Music to be Murdered by
Interesting note, of which some of you might not be aware: D’Entre Les Morts is the novel which Alfred Hitchcock adapted in to the movie Vertigo.
(Source: pushupthevolume)
Hitchcock ARB
Jimmy Stewart, Grace Kelly, and Alfred Hitchcock on the set of Rear Window
1954
Two words: Bad. Ass.
(via @Carlotta_valdes)
There is a distinct difference between “suspense” and “surprise,” and yet many pictures continually confuse the two. I’ll explain what I mean.
We are now having a very innocent little chat. Let’s suppose that there is a bomb underneath this table between us. Nothing happens, and then all of a sudden, “Boom!” There is an explosion. The public is surprised, but prior to this surprise, it has seen an absolutely ordinary scene, of no special consequence. Now, let us take a suspense situation. The bomb is underneath the table and the public knows it, probably because they have seen the anarchist place it there. The public is aware the bomb is going to explode at one o’clock and there is a clock in the decor. The public can see that it is a quarter to one. In these conditions, the same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: “You shouldn’t be talking about such trivial matters. There is a bomb beneath you and it is about to explode!”
In the first case we have given the public fifteen seconds of surprise at the moment of the explosion. In the second we have provided them with fifteen minutes of suspense. The conclusion is that whenever possible the public must be informed. Except when the surprise is a twist, that is, when the unexpected ending is, in itself, the highlight of the story.
Anybody want to buy this original Saul Bass Vertigo poster for me? The current bid is only $3,250.
(hat tip to @carlotta_valdes)
WHAT. THE. FUCK.
This had better be an April Fool’s joke, but it doesn’t seem like it:
“While the original was more a psychological thriller, Reitman is looking to add some action sequences to, as he puts it, “make it more relatable to modern audiences.” Reitman, who was quietly working on the script during the UP IN THE AIR press tour, will also be shooting the film in 3D and hopes to use the effect to more effectively convey the acrophobia of the lead character (think the Hitchcock zoom in 3D)”
Edit: It was indeed an April Fool’s joke.
Holy shit, Carlotta Valdes is now following me on Twitter. Either the internet has become self-aware or some Hitchcock fan has really done his/her research.
(Hint: If this post doesn’t make sense to you, then you need to watch Vertigo again.)
tj:
We’re watching Psycho right now, and plan to watch these later at these approximate times:
5pm - Rear Window (1954, 1hr 55 min)
(iTunes)7pm To Catch a Thief (1955, 1hr 46 min)
(iTunes / Amazon)9pm Vertigo (1958, 2hr 8min)
(iTunes / Netflix / Amazon)Join us at http://losermovieclub.chatango.com/
WifeOfTJ has never seen Psycho, so we’re watching it while it’s still light out :-)
I’m in for Vertigo.
I don’t fucking believe it. You guys are having a Hitchcock-fest during the time of year when I’m not allowed to watch anything but shitty movies? I’m so tempted to break my own self-imposed rules that I should probably just ignore Twitter and Tumblr for the rest of the day. Especially at 9pm for Vertigo.
