn 1939
The Lady Vanishes 1938
The Girl Was Young 1937
Sabotage 1936
Secret Agent 1936
The 39 Steps 1935
The Man Who Knew Too Much 1934
Strauss’ Great Waltz 1934
Number 17 1932
East of Shanghai 1931
Mary 1931
The Skin Game 1931
Murder! 1930
The Shame of Mary Boyle 1930
Elstree Calling 1930 some sketches
An Elastic Affair 1930 Short
Sound Test for Blackmail 1929 Short documentary
Blackmail 1929
The Manxman 1929
Champagne 1928
Easy Virtue 1928
The Farmer’s Wife 1928
When Boys Leave Home 1927
The Ring 1927/I
The Lodger 1927
The Mountain Eagle 1926
The Pleasure Garden 1925
Always Tell Your Wife 1923 Short uncredited
Number 13 1922 unfinished
Title Year Status Character
Family Plot 1976 producer – uncredited
Frenzy 1972 producer – uncredited
Topaz 1969 producer – uncredited
Torn Curtain 1966 producer – uncredited
Marnie 1964 producer – uncredited
The Alfred Hitchcock Hour 1964 TV Series executive producer – 1 episode
The Birds 1963 producer – uncredited
Alcoa Premiere 1962 TV Series executive producer – 1 episode
Alfred Hitchcock Presents TV Series producer – 7 episodes, 1955 – 1962 executive producer – 1 episode, 1956
Psycho 1960 producer – uncredited
North by Northwest 1959 producer – uncredited
Suspicion 1957-1958 TV Series executive producer – 25 episodes
Vertigo 1958 producer – uncredited
The Wrong Man 1956 producer – uncredited
The Man Who Knew Too Much 1956 producer – uncredited
The Trouble with Harry 1955 producer – uncredited
To Catch a Thief 1955 producer – uncredited
Rear Window 1954 producer – uncredited
Dial M for Murder 1954 producer – uncredited
I Confess 1953 producer – uncredited
Strangers on a Train 1951 producer – uncredited
Stage Fright 1950 producer – uncredited
Under Capricorn 1949 producer – uncredited
Rope 1948 producer – uncredited
Notorious 1946 producer – uncredited
Lifeboat 1944 producer – uncredited
Lord Camber’s Ladies 1932 producer
Number 13 1922 producer – uncredited
Title Year Status Character
Memory of the Camps 2014 TV Movie documentary treatment adviser
Gas 2006 Short story
Don’t Give Me the Finger 2005 Short play – as Sir Alfred Hitchcock
Lifepod 1993 TV Movie short story
Alfred Hitchcock Presents 1993 Video Game original series
Notorious 1946 screenplay contributor – uncredited
Lifeboat 1944 story idea – uncredited
Forever and a Day 1943 uncredited
Saboteur 1942 story – uncredited
Round the Film Studios 1937 TV Series narrative script – 1 episode
Number 17 1932 scenario
East of Shanghai 1931 adaptation
The Skin Game 1931 adaptation
Murder! 1930 adapted by
The Shame of Mary Boyle 1930 adaptation
Blackmail 1929 adapted by
Champagne 1928 writer
The Farmer’s Wife 1928 uncredited
The Ring 1927/I written by
The Lodger 1927 uncredited
Dangerous Virtue 1925
Die Prinzessin und der Geiger 1925
The Passionate Adventure 1924
White Shadows 1924
Woman to Woman 1923 writer
Title Year Status Character
Tell Your Children 1922 title designer
The Man from Home 1922 title designer
The Spanish Jade 1922 title designer
Love’s Boomerang 1922 title designer
Three Live Ghosts 1922 title designer – uncredited
The Call of Youth 1921 Short title designer
The Bonnie Brier Bush 1921 title designer
Dangerous Lies 1921 title designer
The Mystery Road 1921 title designer
Appearances 1921 title designer
The Princess of New York 1921 title designer
The Great Day 1920 title designer
Art Director
Title Year Status Character
Dangerous Virtue 1925
Die Prinzessin und der Geiger 1925
The Passionate Adventure 1924
White Shadows 1924
Woman to Woman 1923
Tell Your Children 1922
The Man from Home 1922
The Spanish Jade 1922
Three Live Ghosts 1922
Assistant Director
Title Year Status Character
Dangerous Virtue 1925 assistant director
Die Prinzessin und der Geiger 1925 assistant director
The Passionate Adventure 1924 assistant director
White Shadows 1924 assistant director
Woman to Woman 1923 assistant director
Title Year Status Character
Alfred Hitchcock Presents 1993 Video Game “Funeral March of a Marionette”
Volere volare 1991 “Funeral March of a Marionette”
The Magic of David Copperfield VII: Familiares 1985 TV Special “Funeral March of a Marionette”
The Magic of David Copperfield 1978 TV Special “Funeral March of a Marionette”
The Magic of ABC 1977 TV Special “Funeral March of a Marionette”
Title Year Status Character
Target for Tonight 1941 Documentary US version, uncredited
Men of the Lightship 1941 Documentary short US version, uncredited
White Shadows 1924
Production Designer
Title Year Status Character
White Shadows 1924
Set Decorator
Title Year Status Character
White Shadows 1924
Title Year Status Character
Variations on a High School Romance 2010 inspirational thanks
Adjusted 2009 Short special thanks
Indigo 2009/I Short in memory of
Evocator 2009 Short grateful acknowledgment
Artists of the Roundtable 2008 Video documentary special thanks
Creature Story 2008 Short special thanks
Wingrave 2007 Video dedicatee
S1ngles 2004 TV Series dedicatee – 1 episode
Julie and Jack 2003 special thanks – as Mr. Alfred Hitchcock
Blyustiteli poroka 2001 TV Series dedicated to – 1 episode
As Long as He Lives 1998 Short dedicatee
Running Time 1997 special thanks
Psycho II 1983 the producers acknowledge the debt owed to – as Sir Alfred Hitchcock
High Anxiety 1977 dedicated to: the Master of Suspense
Dark Creek special thanks announced
Mysteria 2016 Short dedicatee
At Granny’s House 2015 thanks
The Giant Deer 2014 Short special thanks
Lazarus: Apocalypse 2014 original inspiration
Intoxicated 2013 Short dedicatee
Dying 2 Meet U 2012 inspirational thanks
Tráiganme la Cabeza de la Mujer Metralleta 2012 acknowledgment
Him Indoors 2012 Short special thanks
The Circle of Men 2011 Short special thanks
The Waiting Room 2011/IV Short special thanks
Edición Especial Coleccionista 2011 TV Series in memory of – 1 episode
Satisfied 2011 thanks
Tru Luv 2010 Short special thanks
Title Year Status Character
AFI Life Achievement Award: A Tribute to James Stewart 1980 TV Special documentary Himself / Speaker (uncredited)
AFI Life Achievement Award: A Tribute to Alfred Hitchcock 1979 TV Movie documentary Himself
CBS: On the Air 1978 TV Mini-Series documentary Himself
NBC: The First Fifty Years – A Closer Look, Part Two 1978 TV Movie documentary Himself
The 29th Annual Primetime Emmy Awards 1977 TV Special Himself – Presenter
La nuit des Césars 1977 TV Series documentary Himself
The Tonight Show Starring Johnny Carson 1969-1976 TV Series Himself – Guest
The Elstree Story 1976 TV Movie documentary Himself
The World of Alfred Hitchcock 1976 TV Movie documentary Himself
The 46th Annual Academy Awards 1974 TV Special Himself – Presenter: Jean Hersholt Humanitarian Award
The Men Who Made the Movies: Alfred Hitchcock 1973 TV Movie documentary Himself
Tomorrow Coast to Coast 1973 TV Series Himself
V.I.P.-Schaukel 1972 TV Series documentary Himself
Aquarius 1972 TV Series documentary Himself
Camera Three 1972 TV Series Himself
The Dick Cavett Show 1970-1972 TV Series Himself
Film Night 1972 TV Series Himself
The 29th Annual Golden Globe Awards 1972 TV Special Himself
Yesterday’s Witness 1971 TV Series Himself – Interviewee
Samedi soir 1971 TV Series Himself
Was haben Sie mit Jeffersen gemacht, Alfred? 1970 TV Movie documentary Himself
Hollywood: The Selznick Years 1969 TV Movie documentary Himself (uncredited)
The Mike Douglas Show 1969 TV Series Himself – Guest
Today 1966-1969 TV Series Himself
London aktuell 1969 TV Series documentary Himself
The 40th Annual Academy Awards 1968 TV Special Himself (Thalberg Award Recipient)
Hinter der Leinwand 1966 TV Series documentary Himself
Rezepte aus der Gruselküche – Alfred Hitchcock zu Gast beim Frankfurter Stammtisch 1966 TV Movie Himself
Film Preview 1966 TV Series Himself
Cinema 1966 TV Series documentary Himself
Hitchcock on Grierson 1965 TV Movie documentary Himself
Monitor 1964 TV Series documentary Himself – Interviewee
Telescope 1964 TV Series documentary Himself
CBS: The Stars’ Address 1963 TV Movie Himself
Picture Parade 1960 TV Series documentary Himself
Tactic 1959 TV Series Himself
Cinépanorama 1956 TV Series documentary Himself
The Red Skelton Hour 1955 TV Series Himself / Award for Best Director
What’s My Line? 1954 TV Series Himself – Mystery Guest #2
Ship’s Reporter 1948 TV Series Himself
Show-Business at War 1943 Documentary short Himself (uncredited)
Picture People No. 10: Hollywood at Home 1942 Documentary short Himself
Round the Film Studios 1937 TV Series Himself – Director
Sound Test for Blackmail 1929 Short documentary Himself
Archive Footage
Title Year Status Character
National Endowment for the Arts: United States of Arts 2017 TV Series documentary short Himself
Stupéfiant! 2016 TV Series Himself
La otra sala: Clásicos 2016 TV Series documentary
Extra 2015 TV Series Himself
Pop Culture Beast’s Halloween Horror Picks 2015 TV Series documentary Himself
Hitchcock/Truffaut 2015 Documentary Himself
Talking Pictures 2015 TV Series documentary Himself
Die Ringstraße – Trilogie eines Boulevards 2015 TV Mini-Series documentary Himself
Reel Herstory: The Real Story of Reel Women 2014 Documentary Himself
Night Will Fall 2014 Documentary Himself
Top 40 Ultimate Action Movies 2014 TV Movie documentary Himself
Missing Reel 2014 TV Mini-Series documentary Himself
Memory of the Camps 2014 TV Movie documentary Himself (uncredited)
Alfred Hitchcock: Master of Suspense 2013 Documentary Himself
What Is Cinema? 2013 Documentary Himself
Stars of the Silver Screen 2013 TV Series Himself
Perspectives 2013 TV Series documentary Himself
Planeta Globalizado 2013 Documentary Himself
The One Show 2013 TV Series Himself
Amateur Night 2011 Documentary Himself
The Story of Film: An Odyssey 2011 TV Mini-Series documentary Himself
Edición Especial Coleccionista 2011 TV Series Himself
Moguls & Movie Stars: A History of Hollywood 2010 TV Mini-Series documentary Himself
The Psycho Legacy 2010 Video documentary Himself
Fasten Your Seatbelt: The Thrilling Art of Alfred Hitchcock 2009 Video documentary short Himself
Coming Attractions: The History of the Movie Trailer 2009 Documentary Himself
The Master’s Touch: Hitchcock’s Signature Style 2009 Video documentary Himself
A Night at the Movies: The Suspenseful World of Thrillers 2009 TV Movie documentary Himself
Dans le labyrinthe de Marienbad 2009 Video documentary short
Hollywood sul Tevere 2009 Documentary Himself
Legenden 2009 TV Series documentary Himself
Il était une fois… 2009 TV Series documentary Himself
Alfred Hitchcock in East London 2009 Documentary Himself
London Tonight 2009 TV Series Himself
Paul Merton Looks at Alfred Hitchcock 2009 TV Movie documentary Himself
Made at Elstree: 80 Years of Making Movies, 20 Movie Memories 2008 Video documentary
American Masters 1998-2008 TV Series documentary Himself / Himself – Interviewee
Mike Douglas: Moments & Memories 2008 Video Himself
Spine Tingler! The William Castle Story 2007 Documentary Himself
Cinemassacre’s Monster Madness 2007 TV Series documentary Himself
Cámara negra. Teatro Victoria Eugenia 2007 TV Short documentary Himself
Who Is Norman Lloyd? 2007 Documentary
British Film Forever 2007 TV Mini-Series documentary Himself
Cannes, 60 ans d’histoires 2007 TV Movie documentary Himself
Rick Stein in du Maurier Country 2007 TV Movie documentary Himself (uncredited)
Hoge bomen: Pioniers 2007 TV Series documentary Himself
Going to Pieces: The Rise and Fall of the Slasher Film 2006 Documentary Himself
Hitchcocked! 2006 TV Movie documentary Himself
Billy Wilder Speaks 2006 TV Movie documentary Himself
Silent Britain 2006 TV Movie documentary Himself
Un écran nommé désir 2006 TV Movie documentary Himself
Multilingual Murder: A Conversation Between Alfred Hitchcock and François Truffaut 2006 Video documentary short Himself
Filmmakers in Action 2005 Documentary Himself (uncredited)
Shepperton Babylon 2005 TV Movie documentary Himself
Fantástico 30 Anos – Grandes Reportagens 2004 Video documentary Himself
Hitchcock and Dial M 2004 Video documentary short Himself (uncredited)
Personal History: Foreign Hitchcock 2004 Video documentary short Himself
The Hitchcocks on Hitch 2004 Video documentary short Himself
Le fantôme d’Henri Langlois 2004 Documentary
Épreuves d’artistes 2004 TV Movie documentary Himself
101 Biggest Celebrity Oops 2004 TV Special documentary Himself – #85: Psycho: The Remake
The 100 Greatest Scary Moments 2003 TV Movie documentary Himself
Living Famously 2003 TV Series documentary Himself
Sendung ohne Namen 2002 TV Series documentary Himself
Alfred Hitchcok and To Catch a Thief: An Appreciation 2002 Video short Himself
Making of ‘To Catch a Thief’ 2002 Video documentary Himself
Reel Radicals: The Sixties Revolution in Film 2002 TV Movie documentary Himself (Psycho (1960) trailer footage) (uncredited)
Who Is Alan Smithee? 2002 TV Movie documentary Himself (uncredited)
Biography 1998-2001 TV Series documentary Himself / Himself – Director
Legends 2001 TV Series documentary Himself
Cinéma, de notre temps 2001 TV Series documentary Himself
Plotting ‘Family Plot’ 2001 Video documentary Himself
Screenwriter John Michael Hayes on ‘Rear Window’ 2001 Video documentary short Himself (uncredited)
The Story of ‘Frenzy’ 2001 Video documentary Himself – Director, Frenzy
‘Rear Window’ Ethics: Remembering and Restoring a Hitchcock Classic 2000 Video documentary Himself
All About ‘The Birds’ 2000 Video documentary Himself
Destination Hitchcock: The Making of ‘North by Northwest’ 2000 Video documentary short Himself
The Trouble with Marnie 2000 TV Movie documentary Himself
Inside ‘Dr. No’ 2000 Video documentary short Himself
Hitchcock: Shadow of a Genius 1999 TV Movie documentary Himself
Reputations 1999 TV Series documentary Himself
Hitchcock: The Early Years 1999 Video documentary short Himself
The 20th Century: A Moving Visual History 1999 TV Mini-Series documentary Himself
The Best of Hollywood 1998 TV Movie documentary Himself
François Chalais, la vie comme un roman 1997 TV Movie documentary Himself
The Making of ‘Psycho’ 1997 Video documentary Himself
François Truffaut: The Man Who Loved Cinema – Love & Death 1996 TV Movie documentary Himself
Lights, Camera, Action!: A Century of the Cinema 1996 TV Mini-Series documentary Himself
The Universal Story 1995 TV Movie documentary Himself
Citizen Langlois 1995 TV Movie documentary Himself
Tales from the Crypt 1995 TV Series Himself
Cinema Europe: The Other Hollywood 1995 TV Mini-Series documentary Himself
Family Portraits 1995 TV Mini-Series documentary Himself
Hitchcock: Alfred the Great 1994 TV Movie documentary Himself (uncredited)
François Truffaut: Portraits volés 1993 Documentary Himself
Alfred Hitchcock Presents 1993 Video Game Alfred Hitchcock
Alfred Hitchcock: The Art of Making Movies 1990 Short Himself
Alfred Hitchcock Presents 1985-1989 TV Series Himself – Host / Himself
AFI Life Achievement Award: A Tribute to Jack Lemmon 1988 TV Special documentary Himself
Frontline 1985 TV Series documentary Himself
Terror in the Aisles 1984 Documentary Himself (uncredited)
Ingrid 1984 Documentary Himself
Margret Dünser, auf der Suche nach den Besonderen 1981 TV Movie documentary Himself
The 53rd Annual Academy Awards 1981 TV Special Himself
Midi Trente 1972 TV Series Himself
Mondo Hollywood 1967 Documentary Himself (uncredited)


Alfred Hitchcock Alfred Hitchcock
Alfred Hitchcock Alfred Hitchcock
Alfred Hitchcock Alfred Hitchcock
Alfred Hitchcock Alfred Hitchcock
Alfred Hitchcock Alfred Hitchcock