The Art of Observation by Katie Rumford

GUILE AND NAIVETÉ IN THE FILMS OF ALFRED HITCHCOCK PSYCHO VERTIGO SHADOW OF A DOUBT REAR WINDOW NOTORIOUS TO CATCH A THIEF

THE ART OF OBSERVATION FILM FESTIVAL WILL MIND F@#* YOU

It has been said that The Art of Observation Film Festival will

Planned around Hitchcock’s birthday, the festival is a celebra-

be mind f@#* you. We’re not sure whether that’s a good or a

tion of life and liberty in the film industry. Hitchcock push

bad thing, but it’s sure to leave an impression unlike any other.

boundaries, questioned morals and got inside the head of the

It’s in your head, but it’s not. People are there to see the films,

audience. He mastered not only suspense, but captured the

or are they? Why are you there? It’s an obsession. It will be

true essence of fear and the inescapability of discovery.

unforgettable, not only because the events will be unmatched, or the food and drinks will be to die for, but because the works of Alfred Hitchcock are pieces of art, to be celebrated daily. He is one of the greatest directors of all time. His work spans decades, his style created the word “Auteur”, his wit and humor has captured audiences around the world and he is recognized as the true Master of Suspense.

A voyeur himself, Hitchcock placed the audience in a vulnerable space, forcing the true out, questioning their motives, and making them look at the unthinkable. He was a man ahead of him times and his works stand today, unbeatable artful theater, works of pure cinema.

ABOUT

01 EVENTS 02 FILMS 03 AROUND 04 APPENDIX 05 CHAPTER

THE HISTORY OF THE FILM FESTIVAL THE MEANING BEHIND THE VEIL

ALFRED HITCHCOCK UP CLOSE & PERSONAL

CHAPTER

HOW TO PREPARE WHERE TO GO

WHAT YOU’LL FIND

CHAPTER

PURPOSEFUL SELECTION FILM SYNOPSIS

CRITICS REVIEWS

CHAPTER

PLACES TO STAY THINGS TO DO

THINGS TO SEE

CHAPTER

MAPS

SCHEDULE

APPRECIATION

ABOUT HISTORY/MEANING/PERSONAL

ABOUT HISTORY OF THE FILM FESTIVAL

THE ART OF MOURNING

The Art of Observation Film Festival is the second Alfred

APRIL 28, 1981

Hitchcock festival of its kind. Most of you weren’t around

NOËL COWARD THEATRE LONDON, ENGLAND FILM SELECTION: Number 13 (1922) The Ring (1927) Blackmail (1929) Murder! (1930)

for the first festival, mostly because it was held in London, perhaps some of you arrived to pay your respects to one of the greatest directors of all time. Confused? Lean in closer, listen and I’ll tell you the whole story. The original festival was held at the Noël Coward Theatre located in London’s West End, one of the most populated

Sabotage (1936)

areas in the world for theater and Hitchcock’s home town.

The 39 Steps (1935)

It was called The Art of Mourning, a film festival that paid homage to the Master of Suspense. It took place on April 28,1981, marking the one year anniversary of Hitchcock’s tragic death. The films selected for the original festival were dark, ominous and murderous. All of them from his early days in film in England. After more than three decades, the second Alfred Hitchcock film festival, The Art of Observation, was unveiled to honor the life and legacy of Alfred Hitchcock. The second film festival takes place in Hollywood, his home for the second part of his life and the most successful part of his career.

THE ART OF OBSERVATION

YOUR BEST LONDON

LONDON

N O Ë L C O W A R D T H E AT R E

85-88 St Martins Lane, London, England Greater London WC2N 4AU

The Noël Coward Theatre, formerly known as the Albery

owned by Delfont-Mackintosh Ltd. It underwent major

Theatre, is a West End theatre on St. Martin’s Lane in the

refurbishment in 2006, and was renamed the Noël Coward

City of Westminster. It opened on 12 March 1903 as the

Theatre when it re-opened for the London premiere of

New Theatre, and was built by Sir Charles Wyndham. The

Avenue Q on June 1, 2006. Noël Coward, one of Britain’s

exterior was done in the Classical style and an interior in

greatest playwrights and actors.

the Rococo style. In 1973 it was renamed the Albery Theatre in tribute to the

The theatre seats 872 patrons on four levels. The building is now a Grade II Listed structure.

late Sir Bronson Albery who had presided as its manager for many years. Since September 2005, the theatre has been

THE ART OF OBSERVATION

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HITCH

ALFRED HITCHCOCK UP CLOSE & PERSONAL

Alfred Hitchcock was born in London on August 13, 1899 into a strict Roman Catholic family. In 1914, when Hitchcock was fourteen years old, his father died and he had to quit school, continuing his studies at home. It was during this time that he started gaining interest in film. He was a skilled artist and started work with the job of Title Designer at London Lasky office. When the current director, Alma Reville, had become ill, he was asked to step in to finish directing the film, Always Tell Your Wife (1923). The executives liked what they saw and gave him another chance. The same year he made his first debut film, 1926, he married Alma. His career began with the directing of silent films, believing that “pure cinema”, the visual storytelling had the ability to create moments and provoke emotions. He made nine silent films and ventured into a partial sound film with Blackmail in 1929. He had great success with his early films gaining the reputation as a top British director, but

HITCH

decided that America offered an undeniable opportunity for more creative freedom and moved in 1939. His prolific film career in America spit out almost a film a year, not all success-

AUGUST 13, 1899–APRIL 28, 1980

ful, but he created a name for himself internationally as the

DIECTOR, PRODUCER AND ACTOR

Master of Suspense. After Hitchcock’s film, Saboteur (1942), people began identifying his movies prefacing his name,

THE ART OF OBSERVATION

OSCAR NOMINEE FOR BEST DIRECTOR (PSYCHO AND REAR WINDOW) LIFETIME ACHIEVMENT AWARD WINNER 1979

FILMOGRAPHY

COMPLETE LIST OF HITCHCOCK FILMS

DOCTORMACRO.COM

Alfred Hitchcock directed 66 films in just over a half century during his career. He wrote 22 titles and appeared in 36 of his films.

“Alfred Hitchcock’s Psycho” etc. His work dabbled in dark comedy, suspense and romance, often a combination of the three creating a dynamic story and emotional dependence of the audience. His wife had a debilitating stroke in 1972, and he began to take care of her more, only to direct one more film. He received the Lifetime Achievement Award in 1979, passing away on April 28, 1980 of the following year from liver and heart failure. His legacy lives on in his films. He directed 66 films, he wrote 22 titles, and appeared in 36 films.

1976 Family Plot 1972 Frenzy 1969 Topaz 1966 Torn Curtain 1964 Marnie 1963 The Birds 1962 The Alfred Hitchcock Hour 1955-1961 Alfred Hitchcock Presents 1960 Psycho 1959 North by Northwest 1958 Vertigo 1956 The Wrong Man 1956 The Man Who Knew Too Much 1955 The Trouble with Harry 1955 To Catch a Thief 1954 Rear Window 1954 Dial M for Murder 1953 I Confess 1951 Strangers on a Train 1950 Stage Fright 1949 Under Capricorn 1948 Rope 1947 The Paradine Case 1946 Notorious 1945 Spellbound 1945 Watchtower Over Tomorrow 1944 The Fighting Generation 1944 Lifeboat 1944 Aventure malgache 1944 Bon Voyage 1943 Shadow of a Doubt 1942 Saboteur 1941 Suspicion

1941 Mr. & Mrs. Smith 1940 Foreign Correspondent 1940 Rebecca 1939 Jamaica Inn 1938 The Lady Vanishes 1937 The Girl Was Young 1936 Sabotage 1936 Secret Agent 1935 The 39 Steps 1934 The Man Who Knew Too Much 1934 Strauss’ Great Waltz 1932 Number 17 1931 East of Shanghai 1931 Mary 1931 The Skin Game 1930 Murder! 1930 The Shame of Mary Boyle 1930 An Elastic Affair 1930 Elstree Calling 1929 Blackmail 1929 The Manxman 1929 Sound Test for Blackmail 1928 Champagne 1928 Easy Virtue 1928 The Farmer’s Wife 1927 When Boys Leave Home 1927 The Ring 1927 The Lodger: A Story of the London Fog 1926 Fear O’ God 1925 The Pleasure Garden 1923 Always Tell Your Wife 1922 Number 13

Screening at the Art Of Observation Film Festival

THE ART OF OBSERVATION

UP CLOSE & PERSONAL

You have a rectangle to fill. Fill it. Compose it. I don’t

expression makes a point. Even the slight nuance of a smile

have to look through a camera for that. First of all, the

when she says, “What can I do for you, sir?” One look says,

cameraman knows very well that when I compose I object to air, space around figures or above their heads, because

1963 EXCLUSIVE INTERVIEW WITH ALFRED HITCHCOCK BY PETER BOGDANOVICH

I think that’s redundant. It’s like a newspaperman taking

Originally published in Peter Bogdanovich. The Cinema of Alfred Hitchcock (New York: Museum of Modern Art 1963).

standing instructions from me—they never give any air

a still and trimming it down to its essentials. They have around the figures. If I want air, I’ll say so. Now, you see, when I’m on the set, I’m not on the set. If I’m looking at acting or looking at a scene—the way its played, or where they are—I am looking at a screen, I am not confused by the set and the movement of the people across the set. In other words, I follow the geography of the screen. I can only think of the screen. Most directors say, “Well, he’s got to come in that door so he’s got to walk from there to there.” Which is as dull as hell. And not only that, it makes the shot itself so empty and so loose that I say, “Well, if he’s still in a mood—whatever mood he’s in—take him across

You never watch your films with an audience. Don’t you

show what he sees, you go back to the man. You can make

in a close-up, but keep the mood on the screen.” We’re not

miss hearing them scream?

him react in various ways. You see, you can make him look

interested in distance. I don’t care how he got across the

at one thing, look at another—without his speaking, you

room. What’s the state of mind? You can only think of the

can show his mind at work, comparing things—any way

screen. You cannot think of the set or where you are in the

No. I can hear them when I’m making the picture. How would you define pure cinema?

studio—nothing of that sort.

Pure cinema is complementary pieces of film put together,

the power of cutting and the assembly of the images. Like

like notes of music make a melody. There are two primary

the man with no eyes in The Birds—zooming the camera

uses of cutting or montage in film: montage to create ideas—

in—the staccato jumps are almost like catching the breath.

I don’t direct them. I talk to them and explain to them what

and montage to create violence and emotions. For example,

Is it? Gasp. Gasp. Yes. Young directors always come up

the scene is, what it’s purpose is, why they are doing certain

What is your technique of working with actors?

in Rear Window, where Jimmy Stewart is thrown out of the

with the idea, “Let the camera be someone and let it move

things—because they relate to the story—not to the scene.

window in the end, I just photographed that with feet, legs,

as though it’s the person, and you put the guy in front of

The whole scene relates to the story but that little look does

arms, heads. Completely montage. I also photographed it

a mirror and then you see him.” It’s a terrible mistake. Bob

this or that for the story. As I tried to explain to that girl,

from a distance, the complete action. There was no com-

Montgomery did that in Lady in the Lake—I don’t believe

Kim Novak, “You have got a lot of expression in your face.

parison between the two. There never is. Barroom fights,

in it myself. What are you really doing? You are keeping

Don’t want any of it. I only want on your face what we want

or whatever they do in westerns, when they knock out the

back from the audience who it is. What for? That’s all you

to tell to the audience—what you are thinking.” I said, “Let

heavy or when one man knocks another across the table

are doing. Why not show who it is?

me explain to you. If you put a lot of redundant expressions

which breaks—they always break a table in bars—they are always shot at a distance. But it is much more effective if it’s done in montage, because you involve the audience much more—that’s the secret to that type of montage in film. And the other, of course, is the juxtaposition of imagery relating to the mind of the individual. You have a man look, you

you run there’s complete freedom. It’s limitless, I would say,

THE ART OF OBSERVATION

How do you work when you are shooting?

on your face, it’s like taking a piece of paper and scribbling all over it—full of scribble, the whole piece of paper. You

Well, I never look through the camera, you know. The cam-

want to write a sentence for somebody to read. They can’t

eraman knows me well enough to know what I want—and

read it—too much scribble on the face. Much easier to read

when in doubt, d raw a rectangle and then draw the shot

if the piece of paper is blank. That’s what your face ought

out for him. You see, the point is that you are, first of all, in

to be when we need the expression.” Take The Birds. There

a two-dimensional medium. Mustn’t forget that.

is not one redundant expression on Hedren’s face. Every

“I’m going to play a gag on him.” That’s the economy of it. I’ve heard a story about your having been put in jail by your father at an early age. Did this have any particular effect on your development, do you think? It could have—I must have been five when I was sent along with a note to the chief of police, who read the note and promptly put me into a cell and locked the door for five minutes; and then let me out, saying, “That’s what we do to naughty little boys, you see.” What effect that had on me at the time I can’t remember, but they say psychiatrically if you can discover the origins of this or that, it releases everything. I don’t think it released me from a natural fear of the police.

SHADOW OF A DOUBT (1943) Teresa Wright makes a lot out of the fact that she and her uncle are similar, and yet she is the most eager to suspect him of the worst. Only because her attention is drawn to him more than anybody else. You look at your adoring uncle long enough, and you find something. Isn’t Cotten rather sympathetic in the film? There is sympathy for any murderer, or let’s call it compassion. You hear of murderers who feel they’ve been sent to destroy. Maybe those women deserved what they got, but it wasn’t his job to do it. There is a moral judgment—he is destroyed at the end, isn’t he? The girl unwittingly kills her own uncle. She is the instrument by which he falls in front of the train. It comes under the heading that all villains are not black and all heroes are not white. There are grays everywhere. Does Cotten really love Wright in the film? I don’t really think so. Not as much as she loves him. And yet she destroys him. She has to. Wasn’t it Oscar Wilde who said, “You destroy the thing you love?” Shadow of a Doubt was a most satisfying picture for me—one of my favorite films—because for once there was time to get characters

into it. It was the blending of character and thriller at the same time. That’s very hard to do.

NOTORIOUS (1946) This is the old love-and-duty theme. Grant’s job is to get Bergman in bed with Rains, the other man. It’s ironic, really, and Grant is a bitter man all the way through. Rains was sympathetic because he’s the victim of a confidence trick and we always have sympathy for the victim, no matter how foolish he is. Also I would think Rains’ love for Bergman was very much stronger than Grant’s. How did that long tracking shot for the famous balcony love scene develop? I felt that they should remain in an embrace and that we should join them. So when they go to the phone the camera follows them, never leaving the close-up all the way, right up to the phone and over to the door—continuous shot. The whole idea was based on not breaking the romantic moment. I didn’t want to cut it up. It was an emotional thing, the movement of that camera. The idea came to me many, many years ago when I was on a train going from Boulogne to Paris. It was a Sunday afternoon and the train goes slowly through a town called Ataples, which is just outside Boulogne. There’s a big, old, red brick factory, and ta one end of the factory was this huge, high brick wall. There were two little figures at the bottom of the wall—very small—a boy and a girl. The boy was urinating against the wall, but the girl had a hold of his arm and she never let go. She’d look down at what he was doing, and then look around at the scenery, and down again to see how far he’d got on. And that was what gave me the idea. She couldn’t let go. Romance must not be interrupted, even by urinating. How did the idea develop for that remarkable crane-shot, down to the key? That’s again using the visual. That’s a statement which says, “In this crowded atmosphere there is a very vital item, the DOCTORMACRO.COM

crux of everything.” So taking that sentence as it is, in this crowded atmosphere, you go to the widest possible expression of that phrase and then you come down to the most

THE ART OF OBSERVATION

vital thing—a tiny little key in the hand. That’s merely the visual expression to say, “Everybody is having a good time, but they don’t realize there is a big drama going on here.” And that big drama epitomizes itself in a little key.

Isn’t Vertigo about the conflict between illusion and reality?

that is, who’s that?” So,” I said, “we are going to take the bull by the horns and put it all in a flashback, bang! right then and there—show it’s one and the same woman.” Then,

Oh, yes. I was interested by the basic situation, because

when Stewart comes to the hotel for her, the audience

it contained so much analogy to sex. Stewart’s efforts to

PSYCHO (1960) Do you really consider Psycho an essentially humorous film? Well, when I say humorous, I mean it’s my humor that

REAR WINDOW (1954)

says, “Little does he know.” Second, the girl’s resistance in

enabled me to tackle the outrageousness of it. If I were tell-

recreate the woman were, cinematically, exactly the same

the earlier part of the film had no reason. Now you have

ing the same story seriously, I’d tell a case history and never

The critic on The Observer called this a horrible film

as though he were trying to undress the woman, instead

the reason—she doesn’t want to be uncovered. That’s why

treat it in terms of mystery or suspense. It would simply be

because a man was looking out a window at other people.

of dressing her. He couldn’t get the other woman out of

she doesn’t want the gray suit, doesn’t want to go blond—

what the psychiatrist relates at the end.

I thought that was a crappy remark. Everyone does it, it’s

his mind. Now, in the book, they didn’t reveal that she

because the moment she does, she’s in for it. So now

a known fact, and provided it is not made too vulgar, it

was one and the same woman until the end of the story.

you’ve got extra values working for you. We play on his

In Psycho, aren’t you really directing the audience more than

is just curiosity. People don’t care who you are, they can’t

I shocked Sam Taylor, who worked on it, when I said,

fetish in creating this dead woman, and he is so obsessed

resist looking. Isn’t there something sympathetic about the murderer in his confrontation scene with James Stewart? Well, the poor man. It’s the climax of peeping tomism, isn’t it? “Why did you do it?” he says. “If you hadn’t been a peeping tom, I would have gotten away with it.” Stewart can’t answer. What can he say? He’s caught. Caught with his plaster down. Kelly is the dominant partner in the relationship, isn’t she? Yes, rather. She’s a typical, active New Yorker. There are many of those women in New York, more like men, some of them.

TO CATCH A THIEF (1955) Kelly is an American in the film, but she wasn’t frigid like the typical American woman who is a tease—dresses for sex and doesn’t give it. A man puts his hand on her and she runs screaming for mother immediately. The English women are the opposite of that. They are the best. They look like nothing—they look like school mistresses. Kelly is the English woman in that film. Outwardly, cold as ice, but, boy, underneath! And that was epitomized by the kiss in the corridor. Of course, the fireworks scene is pure

“When Stewart comes upon this brunette girl, Sam, this is

with the pride he has in making her over. Even when she

the time for us to blow the whole truth.” He said, “Good

comes back from the hairdresser, the blond hair is still

God, why?” I told him, if we don’t what is the rest of our

down. And he says, “Put your hair up.” She says, “No.” He

story until we do reveal the truth. A man has picked up a

says, “Please.” Now what is he saying to her? “You’ve taken

brunette and sees in her the possibilities of resemblance

everything off except your bra and your panties, please

to the other woman. Let’s put ourselves in the minds of

take those off.” She says, “All right.” She goes into the

our audience here: “So you’ve got a brunette and you’re

bathroom. He’s only waiting to see a nude woman come

going to change her.” What story are we telling now? A

out, ready to get in bed with. That’s what the scene is.

man wants to make a girl over and then, at the very end,

Now, as soon as she comes out, he sees a ghost—he sees

finds out it is the same woman. Maybe he kills her, or

the other woman. That’s why I played her in a green light.

whatever. Here we are, back in our old situation: surprise

You see, in the earlier part—which is purely in the mind

or suspense. And we come to our old analogy of the bomb:

of Stewart—when he is watching this girl go from place

you and I sit talking and there’s a bomb in the room. We’re

to place, when she is really faking, behaving like a woman

having a very innocuous conversation about nothing.

of the past—in order to get this slightly subtle quality of a

Boring. Doesn’t mean a thing. Suddenly, boom! the bomb

dreamlike nature although it was bright sunshine, I shot

goes off and they’re shocked—for fifteen seconds. Now

the film through a fog filter and I got a green effect—fog

you change it. Play the same scene, insert the bomb, show

over bright sunshine. That’s why, when she comes out of

that the bomb is placed there, establish that it’s going to go

the bathroom, I played her in the green light. That’s why

off at one o’clock—it’s now a quarter of one, ten of one—

I chose the Empire Hotel in Post Street—because it had a

show a clock on the wall, back to the same scene. Now our

green neon sign outside the window. I wanted to establish

conversation becomes very vital, by its sheer nonsense.

that green light flashing all the time. So that when we

“Look under the table! You fool!” Now they’re working for

need it, we’ve got it. I slid the soft, fog lens over, and as she

ten minutes, instead of being surprised for fifteen seconds.

came forward, for a moment he got the image of the past.

Now let’s go back to Vertigo. If we don’t let them know,

the actors? Yes. It’s using pure cinema to cause the audience to emote. It was done by visual means designed in every possible way for an audience. That’s why the murder in the bathroom is so violent, because as the film proceeds, there is less violence. But that scene was in the minds of the audience so strongly that one didn’t have to do much more. I think that in Psycho there is no identification with the characters. There wasn’t time to develop them and there was no need to. The audience goes through the paroxysms in the film without consciousness of Vera Miles or John Gavin. They’re just characters that lead the audience through the final part of the picture. I wasn’t interested in them. And you know, nobody ever mentions that they were ever in the film. It’s rather sad for them. Can you imagine how the people in the front office would have cast the picture? They’d say, “Well, she gets killed off in the first reel, let’s put anybody in there, and give Janet Leigh the second part with the love interest.” Of course, this is idiot thinking. The whole point is to kill off the star, that is what makes it so unexpected. This was the basic reason for making the audience see it from the beginning. If they came in half-way through the picture, they would say, “When’s Janet Leigh coming on?” You can’t have blurred thinking in suspense.

Then as her face came up to him, I slipped the soft effect

Did you intend any moral implications in the picture Psycho?

they will speculate. They will get a very blurred impression

away, and he came back to reality. She had come back from the dead, and he felt it, and knew it, and probably

I don’t think you can take any moral stand because you’re

Wouldn’t Kelly prefer Grant were really guilty of the robberies?

as to what is going on. “Now,” I said, “one of the fatal things, Sam, in all suspense is to have a mind that is con-

was even bewildered—until he saw the locket—and then

Oh, of course, Let’s put a mild word to it—it’s more piquant

fused. Otherwise the audience won’t emote. Clarify, clarify,

he knew he had been tricked.

that way, more in the nature of her fetish.

clarify. Don’t let them say, “I don’t know which woman

orgasm. Just as the tunnel at the end of North by Northwest is a sexual symbol.

VERTIGO (1958)

THE ART OF OBSERVATION

dealing with distorted people. You can’t apply morality to insane persons.

“

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.” —Alfred Hitchcock (1963)

EVENTS PREPARATION/LOCATION/DETAILS

The Art of Observation Film Festival provides all that you will need to watch in comfort, both film and others. Each guest receives a swag bag with their own disguise kit as well as accessories necessary in the art of watching. The location of the festival is split into two locations, one location for Friday night’s events and one for Saturday’s events. Location details come in the pages that follow, but imagine yourself back in the setting of the films. Imagine what Hitchcock would have seen through the rectangle of the lens as you prepare to observe others. Be warned, you will be observing others through a lens, but don’t be alarmed when, not if, but when, you see someone else’s lens pointed in your direction keeping watch. Everyone may be exposed at one point througout the weekend so keep your cool, keep your eye out and be careful who you make friends with.

THE ART OF OBSERVATION

S.J. PETTERSON

FRIDAY SEEING BEHIND THE VEIL

HOLLYWOOD

H O L LY W O O D F O R E V E R C E M E T E R Y 6000 Santa Monica Boulevard Los Angeles, California 90038

THE ART OF OBSERVATION

DAY ONE FRIDAY, AUGUST 12

HOLLYWOOD FOREVER CEMETERY RUDOLPH VALENTINO MAUSOLEUM 6000 Santa Monica Blvd.

Hollywood Forever (Hollywood Memorial Park Cemetery) was established in 1899, only a dozen years after Hollywood itself and more than a decade before the start of the movie industry. When Isaac Van Nuys, a farmer and businessman, founded the Hollywood Cemetery Association and bought 100 acres between Santa Monica Boulevard and Melrose Avenue in 1899, the neighbors protested strenuously: A burial ground would ruin their community’s appearance and lower property values. To gain support, the association promised a park like cemetery, one of the first on the West Coast, well maintained, with open green spaces, few roads, classical architecture, and a perpetual-care endowment to assure its future. Today the cemetery is thriving, full of visotors and events.

THE ART OF OBSERVATION

Los Angeles, California EVENTS: Hitchcock Happy Hour 7:30–10:00 Psycho Film Screening

The Art of Observation Film Festival is being held in two locations this time around. The idea of staying in a single location in Hollywood would have seem preposterous to Hitchcock, so to honor his wishes the festival has been broken up into two days and two lcoations. See Appendix for maps.

FRIDAY NIGHT Friday night, after a long week of work, you are invited out to a private screening on Hitchcock’s Psycho (1960). The

10:00

screening will be held in the Hollywood Forever Cemetery

FILM SELECTION:

There will of course be drinks provided before, during and

Psycho (1960)

and projected onto the Rudolph Valentino mausoleum. after the show, as well as a wide variety of food trucks offering tasty treats and decadent desserts. Hitchcock’s Happy Hour starts at 7:30pm, allowing you not only time to get off of work, change, and hit the first round of happy hours, but to come, relax, unwind and let your guard down. No need to bring anything with you, blankets, chairs, food and drink will all be provided. Come as you are.

HAUNTED GROUNDS M A J E S T I C H O L LY W O O D F O R E V E R C E M E T E R Y

S.J. PETTERSON

THE ART OF OBSERVATION

SACRED GROUNDS T H E FA M O U S A R E B U R R I E D H E R E

S.J. PETTERSON

THE ART OF OBSERVATION

COWBOYS AND INDIANS PHOTOGRAPHER

SATURDAY SEEING BEHIND THE VEIL

HOLLYWOOD T H E S T U D I O S AT PA R A M O U N T 5555 Melrose Avenue Hollywood, California 90038

THE ART OF OBSERVATION

The second day of The Art of Observation Film Festival is

SATURDAY, AUGUST 13

Window, along with scenes from Vertigo were filmed at the

DAY TWO

THE STUDIOS AT PARAMOUNT 5555 Melrose Avenue Hollywood, California

From humble beginnings in 1912, The Studios at Paramount (the longest operating and only major studio remaining in Hollywood) has been on the ground floor of every major development in film—from the advent of motion pictures, to the emergence of television and onward through the digital revolution. Through it all, our passion for excellence has kept us on the forefront of movie making and leading the pack in

EVENTS: Film Screengings To Catch a Thief 10:00am Shadow of a Doubt 12:30pm Vertigo 4:30pm Rear Window 7:00pm Mask & Mustache Party

was evident from the very beginning when we won the very

featuring the Birthday Bourbon Bar

after moving onto our current studio lot.

studios, allowing the events for Saturday to be held on the grounds where the films were filmed and produced. The film screenings will take place at different hours throughout the day in several locations throughout the Studios at Paramount lot. Please keep in mind, that should you like to see all the films, it is important to map out the day. Lunch will be provided on the lot. See Appendix for maps.

Notorious 2:00pm

innovation and technological development. This obsession first Academy Award for Best Picture in 1927—only a year

being held at the Studios at Paramount in Hollywood. Rear

8:30pm–1:30am

SATURDAY NIGHT The film screenings conclude after the Rear Window showing in the Paramount Theater. Make your way over to the Blue Sky Tank to take part in the mysterious Rear Window inspired Mask & Mustache Party. No need to change or

FILM SELECTION: Shadow of a Doubt (1943) Notorious (1946) Rear Window (1954) To Catch a Thief (1955)

prepare, all will be provided for you. Appetizers, dinner, drinks and attire will be at the Blue Sky Tank for all ticket holders. All guests will be masked, hiding their true identity underneath a disguise.

Vertigo (1958)

THE ART OF OBSERVATION

MATTHEW RUMFORD

ICONIC GROUNDS

MATTHEW RUMFORD

E N T R Y T O T H E S T U D I O S AT PA R A M O U N T ( L E F T ) PA R A M O U N T W AT E R T O W E R ( R I G H T ) (seen from the hollywood forever cemetery)

41 MATTHEW RUMFORD

MATTHEW RUMFORD

VIEWING PLEASURE T H E P R I S T I N E PA R A M O U N T T H E AT E R

Features • Green Room • Multi Media with 2K Capabilities • Huge Rotunda Lobby • 3D Capability with Advance Notice Specifications • 2K Digital Projection – Christie CP 2000 • Dolby Cinema Server • 35/70mm Film Projection • Dolby Digital Surround EX 6.1 Sound System • Screen Size – 24’ x 51’ • Throw – 106’ Capacity • Seats 516

MATTHEW RUMFORD

THIS COULD BE YOU X 44

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FILMS

SELECTION/SYNOPSIS/REVIEWS

FILMS

SELECTION FOR THE FESTIVAL

The six feature films selected by the Art of Observation committee were not chosen randomly. Hitchcock’s films are celebrated all over the world as pieces of

The six featured films this go around have been selected on the terms that each film has a sense of voyeurism intact. The lens angle, production nuances or underlying themes have been examined closely to choose these six films. The

artwork and “pure cinema”. The films

most obvious of course is Rear Window, the entire film is all

up for viewing during the festival are all

about watching others, investing in their lives unannounced

about observation. Hitchcock thought of

and uninvited. Psycho has odd camera angles and Bates who

himself as a voyeur, peering through the

is a peeping...well not Tom, but peeping Norman. Shadow of

lens of a camera, watching every move

a Doubt is all about secret observation, following, recording

and making note of every little detail.

and pretending to be someone you’re not. To follow in step is Notorious, one of Hitchcock’s personal favorites, where pretending to be someone you’re not to find out the secrets of others is the main story line. Vertigo, again, perhaps an obvious choice, but involves watching, following and anticipating the next move. And last but not least is To Catch a Thief, which twists a story of identity and romance with observation and mystery.

THE ART OF OBSERVATION

TO CATCH A THIEF (1955) RATED PG-13 106 MINUTES CRIME/MYSTERY/ROMANCE PARAMOUNT PICTURES

PLOT SUMMARY When the jewelries of millionaires are stolen in French Riviera, the former burglar and member of the French resistance John Robie “The Cat” is the prime suspect of the police. John convinces the Lloyds of London insurance agent H.H. Hughson that a copycat is committing the burglaries and he offers to chase the thief to prove his innocence, requesting a list of possible victims in the spot. He befriends the wealthy American widow Jessie Stevens that is in the list and her spoiled daughter Frances Stevens falls in love for him. When Jessie’s jewelries are robbed, Frances blames John, but her mother believes in his innocence and decides to help the retired burglar to catch the real thief. Written by Claudio Carvalho, Rio de Janeiro, Brazil

THE ART OF OBSERVATION

RIGHT PLACE WRONG TIME...

DID YOU KNOW D E AT H O F P R I N C E S S G R A C E K E L LY On September 14, 1982, Grace Kelly was killed in an automobile accident in monaco, supposedly on the very same road as her famous chase scene in this film and not far from where she had a picnic scene with cary grant. She was 52 years old and lost control DOCTORMACRO.COM

of her car after apparently suffering a stroke while at the wheel.

“

IT TAKES A THIEF TO CATCH A THIEF. —Bosley Crowther August 5, 1955

NOTORIOUS (1946) RATED PG-13 101 MINUTES FILM NOIR/THRILLER/ROMANCE MGM HOME ENTERTAINMENT

PLOT SUMMARY In 1946, in Miami, John Huberman is convicted for treason against the United States of America. His daughter Alicia Huberman, who is notorious for her affairs and drinking problem, but loyal to her country, is contacted by the cynical government agent T.R. Devlin for an assignment in Rio de Janeiro spying a network of Naziâ&#x20AC;&#x2122;s friends of her father. They travel together and Alicia falls in love with Devlin. However, when she is ordered to meet with the German Alexander Sebastian who has a crush on her, she feels disappointed with the lack of attitude of Devlin. Sooner Alexander proposes her and Devlin does not object when Captain Prerscott asks her to marry Alexander. Alicia snoops around the mansion and discovers that the wine cellar is locked. Devlin suggests to her that she asks Alexander to throw her a party to introduce her to the society in Rio and invites him. Written by Claudio Carvalho, Rio de Janeiro, Brazil

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THREE SECONDS IN HEAVEN

DID YOU KNOW ON-SCREEN KISSING The legendary on-again, off-again kiss between Cary Grant and Ingrid Bergman was designed to skirt the Hayes Code that restricted kisses to no more than three seconds each.

DOCTORMACRO.COM

“

ALFRED HITCHCOCK’S “NOTORIOUS’’ IS THE MOST ELEGANT EXPRESSION OF THE MASTER’S VISUAL STYLE, JUST AS “VERTIGO’’ IS THE FULLEST EXPRESSION OF HIS OBSESSIONS. IT CONTAINS SOME OF THE MOST EFFECTIVE CAMERA SHOTS IN HIS—OR ANYONE’S—WORK, AND THEY ALL LEAD TO THE GREAT FINAL PASSAGES IN WHICH TWO MEN FIND OUT HOW VERY WRONG THEY BOTH WERE. —Roger Ebert August 17, 1997

PSYCHO (1960) RATED R 109 MINUTES HORROR/MYSTERY/THRILLER UNIVERSAL CITY STUDIOS, INC.

PLOT SUMMARY Phoenix officeworker Marion Crane is fed up with the way life has treated her. She has to meet her lover Sam in lunch breaks and they cannot get married because Sam has to give most of his money away in alimony. One Friday Marion is trusted to bank $40,000 by her employer. Seeing the opportunity to take the money and start a new life, Marion leaves town and heads towards Samâ&#x20AC;&#x2122;s California store. Tired after the long drive and caught in a storm, she gets off the main highway and pulls into The Bates Motel. The motel is managed by a quiet young man called Norman who seems to be dominated by his mother. Written by Col Needham

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VOYEUR’S PERSPECTIVE

DID YOU KNOW H I T C H C O C K ’ S V A N TA G E P O I N T In order to implicate viewers as fellow voyeurs Alfred Hitchcock used a 50 mm lens on his 35 mm camera. This gives the closest approximation to the human vision. In the scenes where Norman is spying on Marion this effect is felt. DOCTORMACRO.COM

“

WHAT MAKES PSYCHO IMMORTAL, WHEN SO MANY FILMS ARE ALREADY HALF-FORGOTTEN AS WE LEAVE THE THEATER, IS THAT IT CONNECTS DIRECTLY WITH OUR FEARS: OUR FEARS THAT WE MIGHT IMPULSIVELY COMMIT A CRIME, OUR FEARS OF THE POLICE, OUR FEARS OF BECOMING THE VICTIM OF A MADMAN, AND OF COURSE OUR FEARS OF DISAPPOINTING OUR MOTHERS.” —Roger Ebert December 6, 1998

REAR WINDOW (1954) 112 MINUTES CRIME/MYSTERY/ROMANCE PARAMOUNT PICTURES

PLOT SUMMARY Professional photographer L.B. “Jeff ” Jeffries is a prisoner of sorts in his own apartment sporting a hip cast from one of his adventures. He has little to do and spends much of the time observing his neighbors, including a newlywed couple, a middle-aged woman who lives alone and a ballerina who seems to attract men without much effort. He becomes particularly interested in one neighbor, Lars Thorwald, a traveling salesman whose invalid wife spends much of her time in bed. When he sees Thorwald make several trips out of his apartment on a particularly rainy night, he begins to wonder what may be going on. The disappearance of his wife makes him think he may have murdered her. Jeffries has few visitors, but the elegant and beautiful Lisa Fremont, who is madly in love with him, sees him daily and while she is at first skeptical, soon comes around to his way of thinking. In order to get proof however, it will be necessary for her to enter Thorwald’s apartment. Written by Gary Kmcd

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BASED ON A TRUE STORY

DID YOU KNOW BRING IT BACK TO LIFE The film was inspired in part by the real-life murder case of Patrick Mahon. In 1924, in Sussex, England, Mahon murdered his pregnant mistress, Emily Kaye, and dismembered her body. In the modern interview, Alfred Hitchcock claimed that Mahon threw the body parts out of a train window piece by piece and burned the head in his fireplace. DOCTORMACRO.COM

Another modern source, however, states that Mahon quartered the body and stored it in a large trunk, then removed internal organs, putting some in biscuit tins and a hatbox and boiling others on the stove.

“

YES, THE WAY MR. HITCHCOCK FOLDS SUGGESTIONS VERY CASUALLY INTO THE FURROWS OF HIS FILM, THE WAY HE CAN MAKE A TORN NEWSPAPER OR THE SHARPENED INFLECTION OF A PERSON’S VOICE SEND TICKLISH ROOTS DOWN TO THE SUBSOIL OF A CUSTOMER’S ANXIETY, IS A WONDROUS, INVARIABLE ACCOMPLISHMENT. AND THE MENTAL ANGUISH HE CAN THEREBY CREATE, APPARENTLY IN THE MINDS OF HIS CHARACTERS BUT ACTUALLY IN THE PSYCHE OF YOU, IS OF CHAMPIONSHIP PROPORTIONS A SHEER DELIGHT. —Bosley Crowther January 13, 1943

SHADOW OF A DOUBT (1943) PG-13 108 MINUTES DRAMA/MYSTERY/SUSPENSE UNIVERSAL PICTURES

PLOT SUMMARY Charlotte ‘Charlie’ Newton is bored with her quiet life at home with her parents and her younger sister. She wishes something exciting would happen and knows exactly what they need: a visit from her sophisticated and much traveled uncle Charlie Oakley, her mother’s younger brother. Imagine her delight when, out of the blue, they receive a telegram from uncle Charlie announcing that he is coming to visit them for awhile. Charlie Oakley creates quite a stir and charms the ladies club as well as the bank president where his brother-in-law works. Young Charlie begins to notice some odd behavior on his part, such as cutting out a story in the local paper about a man who marries and then murders rich widows. When two strangers appear asking questions about him, she begins to imagine the worse about her dearly beloved uncle Charlie. Written by Gary Kmcd

THE ART OF OBSERVATION

SPOTTED

HITCH’S CAMEO DOCTORMACRO.COM

ALFRED HITCHCOCK ON THE TRAIN TO SANTA ROSA PLAYING CARDS. HE HAS THE ENTIRE SUIT OF SPADES IN HIS HAND, INCLUDING THE SYMBOLIC ACE.

“

WHAT’S THE USE OF LOOKING BACKWARD? WHAT’S THE USE OF LOOKING AHEAD? TODAY’S THE THING. THAT’S MY PHILOSOPHY. TODAY. —Uncle Charlie

VERTIGO (1958) RATED R 128 MINUTES CRIME/MYSTERY/ROMANCE PARAMOUNT PICTURES

PLOT SUMMARY Police detective John ‘Scottie’ Ferguson is asked by an old college friend, Gavin Elster, if he would have a look into his wife Madeleine’s odd behavior. Lately, she’s taken to believing that she is the reincarnation of a woman who died many years ago and Elster is concerned about her sanity. Scottie follows her and rescues her from an apparent suicide attempt when she jumps into San Francisco bay. He gets to know her and falls in love with her. They go to an old mission church and he is unable to stop her from climbing to the top of the steeple, owing to his vertigo, where she jumps to her death. A subsequent inquiry finds that she committed suicide but faults Scottie for not stopping her in the first place. Humiliated and haunted by what has happened, he leaves the police force. Several months later, he meets Judy Barton, a woman who is the spitting image of Madeleine. He can’t explain it, but she is identical to the woman who died. He tries to re-make her into Madeleine’s image by getting her to dye her hair and wear the same type of clothes. He soon begins to realize however that he has been duped and was a pawn in a complex piece of theater that was meant to end in tragedy. Written by Gary Kmcd

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AGE OLD STORY

DID YOU KNOW M I S S N O VA K WA S A Y O U N G O N E At age 24, Kim Novak was less than half the age of James Stewart, who played her love interest in the film. Alfred Hitchcock was embittered at the critical and commercial failure of the film in 1958. He blamed this on James Stewart for â&#x20AC;&#x153;looking too oldâ&#x20AC;? to attract audiences any more. DOCTORMACRO.COM

Hitchcock never worked with Stewart, previously one of his favorite collaborators, again.

“

ALFRED HITCHCOCK TOOK UNIVERSAL EMOTIONS, LIKE FEAR, GUILT AND LUST, PLACED THEM IN ORDINARY CHARACTERS, AND DEVELOPED THEM IN IMAGES MORE THAN IN WORDS. HIS MOST FREQUENT CHARACTER, AN INNOCENT MAN WRONGLY ACCUSED, INSPIRED MUCH DEEPER IDENTIFICATION THAN THE SUPERFICIAL SUPERMEN IN TODAY’S ACTION MOVIES. —Roger Ebert October 13, 1996

AROUND STAY/EAT/DRINK/BE ENTERTAINED

STAY HIDEAWAY

THE SUNSET MARQUIS

THE W HOLLYWOOD HOTEL

1200 Alta Loma Road,

6250 Hollywood Blvd.

West Hollywood, CA 90069

Los Angeles, CA 90028

(310) 657-1333

(323) 798-1300

THE REDBURY @ HOLLYWOOD AND VINE

7000 Hollywood Blvd.

HOLLYWOOD ROOSEVELT HOTEL

1717 Vine St.

Los Angeles, CA 90028

(323) 466-7000

(877) 962-1717

THE ART OF OBSERVATION

GEISHA HOUSE sensual japanese 6633 Hollywood Boulevard Los Angeles, CA 90028 (323) 460-6300 dolcegroup.com

THE HUNGRY CAT seasonal seafood 1535 Vine Street Los Angeles, CA 90028 (323) 462-2155 thehungrycat.com

BOULEVARD 3 premier club 6523 West Sunset Boulevard Los Angeles, CA 90028 HIPSTER TRAVEL GUIDE

(323) 466-2144 boulevard3.com

BOARDNERâ&#x20AC;&#x2122;S BY LA BELLE historical vintage bar 1652 North Cherokee Avenue Los Angeles, CA 90028 (323) 462-9621 boardners.com

BESO RESTAURANT

EAT&DRINK RECOVER AND REFUEL

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ANGELS & KINGS

latin steakhouse & club

salsa dancing and concerts

6350 Hollywood Boulevard

6555 Hollywood Boulevard

Los Angeles, CA 90028 (323) 467-7991 besohollywood.com

Los Angeles, CA 90028 (323) 468-8815 kingkinghollywood.com

BOHO

CATALINA JAZZ CLUB

lively gastropub

jazz club, piano bar

6372 West Sunset Boulevard

6725 W Sunset Blvd #100

Los Angeles, CA 90028

(323) 465-8500

(323) 466-2210

bohorestaurant.com

catalinajazzclub.com

BEACHES Hermosa Beach Manhattan Beach Redondo Beach Santa Monica Beach and Pier Venice Beach

RODEO DRIVE luxury shopping Wilshire Blvd & S Rodeo Dr Beverly Hills, CA 90212 rodeodrive-bh.com

HOLLYWOOD SIGN tourist must-see 3204 Canyon Lake Drive Los Angeles, CA 90068 (323) 258-4338 hollywoodsign.org

SUNSET NOIR

J. PAUL GETTY MUSEUM art museum 1200 Getty Center Dr Los Angeles, California 90049 (310) 440-7300 getty.edu

ENTERTAIN WHAT TO DO ON SUNDAY

UNIVERSAL STUDIOS

PARAMOUNT PICTURES

entertainment experience

t.v. show taping and tours

100 Universal City Plaza

Big Time Rush

San Fernando Valley, CA 90068

Community

(800) 864-8377

Dr. Phil

universalstudioshollywood.com

The Doctors

HOLLYWOOD WALK OF FAME

Hung

walk of fame, Graumanâ&#x20AC;&#x2122;s Theater

NCIS Los Angeles

Glee

7018 Hollywood Boulevard

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5555 Melrose Avenue

Los Angeles, CA 90028

Los Angeles, CA 90038-3197

(213) 469-8311

(323) 956-5000

hollywoodchamber.net

paramount.com

APPENDIX MAPS & DETAILS

APPENDIX THE FINE PRINT

With something as grand as the Art of Observation film festival it is necessary to know your way around. Not only from screening to screening, but around the city, around the lot and cemetery. Bathrooms, ATMs and restaurants are scattered around the Paramount lot for your convenience, but the cemetery is limited. You have been informed that you do not need to bring anything, as refreshments, food, disguises, heaters will be present at both affairs, but it is important to bring your A Game with you. You may think you’re prepared with just being yourself, but ask yourself if that’s who you want to be? Do you want to show the real you? Or would you rather play a part for a few days? Pretend to be someone you’re not. Pretend to be someone you’ve always wanted to be. No one will have to know. Everyone will be masked. What’s the truth? The truth is relative when it’s hidden. It’s your choice who you show up as. Be prepared with a backstory, a personality and a life full of zeal and adventure. Don’t worry about the details, you can make them up as you

THE ART OF OBSERVATION

DAY ONE FRIDAY, AUGUST 12

HOLLYWOOD FOREVER CEMETERY RUDOLPH VALENTINO MAUSOLEUM 6000 Santa Monica Blvd.

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DAY TWO

SATURDAY, AUGUST 13 THE STUDIOS AT PARAMOUNT 5555 Melrose Avenue Hollywood, California

Los Angeles, California EVENTS: EVENTS: Hitchcock Happy Hour 7:30–10:00 Psycho Film Screening 10:00

Film Screengings To Catch a Thief 10:00am Shadow of a Doubt 12:30pm Notorious 2:00pm Vertigo 4:30pm Rear Window 7:00pm

FILM SELECTION: Psycho (1960)

Mask & Mustache Party featuring the Birthday Bourbon Bar 8:30pm–1:30am FILM SELECTION: Shadow of a Doubt (1943) Notorious (1946) Rear Window (1954)

go, but know who you are underneath. Do you reveal it or

To Catch a Thief (1955)

not? Or to a few select people? Who gets to see under the

Vertigo (1958)

mask? It’s you’re choice. Choose wisely.

THE ART OF OBSERVATION

ATWATER VILLAGE NEWBIE

RY E T E M E C REVER O MAUSOLEUM

FO RUDOLPH VALENTIN

OD HOLLWO

VAN N

ESS AVEN U

E U N E V A E S RO

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H O L LY W O O D F O R E V E R

CEMETERY SACRED & HAUNTED GROUNDS

Everyone will tell you that Hollywood is haunted. Some people say it is the most haunted city in America. Well this may beâ&#x20AC;&#x201D;simply because of the heart-ache and heartbreak that many suffer in their attempts to gain fame and fortune. Many a heart has been broken as a result of this quest. So, as a result there are many places in Hollywood that claim to be haunted. But a cemetery? Why would anyone attach their energies to a cemetery. Chances are they had little or no tie to the cemetery other than to be buried there. If one would say there haunted a restaurant or a sound stage at a studio no one would even raise an eyebrow. Hollywood Forever Cemetery, in the center of Hollywood, close to Paramount Studio reports continuous sightings of ghostly figures. So for those of you who wish to see the dead in the middle of the night, the Hollywood Cemetery may be the right place for you to explore. Founded in 1899, Hollywood Forever Cemetery is the resting place of hundreds of Hollywoodâ&#x20AC;&#x2122;s greatest stars. Recently refurbished to its original splendor, the cemetery attracts visitors from all over the world. Yet it is also an active cemetery and funeral home.

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Hollywood Forever is a cemetery unlike any other in the world. One of the world’s most fascinating landmarks, Hollywood Forever Cemetery is the final resting place to more of Hollywood’s founders and stars than anywhere else on earth. Founded in 1899, the cemetery was an integral part of the growth of early Hollywood. Paramount Studios was built on the back half of the original Hollywood Cemetery, where the studio is still in operation today. The cemetery of choice for most of the founders of Hollywood’s great studios, as well as writers, directors, and, performers, Hollywood Forever Cemetery is now listed on the National Register of Historic Sites. Visitors come from all over the world to pay respects Johnny Ramone, Cecil B. DeMille, Jayne Mansfield, Rudolph Valentino, Douglas Fairbanks, and hundreds more of Hollywood’s greatest stars. With thousands of spaces available, new mausoleum construction nearing completion, and a vibrant cultural events program the cemetery is more active today than ever in its history. At Hollywood Forever, we believe it’s time cemeteries offered more than a name and date etched in stone. That is why we have produced thousands of LifeStories, made from video and film clips, photos, written and spoken words. Our Life Stories specialists work with each family to gather their most cherished memories and assemble a LifeStories™ that captures the essence of a personality and the story of ones life. Visitors use unique touch screens and consoles throughout the cemetery to view individual LifeStories. Every LifeStory™ is captured forever as part of our permanent collection. Hollywood Forever offers a wide range of memorialization options from traditional ground burial to mausoleum interments, to cremation niches and scattering gardens.

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With something as grand as the Art of Observation film festival it is necessary to know ytheir way around. Not only from screening to screening, but around the city, around the lot and cemetery. Bathrooms, ATMs and restaurants are scattered around the Paramount lot for ytheir convenience, but the cemetery is limited.

A HISTORY: THE STUDIOS AT PARAMOUNT The Studios at Paramount has always been an indthemtry leader and home to countless famothem television and motion picture productions. Today, they’re themhering in a new era of excellence and embarking on a new phase of history by continuing the evolution of their services and facilities to meet the demands of today and tomorrow’s production partners. When you visit the studios, you’ll discover how they’re combining their vast experience with the latest state-of-the-art technology to provide an incredibly diverse array of production support services managed by the most talented professionals in the indthemtry. You’ll see that no other production facility in the world can boast of the talent, commitment and technology possessed by the Studios at Paramount. From their humble beginnings in 1912, The Studios at Paramount (the longest operating and only major studio remaining in Hollywood) has been on the ground floor of every major development in film—from the advent of motion pictures, to the emergence of television and onward through the digital revolution. Through it all, their

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passion for excellence has kept them on the forefront of movie making and leading the pack in innovation and technological development. This obsession was evident from the very beginning when they won the very first Academy Award for Best Picture in 1927—only a year after moving onto their current studio lot. Throughout their history, they’ve nurtured and aided the industry’s most legendary movie talent. Directors like Cecil B. DeMille, D.W. Griffith and Alfred Hitchcock as well as stars such as Rudolf Valentino, Mae Theyst, Bing Crosby, the Marx Brothers, Bob Hope, Elvis Presley and Audrey Hepburn graced their lot in earlier years. In more recent times, the star power has only grown brighter as they’ve worked with Steven Spielberg, Harrison Ford, Meryl Streep, Tom Cruise, Angelina Jolie and many more. Their passion and experience combined with such talent has resulted in the production of countless iconic films, including the highest grossing blockbuster of all time, Titanic (1997). Movies aren’t the only driving force behind their success stories. It was in the mid-1960s that they dove head first into the world of television when new owners began to steer the studio down new paths. In 1967, the lot was expanded when they purchased Desilu television studios from Lucille Ball. They immediately put the lot expansion to good work, creating memorable series like The Odd Couple, the original Star Trek, The Brady Bunch, Mission: Impossible, Taxi, Happy Days, Cheers, and the record-breaking Frasier. Since their start in television, The Studios at Paramount has become the place where quality shows are continually produced alongside world famous pictures. As the longest operating major studio in Hollywood, The Studios at Paramount has almost a century of experience providing the finest production services from development through post production. Along the way, they’ve only become better at everything they do. Today, they’ve emerged as an international leader in the production of film and TV entertainment. They engineer partnerships with projects large and small in a ceaseless effort to create celebrated movies, television shows, and commercials.

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THANKS THAT’S RIGHT, TO YOU!

This festival could not have been possible without you. That’s right, you! You, a devoted fan of Hitchcock brought him back to life. Celebrating the Master of Suspense is a year-round theme, don’t feel as though it ends here. Feel free to celebrate his works anytime you feel like it. A special thanks has to go out to all Hitchcock patrons, family members, board members and fans. Paramount Pictures, thank you for your amazing studio and the work you put into Hitchcock films as well as for hosting the extravagant Mask & Mustache event, no small feat for sure. It was a great success thanks to your team and leadership. Thanks to Hollywood Forever Cemetery for the use of the space, for the respect for the deceased and in celebrating the life of Hitchcock with us. And last but not least, this festival took a modern twist on a classic look at feel. Thanks to the contributing photographers and models. Matthew Rumford, photographer and Dave King, architect and construction specialist. It is not easy task to take on the look and feel of Hitchcock and his mastery of image and suspense. We hope you not only enjoyed your viewing pleasure during the event, but take time to remember the event, your discoveries and the Master himself. Enjoy the DVD set, the website and the Catalog itself to bring you back.

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COLOPHON Designer

Katie King Rumford

Semester

Spring 2011

Class

GR 612

Professor

Christopher Morlan

Typefaces

Helvetica Neue Minion

Printer Paper

Epson 3800 Red River 50lb. Premium Matte

Cutting

Eco Copy

Binding

Katie King Rumford San Francisco, California Copyright ÂŠ Katie King Rumford 2011

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