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Hitchcock/Truffaut (2015)

PG-13 | | Documentary | 31 March 2016 (Russia)
Trailer
2:18 | Trailer
Filmmakers discuss how Francois Truffaut's 1966 book "Cinema According to Hitchcock" influenced their work.

Director:

Kent Jones
1 win & 1 nomination. See more awards »

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Cast

Cast overview, first billed only:
Mathieu Amalric ... Narrator in French version (voice)
Bob Balaban ... Narrator (voice)
Wes Anderson ... Himself
James Gray ... Himself
David Fincher ... Himself
Olivier Assayas ... Himself
Paul Schrader ... Himself
Richard Linklater ... Himself
Peter Bogdanovich ... Himself
Alfred Hitchcock ... Himself (archive footage)
Martin Scorsese ... Himself
François Truffaut ... Himself (archive footage)
Alma Reville Alma Reville ... Herself (archive footage)
Kiyoshi Kurosawa ... Himself
Arnaud Desplechin ... Himself
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Storyline

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

Plot Summary | Add Synopsis

Taglines:

The Greatest Story Hitchcock Ever Told

Genres:

Documentary

Motion Picture Rating (MPAA)

Rated PG-13 for suggestive material and violent images | See all certifications »
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Details

Official Sites:

Official site [Japan]

Country:

France | USA

Language:

English | French | Japanese

Release Date:

31 March 2016 (Russia) See more »

Also Known As:

Hitchcock/Truffaut See more »

Filming Locations:

New York City, New York, USA See more »

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Box Office

Opening Weekend USA:

$28,178, 6 December 2015

Gross USA:

$260,430

Cumulative Worldwide Gross:

$386,471
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Aspect Ratio:

1.78 : 1
See full technical specs »
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Did You Know?

Trivia

Famous writer and screenwriter William Goldman feels that the book this film is about ruined Hitchcock as a filmmaker. He pointed out that it made Hitchcock self conscious and concerned with being an artist in a way that destroyed his ability to engage audiences and be the great director he had been up to that point. See more »

Quotes

Alfred Hitchcock: There's no such thing as a face. It's nonexistent until the light hits it. There was no such thing as a line. Its just light and shade. Its the function of a pure cinema, as we well know, is the pasting of two or three pieces of film together to create a single idea.
See more »

Connections

Features I Confess (1953) See more »

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User Reviews

 
Excellen documentary minus one important phase
10 December 2015 | by noir-23489See all my reviews

The only section missing in the film is a discussion of the MUSIC in Hitchcock films especially the work and career of BERNARD HERMANN! Neither director touched on the scores for VERTIGO, PSYCHO, or THE BRIDE WORE BLACK. Others like WAXMAN and TIOMPKIN were also neglected! Soundtracks are an integral part of both director's work! Shame on you! Also there was no discussion of the score for TORN CURTAIN! Why no Hermann score and a substitute for one by by John Barry? You can write an entire book on film noir music or THE SOUNDS OF DARKNESS. Think about PSYCHO and the "shower scene" without music. It loses its chilling effect. What about James Stewart hanging from a roof gutter in VERTIGO? And that haunting "love theme" in VERTIGO, when Stewart is following Kim Novak in his car and the crescendo of waves breaking against the shore when they finally embrace? I can cite many more moments where music was crucial to a scene in Hitchcock's work, too many to enumerate here. I just had wished the directors and filmmakers would have discussed this important phase of both director's work.

Dr. Ronald Schwartz at www.noir1937@aol.com Manhattan


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